Alonzo Peters Group with Don Wilkerson
Now another master in a different way is Don Wilkerson. Peters Productions did the same thingfor Don Wilkerson as Grady Gaines did for Joe Medwick. We both kept artists alive. It is the same thing that that Jeff and Kim did for James Clay in Dallas by starting Sam Bucca’s.Given the other musicians and the Houston society in general there was a lot of callous between the poor and the rich and especially the poor alcoholic and the rich one.We worked Don regularly at Jazz at Pizzazz with Tulie Evans as the producer. We have video documenting this .
Sunday, January 20, 2008
Friday, January 18, 2008
Saturday, January 12, 2008
Tuesday, January 1, 2008
Joe Medwick Veasey
The release of the Kimberly 45 in 1985 was a wonderful surprise to all of us who loved Joe, and was a direct result of Black Top’s interest in Texas blues. Their recruitment of sax king Grady Gaines led to several other great artists like pianist Teddy Reynolds and vocalist Big Robert Smith going back into the studio for the first time in many years – and Joe was there too. The version of the superb introspective ballad “If I Don’t Get Involved” on the set doesn’t quite have the power or presence of the 45, especially as the Kimberly has the similarly styled – but not quite as good – “She Fooled Me This Time” on the flip.Sir Shambling's Deep Soul Heaven - JOE MEDWICKJoe Medwick Masters (aka Joe Medwick Veasey – and others!)was born on 22 June 1933 and by the late 40 was singing gospel with the Chosen Gospel Singers. ...www.sirshambling.com/artists/J/joe_medwick.htm - 10k - Cached - Similar pages - Note this
Sir Shambling,
Thank you for your mention of Joe Medwick Veasey. I wrote you before and you still have erroneous copy.I Alonzo Peters III MD, with Pea-squared publishing on Kimberly Records, co-wrote songs 2 45 songs with Joe as well as arranged, played saxes, rhythm, engineered it, produced it and in general put it together. We started in Gurlick sound and ended up in Believers studio in Pasadena. We pressed it in Dallas.
We did this while I was on staff at 3 hospitals here in Houston and still delivering children. The city still had their Ku Klux Klan welcome sign up.The "world" nature of Houston gave up on Joe and said that he was "burnt out". I ignored the upper and lower wanna be pimps and recorded him anyway on a tight divorcee budget. He was my friend. He told me the whole story about Mr Robey, Duke, Peacock and the music business in general that was not mentioned in This Business of Music. What galls me the most is this perversion of Black History and I am mad. No one in Houston wants to mention what it took for Don Robey to make it as a Black Man, and the millions that he made except for a state rep or two.
Calvin Rhodes was a tremendous help with encouragement and hook-ups, as well as I J Gosey, Herman Hawkins, Grady Gaines and Big Robert. Floyd Arceneux had the most beautiful hand (music writing) that any man could see on a manuscript page. I had never met a better combination of instrumentalist and arranger until I met Mr Nelson Mills III, and Jimmy Walker (then with pro Conrad Johnson).
Joe never said a bad word about Don Robey. If I had known now what to do with step work we may have been able to keep him. Black Top did not have jack squat to do with reviving Joe Medwick or helping to produce the songs or record them initally . Anyone who tells you this is a liar. God and Dr. Peters did the initial recording along with the person above. In fact Black Top still owes me royaties on the songs but it was in part their (second) recording and our direct marketing to Maalaco and Dave Clark ( who knew Joe personally) that Bobbie Bland put it on his Midnight Run albumIt was a very difficult situation with his life choices and al. in the end. I did not know he had cancer until late, and then we would have had to fight MD Anderson. I believe he was treated at Ben Taub on an outpatient basis. Nevertheless I have a contract giving me all the publishing upon his death. I have not attemped to collect anything, until I found that his daughter was not getting any money, who I am in touch with. BMI has sent me my part of the royalties.
May I receive the calls and letters of any entertainment lawyers who would like to take the case
Alonzo Peters MD
CEO Kimberly Records
a Division of
Peters' Productions
part of a
MINISTRY, MUSIC, and Medicine
713-882-7209
for tapes CDs/DVDs
kimmylove333@gmail.com
PS . Here is a feed
Smile video
Sir Shambling,
Thank you for your mention of Joe Medwick Veasey. I wrote you before and you still have erroneous copy.I Alonzo Peters III MD, with Pea-squared publishing on Kimberly Records, co-wrote songs 2 45 songs with Joe as well as arranged, played saxes, rhythm, engineered it, produced it and in general put it together. We started in Gurlick sound and ended up in Believers studio in Pasadena. We pressed it in Dallas.
We did this while I was on staff at 3 hospitals here in Houston and still delivering children. The city still had their Ku Klux Klan welcome sign up.The "world" nature of Houston gave up on Joe and said that he was "burnt out". I ignored the upper and lower wanna be pimps and recorded him anyway on a tight divorcee budget. He was my friend. He told me the whole story about Mr Robey, Duke, Peacock and the music business in general that was not mentioned in This Business of Music. What galls me the most is this perversion of Black History and I am mad. No one in Houston wants to mention what it took for Don Robey to make it as a Black Man, and the millions that he made except for a state rep or two.
Calvin Rhodes was a tremendous help with encouragement and hook-ups, as well as I J Gosey, Herman Hawkins, Grady Gaines and Big Robert. Floyd Arceneux had the most beautiful hand (music writing) that any man could see on a manuscript page. I had never met a better combination of instrumentalist and arranger until I met Mr Nelson Mills III, and Jimmy Walker (then with pro Conrad Johnson).
Joe never said a bad word about Don Robey. If I had known now what to do with step work we may have been able to keep him. Black Top did not have jack squat to do with reviving Joe Medwick or helping to produce the songs or record them initally . Anyone who tells you this is a liar. God and Dr. Peters did the initial recording along with the person above. In fact Black Top still owes me royaties on the songs but it was in part their (second) recording and our direct marketing to Maalaco and Dave Clark ( who knew Joe personally) that Bobbie Bland put it on his Midnight Run albumIt was a very difficult situation with his life choices and al. in the end. I did not know he had cancer until late, and then we would have had to fight MD Anderson. I believe he was treated at Ben Taub on an outpatient basis. Nevertheless I have a contract giving me all the publishing upon his death. I have not attemped to collect anything, until I found that his daughter was not getting any money, who I am in touch with. BMI has sent me my part of the royalties.
May I receive the calls and letters of any entertainment lawyers who would like to take the case
Alonzo Peters MD
CEO Kimberly Records
a Division of
Peters' Productions
part of a
MINISTRY, MUSIC, and Medicine
713-882-7209
for tapes CDs/DVDs
kimmylove333@gmail.com
PS . Here is a feed
Smile video
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