BIOGRAPHY AND DISCOGRAPHY

 

A first call saxophonist with a long pedigree who was an early staple of Aristocrat Records output, both as a sideman and a featured artist.

Archia (pronounced variously Archie… by his family, or Archer… by Wynonie Harris, but apparently never Ar-chi-AH until recently when nobody is left around who actually knew him) was from Texas where he came of age playing with such future luminaries as fellow sax legends in the making Illinois Jacquet and Arnett Cobb along with trumpeter Calvin Boze and pianist/vocalist Charles Brown.

Joining Milt Larkins’ band out of college the star-studded group backed rising blues hotshot T-Bone Walker in Chicago only to soon see half of their musicians stolen from bigger name outfits. Archia was one of the few who remained and would make Chicago his home base for the rest of his career.

After a time playing alongside Charlie Parker, whose bop explorations would soon make him legend, Archia ran afoul of the union and was forced to depart for California and saw his career momentum stall before returning to Chicago where he found work, first in Leonard Chess’s Macomba Lounge, then was brought to newly Aristocrat Records where he was a frequent sessionist, as well as getting ample opportunity to issue records – albeit with guest vocalists – under his own name.

In addition Archia free-lanced quite a bit, including cutting many sides for King Records in Cincinnati, including some of the biggest hits of 1948. But ironically after the Aristocrat label was taken over by old friend Leonard Chess the following year Archia’s work with the company dwindled as his own records failed to make much headway commercially and he was drifting back towards jazz. Finding less satisfaction with rock session work Archia resumed his club-activities where he remained a highly regarded musician by all who encountered him for years.
 
 
TOM ARCHIA DISCOGRAPHY (Reviews To Date on Spontaneous Lunacy):
 
 
HEY PRETTY MAMA
(Aristocrat 402; November, 1947)
As sideman… for Jump Jackson.

FISHIN’ POLE
(Aristocrat 601; November, 1947)
Somewhat X-rated – for that time – crowd pleaser with vocalist Buster Bennett deploying euphemisms galore while Archia’s sax adds slinky, suggestive lines in reply. (5)

MEAN AND EVIL BABY
(Aristocrat 601; November, 1947)
Female vocalist Sheba Griffin takes center stage on this and does a good enough job on the lament over love gone wrong but Archia and crew don’t raise their game enough to match her. (5)

BILBO IS DEAD
(Aristocrat 1101; December, 1947)
As co-writer… with artist Andrew Tibbs.

SAD AND DISAPPOINTED JILL
(King 4207; February, 1948)
As sideman… for Big Maybelle (as Mabel Smith).

ICE MAN BLUES
(Aristocrat 602; February, 1948)
Another off-color number by Archia, this one featuring sometime-singer, full-time comedian, George Kirby handling the vocals on a well-worn theme of sexual promiscuity, but the band doesn’t deliver the requisite urgency to keep this from melting. (4)

CHERRY
(Aristocrat 602; February, 1948)
Some good sax work by Archia and even a good delivery at times by vocalist Sheba Griffin can’t overcome the split personality of the narrator as the lyrics can’t decide whether to treat the loss of her virginity as a smirk-inducing but welcome event or a reason for someone’s imprisonment. (3)

GOOD ROCKIN’ TONIGHT
(King 4210; February, 1948)
As sideman… for Wynonie Harris.

IF I FEEL LIKE THIS TOMORROW
(Aristocrat 802; March, 1948)
More lyrical confusion with Chicago club singer Dr. Jo-Jo Adams the centerpiece unable to discern whether the departure of his woman is cause for sorrow or joy and this time around the band couldn’t seem to care less. (2)

I FEEL LIKE CRYING
(Aristocrat 1103; May, 1948)
As sideman… for Andrew Tibbs.

LOLLIPOP MAMA
(King 4226; May, 1948)
As sideman… for Wynonie Harris.

BLOW YOUR BRAINS OUT
(King 4226; May, 1948)
As sideman… Though credited to Wynonie Harris, this is a quasi-instrumental featuring the dueling honking saxophones of Tom Archia and Hal Singer with Harris merely exhorting them on and trying to whip them into a frenzy. A better idea than execution. (5)

TOO TIGHT MAMA
(King 4227; May, 1948)
As sideman… for Big Maybelle (as Mabel Smith).

BITE AGAIN, BITE AGAIN
(King, 4252; October, 1948)
As sideman… behind Wynonie Harris