Remember that errors were much more common in baseball up to around that time, and so if a shortstop could field his position and help prevent runs, it didn’t much matter that he could hit.īanks was the one who changed all that, though the idea of a defense-first shortstop didn’t really end for good until the 1970s. If they played solid defense that was good enough for most teams. Shortstops weren’t expected to hit for power, or even hit much at all, in that era. At the time, Stephens was the only MLB shortstop to hit 30 or more home runs in a season. Stephens followed that up with a 30-homer season in 1950. The previous record, 39, had been set by Red Sox shortstop Vern Stephens in 1949.
Ernie banks 33 rpm record full#
That makes this fairly easy, so let me fill you in on the details.Įrnie Banks set this record in his second full season, 1955. This is Banks 40th home run of the season, setting a record for shortstops. I ask you to delete the file from your hard drive or device after reading it.This Getty Images photo came with the following information:Ĭhicago Cubs teammates greet Ernie Banks as he crosses home plate.
Core tracks were originally released as a 10" in 1954. Continuó grabando sesiones hasta el día antes de su muerte, en septiembre de 1970.Īladdin Records recordings from the 1950s. Arregló y grabó varios álbumes en homenaje a la era de la Big Band. King, Jesse Belvin, The Teen Queens, Johnny 'Guitar' Watson, Richard Berry, The Cadets, The Jacks y muchos otros. En 1954, Maxwell trabajaba como arreglista/productor a tiempo completo para Modern produciendo varios éxitos con B.B. Hill y muchos más en la lista de estrellas de los Bihari Brothers. Modern/ Kent probablemente fue el que le mantuvo empleado de forma más constante durante los años 50 y 60 trabajó con Pee Wee Crayton, Etta James, Johnny "Guitar" Watson, Lowell Fulson, Z.Z. Ella y Maxwell siguieron a la banda a varias ciudades de la costa este con el acuerdo de que Maxwell tendría la oportunidad adicional de tocar con la banda en el famoso Apollo Theater de Nueva York. Jordan pidió a Maxwell que le acompañara en su próxima gira, mientras escribía los arreglos que le sustituirían. Durante este periodo, su mujer, Adelia, describió un acuerdo especial que Maxwell hizo con Louis Jordan, famoso director de banda, que había perdido todos los arreglos de su banda en un incendio. En 1948, firmó un contrato con Aladdin Records en Beverly Hills, donde grabó con músicos/cantantes como Amos Milburn, Peppermint Harris, Charles Brown, Floyd Dixon y Calvin Boze. Davis trabajó como arreglista y músico independiente para muchas compañías, entre ellas Black & White, Specialty, 4 Star, Aladdin, Modern, Crown, Kent, Capitol, Imperial y Miltone, donde acompañó a vocalistas como Jo Evans, Helen Humes, Kay Thomas, T-Bone Walker y Ernie Andrews. En 1937 se trasladó a Los Ángeles y se incorporó a la orquesta de Fletcher Henderson.
A los 17 años, se unió a la banda de Gene Coy y viajó por todo el centro y noroeste del país. He continued recording sessions right up until the day before he died, September, 1970. He arranged and recorded several albums in tribute to the Big Band Era. King, Jesse Belvin, The Teen Queens, Johnny 'Guitar' Watson, Richard Berry, The Cadets, The Jacks and many others. By 1954, Maxwell was working as full-time arrange/producer for Modern producing several hits with B.B. Hill, and plenty more on the Bihari Brothers' star-studded roster. Modern/ Kent probably kept him employed the steadiest throughout the '50s and '60s he worked with Pee Wee Crayton, Etta James, Johnny "Guitar" Watson, Lowell Fulson, Z.Z. She and Maxwell followed the band to several east coast cities with the understanding that Maxwell would get the additional opportunity to play with the band at the famous Apollo Theater in New York. Jordan asked Maxwell to accompany him on his upcoming tour, while writing his replacement arrangements.
During this period, his wife, Adelia, described a special arrangement Maxwell made with Louis Jordan, famous band director, who had lost all of his band arrangements in a fire. In 1948, he contracted with Aladdin Records in Beverly Hills where he recorded with musicians/ singers such as Amos Milburn, Peppermint Harris, Charles Brown, Floyd Dixon and Calvin Boze. Davis worked as a freelance arranger and musician for many companies, including Black & White, Specialty, 4 Star, Aladdin, Modern, Crown, Kent, Capitol, Imperial and Miltone, where he accompanied vocalists such as Jo Evans, Helen Humes, Kay Thomas, T-Bone Walker and Ernie Andrews. In 1937, he moved to Los Angeles, joining the Fletcher Henderson Orchestra. At the age of 17, he joined the Gene Coy band and travelled extensively throughout the mid- and northwest parts of the country.
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