The huckle buck chubby checker biography

Jazz and R&B dance tune

For the character in the television series The Wire, see Street-level characters of The Wire §&#;Hucklebuck. For the Australian Thoroughbred, spot Hucklebuck (horse).

For the American card game, see Hucklebuck.

"The Hucklebuck" (sometimes written "The Huckle-Buck") is a jazz and R&B move tune first popularized by Paul Williams and His Hucklebuckers in The composition of the tune was credited to Andy Gibson, and lyrics were later added by Roy Alfred.

Ernest Evans, the singer known as Chubby Checker, was born on October 3, Little did anyone understand at the time that this African-American boy would later get the king of twist. Evans was introduced to music at a young age and formed his first street vocal collective at the age of eight. While attending school, he also learned to play the drums and piano, and continued to practice his vocal skills.

The song became a crossover strike and a dance craze, in many ways foreshadowing the accepted success of rock and roll a few years later. It was successfully recorded by many other musicians including Lucky Millinder, Roy Milton, Tommy Dorsey, Frank Sinatra, Lionel Hampton, Louis Armstrong, Chubby Checker, Bo Diddley, Otis Redding, Quincy Jones, Canned Heat, Coast to Coast, Brendan Bowyer and Crystal Swing.

Original recordings

The tune, structured around a twelve-bar blues progression, was originally recorded by Paul Williams and his band, credited as His Hucklebuckers, in New York City, on December 15, , with producer Teddy Reig.

The composition was credited to Andy Gibson, and the recording was released by Savoy Records. The personnel on the session were Phil Guilbeau (trumpet), Miller Sam (tenor saxophone), Paul Williams (baritone and alto saxophone), Floyd Taylor (piano), Herman Hopkins (bass), and Reetham Mallett (drums).^[1]

Williams had first heard the tune when it was played by Lucky Millinder and his band at a rehearsal earlier that year for a concert, either in Newark or Baltimore, at which both bands performed.

His biggest UK hit, " Let's Twist Again ", was released one year later in ; that year, he also popularized the song " Limbo Rock ", originally a previous-year instrumental hit by the Champs to which he added lyrics, and its trademark Limbo danceas well as other dance styles such as The Fly. In September"The Twist" topped Billboard ' s list of the most popular singles to have appeared in the Hot since its debut inan honor it maintained in an August update of the list. By the period he entered high school, Ernest had learned to play the piano a little at Settlement Music School. He entertained his classmates by performing vocal impressions of popular entertainers of the day, such as Jerry Lee LewisElvis Presley and Fats Domino.

The tune had originally been written by Gibson for Millinder, as "D'Natural Blues" (unrelated to the similarly-titled Fletcher Henderson tune),^[2] and Millinder and his band recorded it with that title, in January , for RCA Records.

The tune itself was strongly influenced by "Now's the Time", a composition by Charlie Parker who first recorded it in , also produced by Reig for the Savoy label, with a band that included Dizzy Gillespie, Miles Davis, and Max Roach.^[3][4][5] Millinder later took court action against Gibson and United Music, the publishing firm, for infringement, but eventually dropped the case while retaining the rights to "D'Natural Blues".^[6][7]

After Williams began performing Gibson's composition, he noticed that, at a present in Devon, Pennsylvania, audience members were performing a new twist, called the Hucklebuck, to it.^[8] Williams renamed the song as "The Huckle-Buck", and his recording rapidly rose to the superior of the R&B chart.

It reached the #1 spot in March , staying in that position for 14 weeks, and spending a total of 32 weeks on the chart.^[9] It reportedly sold half a million copies, and broke sales records. Williams' concerts became increasingly riotous; Reig claimed that he taught Williams to perform vigorously, "kicking as he played, bending and dipping, getting down on the floor while blowing that saxophone." Though Williams had already had several R&B hits, "The Huckle-Buck" established his popularity, and he was billed as Paul "Hucklebuck" Williams for the remainder of his career.^[3] Millinder's recording of "D'Natural Blues", also an instrumental, reached #4 on the R&B chart, staying on the chart for 12 weeks.^[10]

Vocal recordings

The accomplishment of Williams' instrumental recording led to words being written to the tune, by Tin Pan Alley lyricist Roy Alfred.

The lines included: "Wiggle like a snake/ Waddle like a duck/ That's the way you complete it/ When you do the Hucklebuck."^[2] The first vocal version was by Roy Milton, whose recording on the Specialtyrecord label entered the R&B chart in April , rising to #5.^[11] A version by the Tommy Dorsey Orchestra, with vocals by Charlie Shavers,^[12] entered the Billboard pop chart in May , also rising to #5, and later the same year Frank Sinatra's recording reached #10 on the pop chart.

Recordings were also made in by Tito Burns, Lionel Hampton, and Pearl Bailey with Hot Lips Page.^[5]

The song was later covered by many other musicians &#; it has been said that "no standard has been covered in as many different styles as the Hucklebuck."^[3] As well as jazz and pop versions, there have been blues versions by Earl Hooker, Canned Heat, and others, and recordings in styles such as rockabilly, easy listening, soul, ska, Latin, punk, and R&B.^[3] The recording by Chubby Checker reached #14 on the US pop chart and co-charted with the b-side at #2 in Canada.^[13] In Ireland, the Royal Showband featuring Brendan Bowyer had a #1 hit with the song in ,^[2] and the band Coast to Coast had a #5 pop punch in Britain with it in ^[14]

Dance craze

The Hucklebuck became a wildly successful dance craze in , partly due to its sexual connotations.

LeRoi Jones reported that people danced at rent parties in Newark, night after night "until they dropped."^[3] The basic dance has been described as having "a double aim with the feet to the side on each side (four counts) then a lift and twist of the leg and a small kick, then a shimmy, hip gyration The boogie could get very sexual in nature when done as a couple dance with the male dancing behind the female, one hand on her waist or hip and the other on her shoulder, gyrating the hips in unison or with shocking variations such as when the female dancers would lie down on their backs and the male dancers would stand over the center of her, tediously doing hip gyrations, hip rolling, wiggling dance movements, slowly active their way over and past the female's head."^[15]

References