Jimmy Rushing: The Voice of the Blues and Jazz
An exploration of the life, career, and enduring impact of a legendary American vocalist, celebrated for his powerful delivery and iconic association with the Count Basie Orchestra.
Discover Rushing 👇 Explore His Music 🎶Dive in with Flashcard Learning!
🎮 Play the Wiki2Web Clarity Challenge Game🎮
Introduction
James Andrew Rushing
James Andrew Rushing (August 26, 1901 – June 8, 1972) was a distinguished American singer and pianist, hailing from Oklahoma City, Oklahoma. He is most widely recognized for his tenure as the principal vocalist for the Count Basie Orchestra from 1935 to 1948, a period that cemented his place in the annals of jazz and blues history.
"Mr. Five by Five"
Rushing earned the memorable moniker "Mr. Five by Five," a testament to his robust physique and commanding presence. This nickname inspired a popular song in 1942, famously recorded by Harry James and others, which humorously described his stature: "he's five feet tall and he's five feet wide." This appellation captured the larger-than-life persona that accompanied his equally substantial vocal talent.
Musical Roots
His musical journey began with early affiliations in the vibrant jazz scene of the era. Rushing joined Walter Page's Oklahoma City Blue Devils in 1927, subsequently moving to Bennie Moten's band in 1929. Upon Moten's passing, Rushing transitioned to the successor band, which would become the legendary Count Basie Orchestra, marking the beginning of a pivotal chapter in his career.
Early Life and Education
A Musical Pedigree
Born into a family rich with musical inclination, Rushing's father was a trumpeter, and his mother and uncle were singers. This familial environment fostered his early engagement with music. He received formal music theory instruction from Zelia N. Breaux at Frederick A. Douglass High School in Oklahoma City.
Collegiate Pursuits
Uncommon among his musical peers of the time, Rushing pursued higher education at Wilberforce University. This academic foundation provided him with a unique perspective and a deeper understanding of musical principles, complementing his innate talent and practical experience.
Early Inspirations
Rushing's early musical development was significantly influenced by figures such as his uncle Wesley Manning and George "Fathead" Thomas of McKinney's Cotton Pickers. These inspirations guided his path toward blues and jazz, shaping the distinctive vocal style that would later define his career.
Career Trajectory
Itinerant Beginnings
In his early career, Rushing toured extensively across the Midwest and California as an itinerant blues singer. His journey led him to Los Angeles, where he collaborated with notable musicians like Jelly Roll Morton, honing his skills as both a pianist and vocalist.
The Basie Era
His most significant professional association began when he joined Count Basie's orchestra in 1935, following the dissolution of Bennie Moten's band. Rushing remained with Basie for thirteen years, becoming the band's signature voice and contributing to numerous seminal recordings that defined the Kansas City jump blues sound.
Post-Basie Ventures
After the Basie band disbanded in 1950, Rushing briefly retired before forming his own ensemble. He continued to perform and record, making notable guest appearances with artists such as Duke Ellington on the album Jazz Party (1959) and with the Dave Brubeck Quartet for their 1960 collaboration album.
Media Appearances
Rushing's presence extended beyond the recording studio. He appeared in the 1957 television special The Sound of Jazz, delivering a memorable rendition of "I Left My Baby." He was also featured in Art Kane's iconic 1958 Esquire magazine photograph, later memorialized in the documentary A Great Day in Harlem. His acting credits include a role in Gordon Parks's groundbreaking 1969 film, The Learning Tree.
Vocal Style and Artistry
A Powerful Instrument
Rushing possessed a formidable vocal range, spanning from baritone to tenor, and was often characterized as a "blues shouter." His voice possessed remarkable projection, capable of soaring above the powerful brass and reed sections of a big band. This vocal prowess allowed him to convey profound emotion and narrative depth.
Versatility in Expression
While widely celebrated for his blues interpretations, Rushing himself considered his primary inclination to be that of a ballad singer. Critics noted his ability to imbue lyrics with sincerity and dramatic nuance, elevating even simple phrases with the profound resonance characteristic of the blues. His delivery was described by George Frazier as a "magnificent gargle" and by Dave Brubeck as embodying the "daddy of them all" status among blues vocalists.
Signature Performances
Iconic Tracks
Among his most celebrated recordings are "Going to Chicago," performed with the Count Basie Orchestra, and "Harvard Blues," featuring a notable saxophone solo by Don Byas. These tracks exemplify his ability to command attention and deliver emotionally resonant performances.
Critical Acclaim and Legacy
Esteemed Recognition
Throughout his career and posthumously, Jimmy Rushing garnered significant critical admiration. Jazz critic Whitney Balliett remarked on his "supple, rich voice and his elegant accent," which lent a unique sophistication to blues lyrics. Nat Hentoff recognized him as a seminal influence on rhythm and blues, crediting his "blues shouting" for its foundational role.
Awards and Honors
Rushing's exceptional talent was recognized through multiple accolades. He was a four-time winner of Best Male Singer in the Melody Maker Critics' Poll and received the same honor four times in Down Beat magazine's International Critics' Poll. His 1971 album, The You and Me That Used to Be, was named Jazz Album of the Year by Down Beat, and he earned a Grammy nomination for Best Jazz Performance by a Soloist in the same year.
Enduring Influence
His legacy is further cemented by his inclusion in a 1994 United States Postal Service stamp series honoring jazz and blues legends. In 2024, he was posthumously inducted into the Blues Foundation's Blues Hall of Fame, affirming his lasting contribution to American music.
Personal Life
Family and Residence
Jimmy Rushing was married twice. With his second wife, Cornelia (Connie), whom he married in the 1940s, he had two sons, Robert and William. Connie Rushing also contributed compositions to his 1968 album, Livin' the Blues. The couple resided in Jamaica, Queens, New York.
Final Years
Despite battling leukemia, Rushing continued to perform actively until shortly before his death. He sang on weekends at the Half Note Club in Manhattan until weeks before he passed away on June 8, 1972, at Flower Fifth Avenue Hospital in New York City. He was interred at Maple Grove Cemetery in Kew Gardens, Queens.
Discography Highlights
Key Solo Albums
Rushing released numerous albums throughout his career, showcasing his distinctive vocal style. Some of his notable solo works include:
Notable Collaborations
His career was also marked by significant collaborations, including:
- With Count Basie Orchestra (various recordings, 1936-1944)
- With Dave Brubeck Quartet on Brubeck and Rushing (1960)
- With Duke Ellington on Jazz Party (1959)
- With Humphrey Lyttelton and his band (live recordings)
Teacher's Corner
Edit and Print this course in the Wiki2Web Teacher Studio
Click here to open the "Jimmy Rushing" Wiki2Web Studio curriculum kit
Use the free Wiki2web Studio to generate printable flashcards, worksheets, exams, and export your materials as a web page or an interactive game.
True or False?
Test Your Knowledge!
Gamer's Corner
Are you ready for the Wiki2Web Clarity Challenge?
Unlock the mystery image and prove your knowledge by earning trophies. This simple game is addictively fun and is a great way to learn!
Play now
References
References
Feedback & Support
To report an issue with this page, or to find out ways to support the mission, please click here.
Disclaimer
Important Notice
This page has been generated by an Artificial Intelligence and is intended for informational and educational purposes exclusively. The content is derived from a snapshot of publicly available data and may not represent the most current or complete information available.
This is not professional advice. The information presented herein is not a substitute for expert consultation in musicology, performance practice, or historical analysis. Readers are encouraged to consult primary sources and academic resources for comprehensive understanding. Reliance on the information provided on this website is solely at the user's own risk.
The creators of this page assume no liability for any inaccuracies, omissions, or for any actions taken based on the information herein.