June 11, 2007 - Gary Tate

King Curtis: Relocating to New York in 1952 to concentrate on sessions for the growing Pop and R&B markets, “King” Curtis Ousley was already a well-established Jazz tenor saxophonist at the time.

Part of the late 40's honking Texas tenor sax brigade, he counted Arnett Cobb, Earl Bostic, and Illinois Jacquet as influences.

During the 50’s the saxophone became the pre-eminent lead instrument in R&B/R&R and Curtis its leading exponent.

He’s the cat blowing that infamous solo on the Coasters 1958 smash “Yakety Yak”. King Curtis could play any style on a moment's notice.

Recording on Capitol, he garnered hits with “Soul Twist” and “Soul Stew”. Shifting to Atlantic in 1965, King scored

with “Memphis Soul Stew” and “Ode To Billy Joe”. His session work involved Aretha Franklin, Wilson Pickett, Solomon Burke, Don Covay, and Bobby Darin. He also recorded with jazzers; his Prestige output circa 1961-62 featured him with top line players like Jack McDuff, Billy Butler, and Billy Gale.

King was heavily into producing---often teamed with Jerry Wexler. His credits include Sam Moore, Freddy King, Delaney and Bonnie, Roberta Flack, and Donny Hathaway. In 1970, he hooked up with Eric Clapton who appeared on King's “Teasin'” album. Billy Preston appeared on one of King’s last releases, “Live At The Fillmore West”.Duane Allman revered him; Robbie Robertson cites him as a major influence.

When King Curtis departed this world in 1971, the victim of a brutal stabbing,

he wasn't even 40, but he was at the apex of a stunning career.