Tina Dixon
By Marv Goldberg
© 2024 by Marv Goldberg
If you know Tina Dixon at all, it's probably for her recording of "E-Bob-O-Le-Bob". It was a big hit, although for Helen Humes, and spawned many cover versions. I'll talk about it more below.
Tina Dixon was born Augustine Dickson, in New Orleans, on October 7, 1913, the daughter of Charles Dickson and Cora Johnson. She had several siblings, and we'll run into a couple of them later.
In the 1920 census, the family was still living in New Orleans, but for some reason, Augustine was enumerated as "Juanita". (I guess they sounded somewhat similar to the hard-of-hearing census taker.)
Either later that year or in 1921, the family moved to Detroit. (Her brother, James, was born there in November 1921.) Tina's first mention was in the June 1, 1929 Pittsburgh Courier, which had a Detroit column. This one began:
In Detroit, as usual, Monday is Graystone night. All roads lead to [bandleader] Jean Goldkette's beautiful ballroom. About 5,000 people followed this trail last week to the return dance of McKinney's Cotton Pickers.... Among those in attendance were ... Misses Dorothy, Rita and Augustine Dickson.... [Dorothy and Rita were two of her sisters.]
Later that year, the Pittsburgh Courier of November 16 reported:
The first fall meeting of the Detroit Collegiate Club was held Wednesday night at the beautiful new Brewster Community Center. [Note: Detroit Collegiate is the name of a high school.] .... Before the election of officers, a very delightful program was given with misses Rita and Augustine Dickson performing. They sang the latest of the Collegiate Revue, which is now under rehearsal for presentation of the second show.
So now we know that Augustine wasn't the only singer in the family.
There were no surprises in the 1930 census. Charles and Cora were there, along with their children George, Agnes (formerly known as Effie and Ethel), Rita (formerly known as both Sweetie and Ruby), Dorothy, Augustine, Charlie, Cornelius, Norman, James, Mary, and Marion, as well as Cora's mother, Louise Johnson. Charles and Cora seemed to have problems assigning permanent names to their children.
The August 23, 1930 Pittsburgh Courier confirmed that Rita and Augustine Dickson were in Collegiate High's Collegiate Revue.
On June 3 and 4, 1932, a Detroit social club called the Nacirema put on it's annual musical show, called "Sepia Rhythm", at McCollester Hall. In the cast, said the Detroit column of the June 11 Pittsburgh Courier, was 18-year "Augustine Dixon".
But enough of this childishness, the June 3, 1933 Detroit Tribune had a blurb titled "Popular Entertainers Return From Tour". It was a stunningly vague piece saying that Augustine Dickson was a member of the Blackberry Chorus, which had "enjoyed successful appearances at the Tivoli Theatre, in Canada [fortunately, Canada is a small country, so it shouldn't be too difficult for you to locate the Tivoli Theatre, if you're so inclined], and the Columbia Theatre [which is, I suppose, somewhere]...."
The Detroit column in the April 27, 1935 Pittsburgh Courier had this odd piece: "Augustine Dixon returning to the profesh after being run in by all the police women because she was under age." What profession? Why would she be underage since she was 21 at this point? Why can't these columnists learn to write in plain English?
Now, let's almost say goodbye to that "Augustine Dickson" person. In July 1936, "Tina Dickson" (we're getting there) appeared in a revue at the Penthouse (atop the Lauth Hotel in Port Huron, Michigan). Well, the name game is nearly over. The July 25 Pittsburgh Courier had "Tina Dickson", but the Detroit Tribune of the same date called her "Augustine Dixon".
The August 8, 1936 Pittsburgh Courier had the first mention of "Tina Dixon". They said: "Tina Dixon may become a menace to Bea Moore's exclusive mistress of ceremonies job." Tina would become known as an MC in later years and Bea Moore wasn't heard from again after 1940.
The December 26, 1936 Chicago Defender had this: "Tina Dixon, the little miss that the newspaper boys have acclaimed as Paradise Valley's [Detroit] most improved entertainer during 1936, is co-featured at Slim Jones' place." Although it wasn't deemed worthy of mention, Slim's place was called the Chocolate Bar.
The January 2, 1937 Pittsburgh Courier reiterated, under "Chocolate Bar Opens New Revue":
Kid Williams, aside from garnering production honors, captures a deal of applause with his comical dance. He is supported by Lucile House, lovely singer of torch songs; Tina Dixon, named as Paradise Valley's most improved star during 1936;....
Improved or not, there's only one other mention of Tina in all of 1937: on March 27, Augustine Dixon [they're still waffling on the name] was in a Chocolate Bar ad.
In spite of not seeming to do much for about a year, Tina made it to the Apollo Theater the week of April 15, 1938, when the featured act was Jimmie Lunceford's orchestra. Others on stage were Ralph Brown, Babe Matthews, Agnes Knox, Satch & Satchel, and Swan, Lee & Jackson. While Tina would be hired by Lunceford in the future, it's just coincidental that they were on the same show now (but at least he got to hear her). Tina was named in the show's write-up, but not in the ad.
However, she was the only act held over for the next week (April 22), when the star was Fats Waller. The other acts were Myra Johnson, "Rubberlegs" Williams, Flash & Dash, Miller Worthy, and comedians John Mason, John La Rue, and Johnny Vigal.
Sometime in 1939, Tina supposedly married dancer Leon Collins. However, I don't believe that, but you'll have to wait a bit to find out why.
The June 3, 1939 Chicago Defender tersely told us: "Tina Dixon will leave for New York this week. She closed an engagement at Villa D club." It was asking too much for them to tell us why she was leaving for New York, since there are no ads for appearances there.
The December 2, 1939 Pittsburgh Courier said that Tina was at the Cotton Club in Cincinnati, where she introduced a new dance called "The Push-Out". Whatever it was, she'd be known for it for a couple of years.
The April 1940 census found Tina (as Augustine Dickson - a "nightclub entertainer") living with her widowed mother and a half-dozen of her siblings. The thing to note here is that Tina was still single (in spite of the Internet screaming that she'd married Leon Collins in 1939).
Need more proof? In that same census, Leon was enumerated in Chicago, living with his widowed mother and sister, and also single.
As long as Leon has entered the picture, Let's take a look at him. I'll lump this all together, since it will read better that way. By all accounts, he was an amazing dancer.
Leon Collins was born in Chicago; his mother was Eloise Brooks Collins, but I have no idea who his father was. His mother and grandmother came from the British West Indies, but the 1940 census (Chicago) said that they came from "India". Once again, we can blame this on the ________ (fill in your own slander) census-taker. Leon was enumerated as "Leondrea Collins", which may not have been a mistake (keep reading).
All over the Internet, it says that he was born on February 7, 1922, so let's take a look at that.
When he (Leon Jessie Collins) registered for the draft on February 16, 1942, he gave his birthday as February 7, 1920. However, the registrar wrote down "20", which is clearly wrong - it should have been 22 with that birthdate. (Remember, the form was filled out by a registrar asking questions of the registrant, who was sitting right there.) Closer inspection of the form shows "22" written lightly in pencil next to the "20". He gave his employer as the Club Plantation in St. Louis, which is correct for February 1942. But think about this: the draft was for men 21 through 35. If he'd been born in 1920, he should have registered in February 1941 or be subject to arrest; if he'd been born in 1922, he wouldn't have registered until February 1943 (when he was appearing in Detroit, not St. Louis). Confused? I am. I should also note that written across the form, lightly in pencil, was the word "Cancelled". There was no explanation given for that.
Making my life even more joyful, there's another draft registration, this one for "Leondrea Jessie Collins" (although he signed it "Leon Collins"). On this one, he said he was born on February 7, 1921. Both registration forms show his mother as Eloise Collins and both have her at the same address. However [and I hope, by now, you knew that was coming], it was also filled out on February 16, 1942, but in San Francisco!!! His address there was care of General Delivery and his occupation was "unemployed". [I'm not sure where Ancestry.com thinks the February 16 date came from, since the back of the form was neither dated nor signed by the registrar, although it did have the stamp of Local Board No. 98, 25 Taylor Street, San Francisco.] If he were born in 1921, this was certainly when he should have registered, but the whole thing makes no sense at all. There's no other record of him being in California in 1942 or 1943.
The Chicago registration form has the boxes for Serial Number and Order Number blank (these were filled in at a later date and used to determine when someone would be called up). That implies, to me at least, that they meant it when they wrote "Cancelled". The San Francisco one has both boxes filled in. Did I mention that the whole thing makes no sense?
In the 1940 census, his mother said he was 17, which implies that he was born on February 7, 1923! The only good news is that I can leave this mess to one of his relatives to unravel (although I'm willing to accept the February 7).
On to the next problem: Leon and Tina were certainly married by some point (a couple of newspaper blurbs confirmed that), but not in 1939, based on the 1940 censuses, as I explained above. Finally, I found the marriage document! On June 27, 1941, in Napoleon, Ohio, they (both Detroit residents and entertainers) were married by a Justice Of The Peace. Anyone want to start a write-in campaign to get the 1939 marriage date changed all over the Internet? [Didn't think so.]
Leon was part of a dance duo with Eddie Pitts. In September 1941, they were at the Jefferson Inn (Detroit) and called "... two flash dancers, Leon and Eddie, known as 'tops in taps'". [Flash dancing was a combination of tap dancing and acrobatics.] In December 1941, when they were at Detroit's Three Trees, they were called "Collins and Pitts, fast-stepping tapsters". And, in January 1942, when they were at the Plantation Club in St. Louis, they were mentioned as "Leon & Pitts". Obviously an identity crisis.
By late 1942, Leon was appearing as a solo act. One December 1942 blurb said he'd been with Duke Ellington, but I can't find any other evidence of that.
While there's no question that Leon and Tina eventually divorced, there's only one mention of a date: 1944, which I can neither confirm nor refute. However, the two continued to appear together for another three years after that. It's worth mentioning that she copyrighted some songs (see discography) in 1946 as either "Tina Dixon Collins" or "T.D. Collins".
By 1950, Leon was living in Boston and married to someone named Elizabeth. In that census, he said he was 30, lending more credence to the 1920 birth year.
Leon died in Boston on April 16, 1985, from lung cancer.
And so, we move on.
Tina was first mentioned as appearing at the Arcade Cocktail Lounge (Detroit) on October 25, 1940. Also on the bill was dancer Baby Laurence [Jackson]. When they talked about a new show there on December 16, it was noted that Tina had been held over. When January 24, 1941 rolled around, Tina was still there.
It took until February 8, 1941 for the Detroit Press to say that it was Tina's last night there after nearly four months: "A gala farewell party will be held Saturday night for Tina Dixon, sophisticated singer of swing after her extended engagement at the Arcade Cocktail Lounge."
By June, Tina ("Brown Bombshell Of Rhythm") was at Detroit's Club Trocadero. The July 4 Detroit Evening Times said that she was now in her fourth week there. Added along the way, per a July 8 ad, were "Leon & Eddy" ("Four Fast Feet").
A September 1, 1941 ad has Tina ("hilarious comedienne") at the Jefferson Inn. She not only sang, she did comedy routines and acted as an MC at many spots.
The September 2 write-up in the Detroit Free Press mentioned that "Leon & Eddie" (known as "tops in taps") were also on the Jefferson Inn bill (they weren't in the ad). On September 16, Tina was called "Harlem Singing Mimic".
The next month, she switched over to the Club Zombie. The October 11, 1941 Detroit Tribune said: "Tina Dixon, who is well known to cabaret patrons, and sister of the photographer Charles Dixon, is listed among the featured entertainers at Broad's Club Zombie, the gayest spot in North End." This shows that Charles (usually seen as Charles Dickson), was just as well known as Tina.
In mid-December, she relocated to the Three Trees. "Featured on the bill," said the December 17 Detroit Evening Times, "is Detroit's own queen of the blues, Tina 'Giveout' Dixon. Tina has been starred in many of the nation's leading night clubs and her vocal renditions have been acclaimed widely." Remember, the word "acclaimed" has no meaning whatever, unless you're told by whom. Also, remember that in 1939, she'd introduced a new dance called the "Push-Out"; they were close. On the bill with her were Collins & Pitts ("fast stepping tapsters").
The following week, the new Three Trees production (still with Tina) was called "Christmas Night In Harlem", but Collins & Pitts were no longer mentioned. It looks like the Three Trees revue changed every week. On December 31, it was "The Draft-Away". In early January 1942, she starred there in the "Harlem Follies Of 1942" revue.
But on January 24, she was back at the Club Zombie, in a revue called "Kiss The Boys Goodbye".
The January 31, 1942 St. Louis Star And Times said of the new show at Club Plantation: "Tina Dixon, singing blues songs and Jessie Scott, a peppy soubrette, rate strict attention.... 'Leon & Pitts', a pair of dancing lads who jog through a rhythm tap dance." The last time they were all mentioned was March 8. (Remember that, on February 16, when he registered for the draft, Leon Collins was at Club Plantation.) While they were all in several write-ups, Plantation ads didn't give any performer names.
Strangely, there are conflicting ads for Tina appearing at the Roosevelt Theater, in St. Louis, on January 31, in Ziggy Johnson's "Swingin' On Nothin'" revue.
The July 11, 1942 Detroit Tribune mentioned that "Tina Dickson" was "breaking it up in Chi's Rhumboogie". They're really having a tough time keeping her name standardized.
On September 15, 1942 Tina opened at the Tavern On The Green in Waterloo, Iowa. Also on the bill (and the show opener) was Leon Collins, but not Eddie Pitts. It looks like the act broke up when they returned from St. Louis.
Starting January 8, 1943, Tina appeared at the Club Trocadero in Detroit. (I, personally, would have gone to see Georgie Stella, who was not only the MC, but who juggled cigars.)
Later in January, "Tina (Pushout) Dixon" started at Club Three 666, along with Leon Collins. It's truly a strangely named club. Many write-ups call it the Three Sixes, but the clubs own ads called it "Club Three 666".
The March 20, 1943 Michigan Chronicle said of Tina: "Tina (Pushout) Dixon proved one of the outstanding stars of the current Betty Taylor production at Club Three 666 club [redundancy theirs] on Sunday black [sic; possibly they meant Sunday back - last Sunday]. Her risqué manner of song delineation had the patrons clamoring for more." The band was led by Doc Wheeler, formerly leader of the Sunset Royal Orchestra.
They must have liked her there, because, said the April 3 Michigan Chronicle, "Tina Dixon has set a new record at Club 666. When she opens in the new show Monday, it will be her 18th consecutive week at the spot managed by Andrew Sneed."
The April 24, 1943 Michigan Chronicle talked about Tina's tragic accident:
Leon Collins, husband of Tina Dixon, sprightly blues singer at Three Sixes, who is in the springtime of her years, returned home the other day after an absence of many weeks . . . during which time he toured the southland with a show. Leon, a very, very thoughtful husband, was laden with gifts when he arrived . . . and these helped to chase the pain from the ankle Tina wrenched some weeks ago while bowling.
On April 26, Tina entertained at a war bond rally (at Club Three 666), along with Ida James, Bobbe Caston, and Doc Wheeler. The show was produced by impresario Larry Steele.
Recovery: "Tina Dixon, after a long layoff because of a sprained ankle, is bowling again, and doing very well, thank you. Someone has been giving her instructions and she's tossing a wicked curve." (That from the May 8 Michigan Chronicle.)
Later that month, Tina ("that jivin' singing gal") was at Detroit's Forest Club. Also on the bill were the singing Hilton Sisters, who were Siamese twins
Then, it was back to the Three Trees at the beginning of June. The June 9 Detroit Free Press said: "Tina Dixon, foremost vocal exponent of the blues and jive, heads this week's sepia revue at the Three Trees Club. A never-failing show stopper, Tina has acquired a tremendous local following." She was still being held over a month later.
On August 2, she returned to the Club Zombie. The August 28, 1943 Michigan Chronicle said that she ("with her risqué song delivery") was being held over.
From the Zombie, she joined Jimmie Lunceford as his band singer. The September 11 Detroit Tribune said: "Tina leaves the [Zombie] show to join Jimmie Lunceford. This is her big farewell week. So the Zombie management has tagged this week as Tina's big going-away party." She probably left there on September 17. On August 31, Lunceford had appeared at Detroit's Forest Club Dance Hall. Possibly that's when she auditioned and was hired. (Don't forget that they'd been on the same bill back in April 1938, so he knew what she was capable of.)
The September 25 Michigan Chronicle had two similar blurbs about her:
Tina Dixon was given a farewell party at her home on Tillman Street last week as she prepared to open a New York City engagement with Jimmy [sic] Lunceford.
Tina Dixon, famous for her "Push Out" dance and the delineation of semi-risque songs has now joined up with Jimmy [sic] Lunceford and his aggregation, playing at Loew's State Theater [Manhattan]. Miss Dixon was given a farewell party at her home last week and received many fine presents from fellow theatre artists.
And, true to their word, the Lunceford Orchestra was at Lowe's State Theater, starting on September 23. Tina's name was in the ads ("Bombshell Of The Blues"), along with the Miller Brothers & Lois (flash dancers Danny Miller, George Miller, and Lois Bright), and comics Radcliffe & Jenkins. According to the October 2 Billboard, which reviewed the opening night show, Tina sang "Don't Talk Too Much" (which might have been the same song as the Charioteers' "A Slip Of The Lip"), "Hit That Jive, Jack", and "Low-Down, Dirty Shame".
From there, they went uptown to appear at the Apollo Theater, the week of October 1. Also on the bill was comic Dusty Fletcher.
Now, it's time for Tina's husband, Leon Collins, to re-appear. Presumably he went with her to New York and she ended up getting him a job with Lunceford's organization. According to the story, Lunceford's opening act didn't show up one night due to sickness (it didn't say if they were the comics or the dancers), and Tina had Leon audition. She told Lunceford that Leon did "gangs of dancing", which, although odd wording, became his catchphrase for a long while.
However, Collins' name wasn't associated with the Apollo performance. The first time it appears is when they played Fays Theater, Philadelphia, starting on October 22. (Note that it's never spelled "Fay's" in their own ads.) I can't find any Lunceford appearances between the Apollo and Fays.
November 12 found Lunceford's "Harlem Express" pulling into the Paradise Theater in Detroit. After that, it was the Regal in Chicago, starting November 26. Ads mentioned Tina, but not all of them had Leon's name.
The band played the RKO Boston from December 16-22, 1943. The December 17 Boston Globe reviewed the show, saying, in part:
Tina Dixon, featured vocalist with the band, put her all into "Shoo-Shoo Baby" and "Hit That Jive, Jack", which worked the first 18 rows of zoot-suiters into an understandable frenzy. Leon Collins, whose superb tap-dancing was remarkably effortless, was another hit. At the noon show yesterday, the indisposition of Miss Jenkins of Radcliffe and Jenkins left Frank Radcliff to slip by as a single with a couple of vocals.
They were back at the Apollo Theater the week beginning December 31, 1943. Other acts were Bert Howell & Buddy Bowser, the Tampa Boys, and Bo Jenkins. Neither the ad nor the write-up mentioned Collins, the Miller Brothers & Lois, or Radcliffe & Jenkins.
When they played the State Theater in Hartford, Connecticut on February 25-27, 1944, Leon still wasn't mentioned, but the Miller Brothers & Lois had been replaced by the dancing Berry Brothers.
And then, Tina left Lunceford for a while. There was a May 26, 1944 ad for the Harmony Club in Boston, where Tina was appearing as "Harlem's Bombshell". Leon was there too ("direct from the Zanzibar").
While I can't find any other mention of Leon at the Zanzibar, Tina was there, starting June 1. The June 10 Billboard reviewed the show, which also had singer Marva Louis (who got a terrible review), Bill Bailey (Pearl's brother; a dancer), and the Berry Brothers. Of Tina, they said:
Surprise of the bill was Tina Dixon, who came in at the last moment. Gal, a big fat sepia, has a voice that goes with her physical make-up. Quality is a bit raucous, but she makes it up in quantity and selling ability. Blue singer did two numbers, best of which was Rollin' Down The Mountain. Lyrics are plenty blue and gal emphasized them by bumps thrown almost across the room. Nothing subtle about this warbler. When she yelled, she really yelled; when she bumped, everybody ducked. Gal got a terrific hand.
The June 2, 1944 St. Joseph News-Press said, of Tina at the Zanzibar: "... shouts songs from down around her shoetops and tosses her well-upholstered frame around like a gambler throwing caution to the winds."
Then there was this nonsense in the June 28 Brooklyn Daily Eagle: "We hear ... that the Jimmie Lunceford discovery, Tina Dixon, now at the Cafe Zanzibar, is soon to be a Blue 'sustainer'." In English: It's rumored that Tina may get a sustaining (no sponsor) radio show on the Blue Network (which had been part of NBC, but had recently become the American Broadcasting Company). Note to future scholars: blurbs that say "may get", or "is in line for", or "is auditioning for" are almost always pure fiction, or, at least, never amount to anything.
What Tina did get was an engagement at Washington, D.C.'s Club Bali, beginning August 11, 1944.
The 1944 Billboard Yearbook, printed in September of that year, presented this press-agent-generated biography of Tina Dixon:
Tina Dixon, the 'Bombshell of the Blues,' was born in Detroit and started her singing career at 18. Her first club job was at the Club Ballyhoo, Detroit. Tina played de luxe theaters with Jimmie Lunceford and his ork. Night clubs where she has appeared are: Tic Toc Club, Boston; Zanzibar, New York; Bali, Washington. She is managed by Harold F. Oxley [who also managed Jimmie Lunceford and Mabel Scott]. She is in line for a forthcoming radio commercial. [there's that "in line for" I just spoke about] Besides her club and theater work she also appeared before television cameras. Tina Dixon has made color movie shorts for Pathe and has performed at many army and navy camps. [I can't find anything else about television work or movie shorts.]
On September 8, she started at Cuba's Club in Asbury Park, New Jersey, along with Skeets Tolbert's band. The show ran until September 25.
On September 27, Tina (and Leon) were back with Jimmie Lunceford, appearing at Loew's State in Manhattan. Here's what the October 7, 1944 Billboard had to say:
On the vocal side, show is weak. Clifton Trenier, a short skinny kid, did Invitation To The Blues. Lad was obviously nervous and he couldn't seem to get over it as he went along. He shambled out and delivered in a flat voice, swallowing most of his words. Tina Dixon, a short, heavy canary, did better with her Big Bad Man and I Like To Riff. Opener, Rocking Horse Ran Away, was only fair. Last named number, a cute kiddie piece, looked incongruous when gal tried selling it with a slow grind.
Show stoppers were the Four Step Brothers. The quartet, dressed in tails, top hats, and canes, go thru a hoofing routine, in unison and then as singles, that pull sock applause time and again. For encore, each boy has an amusing line of chatter followed by some more classy heel and toe work.
Leon Collins, who works as a single early in the bill, also turns in a terrific bit of hoofery. Guy works fast, starting from a simple buck and wing and segueing into double and triple break stuff and ending it with a fast split and turn over to a wow reception. Boy suffers, however, by spotting [the point in the show at which he came on], particularly with the Four Step Brothers fine work closing the show.
The show was also mentioned in the October 16 Dayton, Ohio Daily Bulletin. It had, said the blurb; ".... the Four Stop Brothers, dance stars of stage and screen; Tina Dixon, whose press agent bills her as the 'Bombshell Of The Blues' (she's really terrific folk); Loon Collins who does a mess of tapping; and funnier than funny Jayner and Foster...." Other than saying "folk" instead of "folks", and misspelling "Step", "Leon", and "Joyner", it wasn't bad reporting.
In late October, the Lunceford troupe was at Club Plantation in St. Louis.
Now, it gets strange. There's an ad, with an accompanying blurb, in the November 18, Michigan Chronicle, placing the Lunceford troupe (including Tina and Leon) at the Paradise in Detroit for the week beginning November 17, 1944. However, on the same page, it said: "Tina Dixon, local gal with a comedienne song style is making good at Howard Theatre in D.C. Her hubby, Leon Collins, dancer, is on the same bill there." The only report of Tina in D.C. in 1944 was the Club Bali engagement in August. They're confused.
On November 24, the Lunceford band, with Tina and Leon, was back at Chicago's Regal Theater. December 2 found them at the Metropolitan Theater in Cleveland for a week.
On December 15, Tina and the 4 Step Brothers were at Detroit's Club Three 666. Also there were the Ginger Snaps and Teddy Buckner's Orchestra.
Tina met up with Jimmie Lunceford again, on December 29, 1944, when the troupe spent another week at the Apollo.
1945 started off with a Lunceford engagement at the Down Town Theater in Chicago, starting on January 19. In mid-February, they were at the Temple Theater in Rochester, New York. After that, on February 23-25, the band headed over to the State Theater in Hartford, Connecticut. Also there were Borrah Minevitch and his Harmonica Rascals.
Then, Tina and Leon traveled to the West Coast to appear at Shepp's Playhouse in Los Angeles, along with the Eddie Heywood Combo, Dan Grissom, and the Flennoy Trio. The show started on March 24.
Tina was still there in their May 3 ad, but Leon wasn't mentioned. Tap dancing was done by Foster Johnson and the Will Mastin Trio (with that Sammy Davis, Jr kid).
When Tina played The Tropics (Reno, Nevada) on May 26, Leon was there with her. They were still being advertised as "Bombshell Of The Blues" and "Gangs Of Dancing".
And then, immortality (of a sort). In June 1945, in Los Angeles, along with the Lunceford orchestra (which was playing around Los Angeles), Tina recorded two songs for the AFRS Jubilee series: "Stuff Like That There" and "E-Bob-O-Le-Bob". Regardless of what title you may see attached to that song on the Internet, announcer Ernie "Bubbles" Whitman clearly introduces it as "E-Bob-O-Le-Bob". Note that AFRS Jubilee recordings were made by black entertainers and broadcast on the Armed Forces Radio Service; the discs weren't meant for commercial release. Both songs (on different discs) were probably aired in late June or July. This will become meaningful in a bit.
By late July, Tina and Leon were appearing at the California Restaurant; Lunceford was playing other venues in California at the time.
Probably during that period, Tina recorded another version of "E-Bob-O-Le-Bob", this time on Excelsior, along with the Flennoy Trio (with whom she'd appeared at Shepp's Playhouse back in late March). Ah, if it were only that simple. [Note that some of the following was excerpted from my "Hey! Ba-Ba-Re-Bop" article ); you'll find the complete story there.]
Before Tina's tune could be released, Helen Humes (former Count Basie vocalist), backed by the Bill Doggett Octet, released a song called "Be-Baba-Leba", on Philo, in August 1945; Tina's didn't come out until September. Helen's record zoomed up the charts and was a national hit. (My own feeling is that Helen's rendition of this fairly dumb song is superior to Tina's, if only for the more robust orchestration.)
The problem was that Humes and Dixon essentially sang the same song, but each woman claimed to have written it. Tina's was the version originally recorded, but Helen's was the version that got released first. This was the subject of a January 26, 1946 Billboard article, at the time when Helen's version was really taking off. It said, in part:
[Charlie] Barnet [representing the Indigo Publishing Company] closed deal for Be-Baba-Leba with Harold Oxley, the agent, who controlled original copyright of the tune introduced in the first place by Tina Dixon, whom Oxley manages. Dixon also made recording of tune for Excelsior label. Her side, however, came out after the Humes version for Philo. Barnet dickered with Helen Humes on tune for a while until he learned that her recorded version followed Dixon's featuring of the song in night clubs, therefore making Dixon's a prior copyright.
It never seemed to have been brought out anywhere at the time that Tina had originally recorded the song in mid-June 1945 (with Jimmie Lunceford's band) for the AFRS Jubilee disc that was "released" (that is, broadcast over the Armed Forces Radio Service network) in June or July and easily makes her version earlier. Note that, although several 1943 and 1944 Billboard magazines reviewed her live performances, naming the songs she sang, not one of them says she warbled "Baba Leba" (spell it any way you want) at any time before the Flennoy Trio recording.
The May 16, 1946 California Eagle wrote about Tina Dixon: "Her popular number 'E-Bob-O-Le-Bob' was first introduced in Brooklyn in 1942. Later, she presented it at Shepp's Playhouse and recorded it with the Flennoy Trio." I can neither confirm nor refute the story about Brooklyn. The only mentions of Tina in all of 1942 are in Detroit and St. Louis. No performance review prior to the release of the record ever mentioned that she'd sung the song, although they sometimes listed other tunes she'd done at shows. Note that Helen Humes had followed Tina Dixon into Shepp's Playhouse back in May, so she may have heard Tina sing it there.
Did Tina actually write the song? Beats me. I'm sure that Helen Humes lifted it from Tina, but some of the lyrics sound like they could have been penned decades before. Regardless, no one else ever stepped forward with a prior claim.
Tina and Leon were back with Jimmie Lunceford at the Apollo the week of October 12, 1945. the 4 Step Brothers were there too, as was the comedy team of Patterson & Jackson.
On November 2, the Lunceford troupe appeared at the Paradise Theater in Detroit. The November 5 Detroit Free Press said that she sang "Stuff Like That There", but made no mention of "E-Bob-O-Le-Bob".
Tina's tune was finally reviewed in the November 10 Billboard:
Tina Dixon joins the threesome [the Flennoy Trio] for the blues shouting of her own race doggerel E-Bob-O-Le-Bob [that is, she was credited with writing it]. The Flennoys whip it up with a delightfully fast boogie beat, adding the pickings of piano and git-box [guitar].
On November 15, the Lunceford troupe moved to the National Theater in Louisville, Kentucky. Tina was still being advertised as "Bombshell Of The Blues" and Leon as "Gangs Of Dancing". Tina sang (per the November 21, 1945 Variety) "Stuff Like That There", "Big Bad Man", and "In The Groove". (Notice which song she wasn't credited with singing.) This is the last time Tina was ever advertised as working with Jimmie Lunceford.
On December 6, Tina and Leon opened at the Double Vee Bar in Detroit. Said the December 29, 1945 Michigan Chronicle: "Tina Dixon and her songs are one of the reasons for the large attendance at Double V Supper club.... A different song delivery and clever arrangements of novelty and popular songs makes Tina's vocals outstanding, just what the patrons enjoy."
When Tina appeared as a guest artist at the 12 Horsemen Civic Center on December 5, 1945, the write-up in the December 8 Michigan Chronicle said that she'd "rendered her famous 'E-Bob-O-Lee-Bop'...." This is the first time she'd ever been reported as performing it at a show.
Tina's "E-Bob-O-Le-Bob" was not only battling it out with Helen Humes, but with versions by Claude Trenier (with Jim Wynn's Bobalibans), Annisteen Allen Allen (with Bull Moose Jackson; who cleverly ascribed the authorship of the song to Walter Brown), Estelle Edson (with Oscar Pettiford's All Stars), Peanuts Holland (with Charlie Barnet's orchestra), and Monette Moore (with Teddy Bunn's Group). They all spelled "E-Bob-O-Le-Bob" differently, but it was the same song.
What did that mean, boys and girls? In a word: "money". With lots of bucks to be made, there was a battle for writer and publisher credit. Tina eventually won, but you'll have to see my "Hey! Ba-Ba-Re-Bop" article () for the boring details. Of course, we have to be honest and say that the publisher and copyright owner made the money; Tina was probably thrown a couple of bucks to go away.
Note that when the sheet music came out in 1946, Tina's photo was on the cover, but the name of the song was "E-BOB-O-LEE-BOP"
It must have been fun in March 1946 when Tina and Helen were both appearing in San Antonio, Texas (at the Zanzibar and the Avalon, respectively).
In early May, Tina and Leon appeared at the Orpheum Theater in Los Angeles. Also on the bill were Claude & Cliff (the Trenier twins), the Johnny Otis Orchestra, and the King Cole Trio. Tina sang (at least) "E-Bob-O-Le-Bob".
The May 16, 1946 California Eagle had this to report:
Tina Dixon, original E-Bop vocalist, has another tune ready for "Tinpan Alley" [sic] that's a natural!!! It's labeled "I Like To Be Like That". Tina is dead in there when it comes to writing her style of blues and putting them over . . . we prefer Tina in a night-club cause she can get groovy just the way she wants to . . . Her popular number "E-Boba-le-Bop" [sic] was first introduced in Brooklyn in 1942 . . . Later she presented it at Shepp's Playhouse and recorded it with the Flennoy Trio . . . It is available now in sheet music . . . watch Tina, she really has something on the ball. [As I said before, there's no trace of Tina anywhere but Detroit and St. Louis in 1942.]
In early June, Tina and Leon spent two weeks at The Tropics in Reno, Nevada.
When Tina played the Finale Club (Los Angeles) in late July, Leon's name wasn't mentioned at all. At the same time, the Lunceford orchestra was at L.A.'s Lincoln Theater.
In September, she and Leon appeared at the Dew Drop Cafe in New Orleans. October 25 found them both at the Apollo Theater, along with Johnny Moore's 3 Blazers. Back in Detroit, Tina, without Leon, was at the Club Zombie in mid-December.
1947 began with Tina (again without Leon) appearing at Detroit's Frolic Show Bar, along with Gene Nero's Band (with whom she'd later record). By the time of the January 11 ad, Stuff Smith had been added.
On January 17, Tina and Leon became part of a 16-day Ink Spots tour, along with the Johnny Otis Orchestra and Jelly Roll & Zuzu. It kicked off in Richmond Virginia and appeared throughout the Southeast until February 1. The accompanying ad shows their itinerary.
However [I bet you knew that was coming], even though preliminary write-ups said that Tina would be in the show, most ads, starting with some on January 5, had Dinah Washington's name, not Tina's. This included an ad in the January 5 Richmond Times-Dispatch. However [again?], a review of the January 17 Richmond show in the next day's Richmond News Leader, talked about Tina's and Leon's performances, but nothing about Dinah Washington. However [will it ever end?], there was no further mention of Tina with the show. I don't have a clue.
On March 17, 1947, Tina and Leon appeared at the Regal Theater (Chicago) for a week with Eddie "Cleanhead" Vinson and Jellyroll & Zuzu. I believe that, after this, Tina and Leon never appeared together again. As I said above, there was only a single mention (which I can't confirm) of them having divorced back in 1944, although divorce they did. There's no indication that she ever married again or had any children.
From May 29 to September 6, 1947, Tina ("Swing Siren") was part of a Larry Steele show at Club Harlem in Atlantic City, New Jersey. Also in the show was singer Billy Daniels, comedian Jackie "Moms" Mabley, tap dancer Derby Wilson, and dancers Cook & Brown.
You'd think that, with all the commotion over "E-Bob-O-Le-Bob", someone would have invited Tina back to record a lot sooner. It finally happened when Aladdin released "Don't You Know I Want To Love You?", backed with "Hello Baby!" in October 1947. However, while her name was on the label as author of both songs, the vocals were credited, for an unknown reason, to "Lady Blues and Her All-Stars". The disc wasn't sent out for review.
Tina closed out 1947 with two weeks at Detroit's Club 509.
By late January 1948, Tina was appearing, with the Todd Rhodes Orchestra, at Detroit's El Sino Club.
After that, in mid-March, "The Hey Baba Re-Bop Girl" appeared at Detroit's Frolic Show Bar, along with Wynonie Harris, whose "Good Rockin' Tonight" was starting to make a lot of noise around the country.
June 4-6 found Tina at Club Vogue in Inkster, Michigan. She was advertised as singing "A-Bob-O-Lee-Bob". Off to Los Angeles, she opened at the Last Word on July 1, along with Marion Abernathy and Joe Alexander. Returning to Detroit, she was at the Frolic Show Bar in early August. The August 7, 1948 Michigan Chronicle said:
Tina Dixon, now currently featured vocalist at the Frolic Show Bar, has written a new song entitled "Walk Dad-D-O". The tune is very sharp and was put over as only Tina can put a song over. Make the next show and hear it . . . 'tis sharp.
They were close; the title was actually "Walk That Walk, Daddy-O". They got closer by their August 21 edition:
The original E-Bob-O-Lee-Ba [sic] girl, Tina Dixon, bombshell of rhythm, headlines a fast-moving show at the Frolic Show Bar this week.... "Let's Talk That Talk And Walk That Walk Daddy-O", an original compo, gives Tina Dixon an opportunity to prove she is first-class entertainment. She has authored at least ten original numbers, the best known is the "E Bob . . ." [sic; they gave up] tune, which was recorded by several other artists. [Note: the discography has a list of the tunes she's credited with writing.]
On September 29, Tina started at the Sweetheart Theater Bar in Detroit; there was only a single ad. October 8, found her at the Barbary Coast, also in Detroit; again, there was only a single mention. There was also a single November 27 ad for Classic Gardens in Dayton, Ohio.
Along the way, Tina did some more recording, this time for King Records, with the Gene Nero Sextet. At a single King session, they recorded four tunes: "Walk That Walk, Daddy-O", "Parrot Bar Boogie", "Blow Mr. Be-Bop", and "What I Say". Tina was the vocalist on the first three songs and led the ensemble of singers on "What I Say". The first two were released in November 1948.
At the time, Nero was appearing at the Parrot Bar in Detroit and, in January 1948 (when a blurb said they were playing "Parrot Bar Boogie" and "What I Say" there), they were: Gene Nero (alto sax), George Washington (bass), Prince Albert (piano), and Bob Atkinson (drums). This quartet was Nero's usual unit; I have no idea who the other two on the recordings were. Tina would later appear with Nero's combo, but that was a few years in the future.
On December 7, 1948, Tina opened at Rockhead's Paradise Cafe in Montreal for two weeks.
The King record was reviewed in the January 22, 1949 Billboard:
Parrot Bar Boogie (71): Small combo generates some steam in a frantic boogie-woogie performance, with vocal little more than a reiterated tag.
Walk That Walk, Daddy-o (75): Thrush gets off some lusty shouting in a fast rocking blues.
On February 20, 1949, Tina ("The Blues Bomb Shell") began a week at the Palace Theater in Memphis. She was part of Dusty Fletcher's "Open The Door, Richard" Revue, which also had Joe Morris and His Band.
When Tina was at the Club Morocco (Des Moines, Iowa), the July 23, 1949 Pittsburgh Courier wrote a blurb titled "Tina, Rita Go Over Big In Des Moines":
"Leave It to the girls" may be a popular quote where you come from, but it makes good sense in this town, where two talented gals refused to recognize a slump in show business and decided to hypo it by joining their talents an packaging the result.
Consequently, the Club Morocco enjoys nightly benefits and Tina Dixon's all-girl crew and dance lovely Rita Thomas spark the crowds with a top revue.
It all came about one evening when Rita, recovering from a short illness, phoned the lady maestro long distance and they verbally mapped out a show. Then they sold the idea to the Morocco management and the neon-lighted announcements followed.
While Rita does an exotic dance portraying the Goddess of Fire, Tina and company follow with a rendition of La Dixon's recording, "Walk That Talk, Daddy-o" [sic], breaking it up, if one would describe the session in the vernacular.
The entire blurb, but especially the third paragraph, reeks of heavy-handed press agentry. This is the only reference to Tina having an all-girl band (or any kind, for that matter).
In November, 1949, King released the other two songs from the prior year's session with the Gene Nero Sextet: "Blow Mr. Be-Bop" and "What I Say". They were reviewed in the January 28, 1950 Billboard:
What I Say (71): Slap dash instrumental with a few vocal fragments makes a fair novelty side.
Blow Mr. Be-Bop (71): Thrush blows some vocal bop clichés in a jump novelty.
This would be the last Tina Dixon release for 25 years.
I can't find Tina in the 1950 census, but Leon Collins ("entertainer - night club") was now living in Boston with his current wife, Elizabeth.
Confirming who was the true star in the family, the June 17, 1950 Michigan Chronicle said: "New star appearing at the popular nitery [Sunnie Wilson's Show Bar], Tina Dixon, just in from Chicago, but herself a home town girl, is the sister of Charles Dixon [sic; he always used "Dickson"], photographer for the Detroit edition of the Pittsburgh Courier." Although it said she was there in the middle of June, there's no ad until July 8; she remained through late August.
In late November, Tina appeared at the Flame Show Bar in a Ziggy Johnson production.
From February 9-15, 1951, Tina, along with Mantan Moreland, Teddy Cole, and Freddie & Flo were at the Globe Theater in Cleveland. The show then moved to the Ritz Theater in Akron, Ohio on February 16-17.
On March 9, Tina started three weeks at Rockhead's Paradise Cafe in Montreal. After that, she appeared at Harlem's Baby Grand Cafe, where she'd remain for most of the rest of the year.
1952 opened with Tina appearing at the New Town Tavern in Philadelphia. She was part of the Creole Follies revue and was first mentioned on January 25.
Another week at the Apollo Theater. On March 28, 1952, Tina shared the stage with the Clovers, the Eddie Heywood Trio, and the James Moody band.
In June, she was at an unnamed venue in Baltimore. Then, in late July, it was the Frolic Show Bar in Detroit. Nothing more until December 6, when she opened at Detroit's Flame Show Bar, along with Arthur Prysock. When she left, King Pleasure came in, then Al Hibbler, Dewey Washington, Valaida Snow, and Lil Green. The Flame knew how to book talent.
The next time Tina is mentioned in a Flame ad was on April 11, 1953, when the featured act was Savannah Churchill. The next week, Tina was at the Crystal Bar, before transferring to Club Gay 90s (all in Detroit). The May 30 Michigan Chronicle said:
Tina Dixon, Detroit's bombshell of song and one of the most entertaining personalities on the local night club scene, continues to highlight the fresh joy revue boasted at Mack McCulla's smart Club Gay 90's.
Miss Dixon, whose colorful routines have received the applause of countless members of the club colony, will present an entirely different set of songs for the special Memorial Day week-end parties at the Woodward-Mack show house.
The first mention of Tina actually appearing with Gene Nero (with whom she'd recorded in late 1948) was at the grand opening, on June 11, of Detroit's Glen Lodge Show Bar. However, the first ad was incorrect; it was supposed to be spelled "Glenlodge".
However, in spite of the ad saying the grand opening would be on June 11, this was in the June 20, Michigan Chronicle:
Gene Nero and his band, one of the city's brightest and most versatile units, will showcase his new sound in music when the Glenlodge show bar holds its grand opening celebration Thursday [which would have been June 25]....
Featured on the full-scale revue is Tina Dixon, vocalist, whose artistry and ability are widely-known among followers of the club colony.
With the combined talents of Nero's combo and Tina Dixon, it is safe to say that Glenlodge Show Bar will play to capacity throngs for the gala celebration.
They were still at the Glenlodge for the July 4 weekend, but I don't know how long after that. By August 1, Tina (but not Nero) was at the Driftwood Lounge in the 20 Grand Recreation [Center]. She was still there in early October, along with the Willie Anderson Trio. Another room in the 20 Grand Recreation, the Terrace Gardens, had Bobbe Caston and the Bill Gooden Trio.
Ziggy Johnson's "Zagging With Ziggy" column in the January 2, 1954 Michigan Chronicle said: "Tina Dixon still has that life, but you should have seen her when she was carrying 118 pounds. Boy she was just like Whirlaway! [a racehorse who'd won the Triple Crown in 1941]". I guess Ziggy was unhappy with all the weight Tina had gained. At the time, Tina was still at the Driftwood Lounge, at which Gene Nero & His Emperors were now also appearing.
By April, Tina had returned to the Club Gay 90s, there was no mention of Gene Nero.
A depressing column in the June 26, 1954 Detroit Tribune talked about Detroiters who seemingly had promise, but never made it big nationally. The list included Paul Williams, Todd Rhodes, Ted Buckner, Milt Buckner, Bobbe Caston, Chubby Newsom, and Pat Flowers. It closed with: "Even Tina Dixon came close, but she also failed." They thought Gloria Irving might have a chance.
Tina was at the Cotton Club in Cleveland from sometime in October 1954 through November 14.
Ads from January 3 through March 12, 1955 place Tina at the Swing Club in Honolulu. Bitten by the travel bug, she next appeared in Fairbanks, Alaska, at the Club Flamingo, opening on June 13 and remaining for about a month. The June 18 Fairbanks Daily News-Miner said: "Ole buddy Casper Miller has come up with another gem in the person of Tina Dixon. She is appearing nitely at Casper's Club Flamingo. I caught her act the other eve and believe you me, this chick is sensational. Besides being a very fine vocalist, her ad lib chatter is enough to gas a man. Bobby Braxton and his fine combo still here." Funny, I never would have thought that one of the columnists who writes in this silly style would have found his way up to Alaska. (Remember that, at the time, neither Hawaii nor Alaska was a state.)
On July 16, Tina switched over to Fairbanks' Club Morocco. Also appearing was Marion Abernathy and the Fats Wallace band. Tina was advertised as "Vocalist M.C. - Composer of 'Aley-Baba-Lee-Ba' direct from Honolulu".
From late August through mid-September, she returned to the Club Flamingo. While there, she organized a benefit dance, at Club Birdland, on September 22. The September 24, 1955 Fairbanks Daily News-Miner said:
Bill Anders, proprietor of the Birdland Club, wishes to thank each and every one of the many people who showed up and contributed his or her bit to the wonderful cause last Thursday night. Under the able direction of Tina "Mama" Dixon, everything went off like clockwork, the acts followed one another smoothly, and a very good time was had by all.
I'm sure it was a fine benefit, even if nothing bothered to say what it was for.
However, by late December, Tina had returned to the (relative) warmth of Detroit, where she was once again featured at the Gay 90's Club.
She began 1956 at the Flame Show Bar, opening on January 2, showing up, said the January 7 Michigan Chronicle, "... with new songs and her side-splitting story about Alaska."
In late April, said the April 28 Michigan Chronicle, "Tina Dixon is the colorful mistress of ceremonies and vocalist at the 20 Grand Recreation."
On May 4, 1956, Tina started at Detroit's Strand Bar And Grill. Also there was Gene Nero and his Emperors Of Music. The following week, the show would star the 5 Emeralds.
In late May, "Debutante" Tina Dixon starred in a show at Detroit's Warfield Theater. Also on the bill was "Little Willie", who I originally thought was Little Willie John, whose "Fever" had just been released by King, and was starting to climb the charts. However, he turned out to be a tap dancer.
June 22, 1956 found her at the Rondevoo, also in Detroit. Shows were on Friday, Saturday, and Sunday. On October 19, she and Gene Nero opened at Denny's Show Bar. Even though she hadn't had a record in seven years, Tina Dixon remained popular with Detroit audiences.
On February 4, 1957, Tina and Gene Nero appeared at the Linwood Theater in Detroit for a single day. Also on the bill were the Royal Jokers and Don & Juan (who weren't the early 1960s duo). That show then went to the Duke Theater for a week.
The travel bug having bitten again, Tina appeared at Chicago's Club DeLisa, the week of March 23, in a revue called "Singapore Nites". It also had "shake dancer" Chinkie Grimes and the Red Saunders Band.
A month later, on April 20, Tina and Chinkie wandered down to New Orleans, where they appeared at the Dew Drop Cafe. According to the April 27 Louisiana Weekly, Annie Laurie was to have been the star, although it's unclear from the blurb whether Tina stole the spotlight from her or if Annie wasn't there at all.
Lots [of] nitery customers got the impression that Annie Laurie was to be the star at Painia's Dew Drop Cafe during the Easter week-end, but Tina Dixon, the buxom and naughty gal of song and bounce, captured the after-dark colony and when we checked out of the jazz shrine the other ayem, we left 'em begging for more, more, more!
But then, there was less, less, less. In all of 1958, there's not a single mention of Tina.
She wasn't heard from again until she turned up for two weeks at the New Club Moonglo, in Buffalo, New York, starting on May 29, 1959. Tina was advertised as "The Gal Who Walks, Talks, And Swings the Blues". Also on the bill was Alberta Adams and the band of drummer Clifton "Rudy" Pitts, who'd been in the Hollywood 4 Blazes.
On August 11, Tina, along with "Rudolfe" Pitts, opened at the Greber Hotel in Templeton, Quebec. The two would open at Lee's Club Sensation (Detroit) on September 4, 1959. The September 5 Michigan Chronicle said:
Tina Dixon, one of the greatest entertainers ever produced by Detroit, is now part of a boy and girl team billed as Tina Dixon and Rudy Pitts. Miss Dixon is acclaimed as one of show business' most versatile female performers. Pitts is a cross between the great Lionel Hampton and Gene Krupa - playing vibes in the Hampton tradition - finishing up his contribution to the act with a frenzied drum solo a la the Gene Krupa style. This great team will headline the new show opening Friday, Sept 4 at Lee's Club Sensation located at 1300 Owen Street near Russell.
Remember, boys and girls, the word "acclaimed" has no meaning whatsoever, unless there's a list of those doing the acclaiming.
Later that month, Tina and Rudy spent three weeks at McVans, in Buffalo. The first ad was on September 25; the last one on October 16.
Then it was out to the Orchid Room in Kansas City, where they opened on November 18 for three weeks. The November 18 ad called them "recording artists" (which they were, but they'd never recorded together; he'd been on records with Jack McVea). The December 19 Michigan Chronicle said they were holdovers at the Town Casino in Buffalo, but the club's ads don't mention them at all.
The new decade started with Tina and Rudy appearing at the Guildwood Inn in Point Edward, Ontario. The only ad was on January 18, 1960.
They played the Key Club (St. Paul, Minnesota) in April. However, the only ad (April 8) was strange. It said: "Rudy Pitts - Drums" and "Tina Dixon - Vibraharp". So far, so good. But then it went on to say "Formerly Mrs. Sammy Davis, Jr. - Sings Like Lena Horne". Make of that what you will, but Tina and Sammy were never married. The only time they ever seemed to have appeared together was back in 1945.
On July 16, Tina (but not Rudy) appeared at the Ferry Center in Detroit. This time, she reunited with Gene Nero and his Emperors Of Music. Then, she was back with Rudy ("Song, comedy and instrumental team") at Detroit's Falcon Dining Lounge on August 26.
But that was the last we'd hear of them until July 1, 1961, when they were supposed to be part of the "Rhapsody In Rhythm (Second Edition)" touring show. The March 18 Michigan Chronicle said of the proposed cast: "Rudy Pitts and Tina Dixon are mentioned as the show's featured spot. They are a Louis Prima-Keely Smith type act." However, the May 12 Kansas City Call said: "The names of many principal acts have been mentioned, but none have yet been signed. Among those so far named are Jackie 'Moms' Mabley, Emily Foster, Ada Lee, Kitty Noble, Linda Griner, Jimmy Mitchell, Rudy Pitts and Tina Dixon, Venus La Doll, and Lora Pierre." By the time the show was ready to start, Tina and Rudy were no longer mentioned. Considering that it was supposedly a Really Big Deal, I can't find a single ad for the show appearing anywhere.
In early August 1961, Tina ("Recording Artist And Comic Swing Singer") was appearing at the Tallyrand Show Bar in Detroit along with the Todd Rhodes Trio. Rudy wasn't mentioned in the ad, although he might have been there.
But they were together at Charlie's Show Club (Port Huron, Michigan) on November 3.
In April 1962, they, along with Todd Rhodes, were at Detroit's Charleston Club. On June 16, the three acts, along with Emitt Slay and his Slay-Riders, were at the Flame Show Bar for the Melody Society Board's annual cocktail party. This is the last listing of Tina with Rudy Pitts for over three years.
Remember way, way back when Tina was searching for her stage name? Now things would get a bit murky again. When she played the Club Lido (Windsor, Ontario) in late December 1962, her name was in some ads as "Tina Dickson".
She isn't heard from again for a year, but when she was back at the Club Lido in December 1963, it was once again as "Tina Dixon".
But, ads for Detroit's Charleston Club (February 14 through May 29, 1964) had her as "Tina Dickson". This would be the last time she'd be advertised as "Dickson", but it's interesting that she hadn't been called that since 1942.
Back in Windsor, she was advertised for the Club Lido's 1964 New Year's Eve party. (Don't forget: "For $6 a couple, you also get a turkey sandwich.") She was back there again on April 2-3, 1965.
The July 17, 1965 Michigan Chronicle said of Tina:
The female counterpart to comic Redd Foxx is a motor city resident. She's Tina Dixon, recently selected as part of the annual entertainment for the Northwestern Alumni dance. Her monologue has punch lines that are unbeatable - as well as unprintable.
In November 1965, Tina was at the Guildwood Inn in Point Edward, Ontario. She was described as an "earthy Detroit comedienne" and was backed by the Rudy Pitts Quartet. However, there was never another mention of her with Rudy. (In 1973, Rudy Pitts would be part of Orlando Roberson's Ink Spots.)
A year later, on September 15-18, 1966, Tina was at Detroit's Rage Show Bar. Also on the bill were "Billie and Willie [Billy Lyons and Willie Jones] - Formerly Of The Royal Jokers".
On October 28, 1966 Tina was at the Halloween costume party held at Detroit's Joe Bathey Club. On December 10, Tina was at the Road House in West Sacramento, California, remaining until the end of the year.
An April 8, 1967 ad shows Tina appearing at the Casa Blanca Hotel in Redding, California, along with the Art Foxall Trio. Hired for a week, she was held over for a second. After that, it was the Brandun Arn in Hayward, California, from mid-May through early June.
Nothing more until September 1968, when Tina was back at the Club Lido in Windsor, Ontario. She was there on Friday and Saturday, September 6-7, and again the next week, September 13-14.
All was quiet until April 28, 1972, when "Auntie Tina Dixon" appeared at a blues caravan at the Dooto Music Center in Los Angeles, along with Roy Milton's orchestra and Big Joe Turner. Since she'd mostly turned away from singing at this point and was both an MC and a comic featuring raunchy material, she adopted the persona "Auntie Tina".
In 1974, "Auntie Tina Dixon" had an LP on the LAFF label, her first recordings in 25 years: Calling All Freaks. These were "party records" (read: raunchy content) and had nothing to do with singing. Although the disc has separate tracks, neither the label nor the sleeve give any titles (but the label has a 1974 copyright date). This probably speaks to how dirty the content was.
On November 4, 1975, TV viewers could see Tina as "Mabel Johnson" in the "My Fair Esther" episode of Redd Foxx's "Sanford And Son" show.
Bill Lane, in the Memphis Tri-State Defender of October 11, 1975 said:
Tina Dixon, the comical lady, is not used to throwing her weight around, but she had to keep it on tiptoe all through a "Sanford And Son" taping the other day when Redd Foxx cast her as a dainty ballerina in an upcoming episode. Says Tina: "You should see me - In that show I'm a great big, beautiful doll!".
In 1977, Tina had a small part in the movie "Big Time", playing a fat woman who falls down in front of a truck as part of an insurance scam. (The soundtrack was by Smokey Robinson.)
Probably in late 1977, there was a second "Auntie Tina Dixon" LP on the LAFF label: Take It Out Of This. The January 7, 1978 Billboard tried to get it right in a piece about LAFF:
Tina Dixon was discovered by Jimmie Lunceford in a Detroit club in 1942 (she had been performing since age 14) and subsequently Dixon worked shows with the Lunceford band all over the U.S. Following Lunceford's death [in July 1947], the New Orleans born performer worked on the Larry Steele show in Atlantic City and toured with such acts as the Ink Spots, Mills Bros., Nat "King" Cole, Charlie Parker, Dizzy Gillespie, James Moody, Charles Brown, and Eddie Heywood. As much a musician as a singer, she played drums and vibes in bands and drifted into MC work and then started writing comedy material for her club acts. Other performers eventually touted Dixon and Laff found her working in Detroit. The rest, as they say, is history.
While one 1960 ad mentioned her playing the vibes, this is the only mention of her as a drummer (although it makes sense). She'd actually appeared with Jimmie Lunceford at the Apollo Theater in 1938, but not as a member of his band. She joined Lunceford in September 1943, but had left him in late 1945, a year and a half before his death. Somehow, though, they knew she'd been born in New Orleans and not Detroit.
In spite of the two LPs, there were no further mentions of Tina Dixon as a performer. Naturally, to make my research more difficult, there was a Pigtail League baseball player named Tina Dixon at this time, and another one who played basketball.
Tina passed away (as Augustine Dickson), in Detroit, on November 10, 2004. There was no obituary and no hint as to what she'd been doing for the last 25 years of her life.
Tina Dixon was really only a blip on the recording scene. In her only chance at national success, she was upstaged by Helen Humes. Still, she was very popular with club audiences for at least 45 years, and that says something.
AFRS JUBILEE (Tina Dixon with Jimmie Lunceford)
138 E-Bob-O-Le-Bob - 6/45
139 Stuff Like That There - 6/45
EXCELSIOR (Flennoy Trio - Vocal By Tina Dixon)
FT-130 E-Bob-O-Le-Bob / [I'm For You - Flennoy Trio] - 9/45
ALADDIN (Lady Blues And Her All-Stars)
205 Don't You Know I Want To Love You? / Hello Baby! - ca 10/47
KING (Tina Dixon And The Gene Nero Sextet)
4257 Walk That Walk, Daddy-O / Parrot Bar Boogie - 11/48
4332 Blow Mr. Be-Bop / What I Say - 11/49
LAFF (Auntie Tina Dixon)
A178 Calling All Freaks - 74
A157 Take It Out Of This - ca. 77
A songwriter as well as a performer, BMI credits her with the following tunes (all sic):
B-Bop-O-Lee-Bop (as Augustine Tina Dixon)
Blow Mr Be Bop
Down Home Country Cooking
Little Boy Black
Next Time
Shake Them Hataz
Walk That Walk And Talk That Talk Daddy Oh (as Augustine Dixon)
Per the Aladdin record labels, she also wrote these, which weren't in BMI's listings:
Don't You Know I Want To Love You? (copyright Nov 26, 1946; as T.D. Collins)
Hello Baby!
There's also:
Anything Jammin' Or Jivin' Into Rhythm, That's For Me (Apr. 10, 1946; as T.D. Collins)
I Love To Be Like That (copyright Dec. 29, 1944)
I Want Somebody (with Rudy Pitts; copyright Apr. 6, 1961)
Over Sea Blues (1946; as Tina Dixon Collins)
Wee Willie Ree Bop (1946; as Tina Dixon Collins)
