“I used to work along with Henry Glover a lot. He was great, he was really experienced, and I was like learning from him yknow. He was a good teacher, Henry. Real nice guy, real terrific. Educated. Terrific musician. And he used to do all this A&R work for King and had all these hit records with Bullmoose Jackson, Wynonie Harris, Earl Bostic. Big time yknow.
So when I was in Cincinatti visiting King, he’d be doin’ a session, and I’d be right there sittin in there with him. And I’ll never forget one particular situation. It was my idea a little bit. Kinda a combination. I can’t take all the credit, well we were in a studio recording, and the group was Tiny Bradshaw’s, a good band. Tiny Bradshaw was one of those good like likeable Bullmoose Jackson types of the time, in that category, and Henry Glover was recording him. And I was there maybe setting the mic up, doin’ something yknow what I mean? Just learning what Henry was doin cause he was so good. So we’re recording this record called “Soft” by Tiny Bradshaw.
In those days, they used to take the drummer and….Setups used to be the drummer was in the corner with a thing to keep em isolated yknow, they still do that occasionally too, even though things have changed because of electronics and everything. So we’re cutting this record and I said to Henry “Why don’t we take the microphone and put it on the drums, get a real shhhh, cause it was a brush thing the drummer was using, which would get lost on the regular mix. It fit perfect cause that’s the name of the song, “Soft.”
I’ll never forget Syd Nathan comes in the studio and say,
“What The Fuck are you guys doing, you’re gonna ruin my microphones, whattaya doin?”
So I said, “We’re comin’ up with a new idea, man.”
And that was a little incident that happened with Henry Glover on King Records.”
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