10 King Curtis - Rush Hour
10 King Curtis – Rush Hour 2:05
(Mickey Baker/Ernest Hayes)
session date: November 26, 1956 (last session in the Apollo 1000 series)
King Curtis: tenor sax
unknown: baritone sax
Ernie Hayes: piano
Mickey Baker: guitar
Lloyd Trottman: bass
unknown: drums
On "Rush Hour" and "Dynamite At Midnight," we have KING CURTIS in the late adolescence of his career. This was not his first date as a leader, but he was still a year away from his association with The Coasters, which would begin a swift rise to stardom. But in terms of his style, we have a twenty-two year old, fully formed (hear the "chicken tenor" licks in "Dynamite). The baritone player here is likely Haywood Henry, while the drummer may be the aforementioned Panama Francis. Based on the gimmicks used on these sides, there really is little connection with R & B and what we have musically is Rock-n-Roll tenor, of which Curtis was the master.
Curtis Ousley (born Curtis Montgomery; February 7, 1934 – August 13, 1971), known professionally as King Curtis, was an American saxophonist who played rhythm and blues, jazz, and rock and roll. A bandleader, band member, and session musician, he was also a musical director and record producer. A master of the instrument, he played tenor, alto, and soprano saxophone. He played riffs and solos on hit singles such as "Respect" by Aretha Franklin (1967), and "Yakety Yak" by The Coasters (1958) and his own "Soul Twist" (1962), "Soul Serenade" (1964), and "Memphis Soul Stew" (1967).
Curtis Montgomery was born in Fort Worth, Texas, the son of Ethel Montgomery, and was adopted, with his sister Josephine Allen (died 2019), by Josie and William Ousley. Curtis attended I.M. Terrell High School, and studied and performed music with schoolmate Ornette Coleman (1930–2015).
Curtis started playing saxophone at the age of twelve in the Fort Worth area. He took interest in many musical genres including jazz, rhythm and blues, and popular music. As a student pursuing music, he turned down college scholarships in order to join the Lionel Hampton Band. During his time with Hampton, he was able to write and arrange music and learn guitar. In 1952 Curtis decided to move to New York and became a session musician, recording for such labels as Prestige, Enjoy, Capitol, and Atco. He recorded with Nat Adderley, Wynton Kelly, Buddy Holly, and Andy Williams as well as playing on Waylon Jennings' first ever recording in 1958.
Stylistically, Curtis took inspiration from saxophonists Lester Young, Louis Jordan, Illinois Jacquet, Earl Bostic, and Gene Ammons. Known for his syncopated and percussive style, he was both versatile and powerful as a musician. He put together a group during his time as a session musician that included Richard Tee, Cornell Dupree, Jerry Jemmott, and Bernard Purdie.
Curtis enjoyed playing both jazz and rhythm and blues but decided he would make more money as a rhythm and blues musician. In a 1971 interview with Charlie Gillett he said: "I love the authentic rhythm and blues more than anything, and I also like to live well." From the 1950s until the mid-1960s, he worked as a session musician, recording under his own name and with others such as The Coasters, with whom he recorded "Yakety Yak" and "Charlie Brown", among others. Buddy Holly hired him for session work, during which they recorded "Reminiscing." Holly wrote this song, but gave Curtis the songwriting credit for flying down to the session. His best-known singles from this period are "Soul Twist"—his highest-charting single, reaching number one on the R&B chart and number 17 on the Billboard pop chart—and "Soul Serenade." He provided backing on a number of songs for LaVern Baker, including her 1958 hit single "I Cried a Tear", where his saxophone became "a second voice"
In 1965 he moved to Atlantic Records and recorded his most successful singles, "Memphis Soul Stew" and "Ode to Billie Joe" (1967). In 1966 Curtis recor