289:, referred to as "The Creole Beethoven" by Toussaint. He used Irving Banister to supply the stinging guitar licks. The Rouzan Sisters, Laura, Barbara, and Wanda, made their first recording singing back-up on the song. White's own heartfelt vocals assured the record would be a hit. Atkins played it on his radio show and the record rose to number one in New Orleans. "Kiss Tomorrow Goodbye" went on to sell 100,000 copies." Arlen Records of Philadelphia took up the distribution, with the record reaching No. 120 on the Billboard Bubbling Under chart in Nov. 1962. The trade magazine gave it a Pop Spotlight pick: "Danny White bows on the N.O. label with a moving reading of a touching rockaballad. He sells it with warmth, and he can sing.”
226:. "I talked with the (Sho Bar) club owner, Sam Anselmo, and gave him my card", White remembered. "He hired me to start a morning jam session that played from 2:00 A.M. to 6:00 A.M. I didn't know if it would work out, but people started following us from our evening gig to the Dream Room and we'd get 300 people in there on Friday and Saturday nights." Anselmo's son, Jimmy, vividly recalled White's early morning sets. "Danny White and the Cavaliers were the hottest band in town at the time", he said. "And they really rocked the place." The Sho Bar's musical history was rich. In the early 1950s
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pay us a lot more money than what we were making at Dupree's", White said. "We agreed to work for him and it was our band that actually opened the place up. That was in 1955." The band's appearances on Friday and
Saturday nights brought in big white audiences, enough that the club was expanded from 700 to 1000 capacity. After a few months the band broke up when Jack wanted to go back to playing black clubs. White hired new musicians, putting together a six-piece band called the Cavaliers after the cigarettes he smoked.
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wrote for K-Doe with Danny White's voice in my head, even though I knew K-Doe would sing it. ‘Mother In Law' was a prime example of a song in a Danny White bag." Toussaint added, "There was something very influential about Danny that was absorbed by a lot of artists that had big records here." White spoke of what he did to keep the band working, "We were real professional, we had uniforms and we were disciplined. We played places where they wouldn't hire any other black band."
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bands emulating their black R&B heroes. In 1968 Allen
Toussaint brought White back into the studio to record two sides, "Natural Soul Brother" and "One Way Love Affair", which were released by Nashville record man Shelby Singleton's SSS International with little notice. Two more sides were recorded the following year, possibly in New York City or Washington, D.C., for Kashe Records. By 1969 White had left performing to manage the seminal New Orleans funk band
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said 'never again'". She left, as she explained, because "I didn't like the accommodations. We were in a four-by-four or a six-by-six room – this is the area they wanted us (black) musicians to stay in when we weren't on stage. I'd already done two shows with Danny White at the Safari and, to me, it wasn't worth it to come down to the Sho Bar for the $ 12.50 they were paying us. To work from 2:30 A.M. to 7:00 A.M.? I don't think so!"
189:. Smith produced and played piano on several uptempo songs White recorded for Ace, including "Let's Play", "Educated Fool", and the rocking "Too Late". None were released at the time. Smith knew White from the Dew Drop. "I thought he was a good singer but Johnny never did anything with him." In 1960 White recorded a single for
30:
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Connie LaRocca closed Frisco
Records in 1966. "Stax used to lease stuff to other labels too, not just put their own stuff out", White said. "They got me a deal with Atlas Records out of New York, and that's when 'Keep My Woman Home' and 'I'm Dedicating My Life' came out in 1966." Because DJs did not
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spoke of the part segregation played in black musicians' careers. "Early on, when I was working with Danny White And The
Cavaliers, when we got off at Safari Lounge in the east we drove to the Sho Bar Lounge on Bourbon Street. We'd start working there at 2:30 A.M. and I did it about three times and
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and St. Bernard Avenue." One busy
Saturday night a white man in a Cadillac came to Dupree's and offered White and Jack's band a job at his Golden Cadillac Club on Poland Avenue. The club had previously been a Country and Western venue that the owner wanted to reopen as a R&B club. "He offered to
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joined Danny White's
Cavaliers. "That was another real popular band," said Cotton. "A lot of times we played two gigs a night. We used to play at the Dream Room at four in the morning. All the French Quarter musicians and strippers came by the club. Danny was a hell of an entertainer and he really
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Integration, lack of successful record sales, and the
British Invasion led White to disband the Cavaliers in 1966. White club owners had stopped booking black R&B bands because they feared black patrons would alienate their white clientele. R&B was pushed off of radio playlists by British
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and 'Certain Girl.' Unfortunately, I wasn't recording Danny, so I gave the songs to Ernie K-Doe." He recalled, "I thought it might be better suited for us to find a different medium, a vocal style more similar to the singing of Danny White, who was very popular in N.O. at that time. So at first I
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DJ Hal Atkins. "Mrs. LaRocca dropped by the Safari one night and asked me to come by her office. I didn't even think much about recording because we didn't have much time. We only had one night off a week." White visited LaRocca at her office and she introduced him to Al Reed, her writer and
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there. Well, they had a house band and one night the vocalist didn't show. People started asking the band to do requests but they said they couldn't do them without the singer. I got up and said I could do the requests, and I ended up singing the rest of the night." After the show, the owner
348:. He arranged for me to fly up to Memphis" for what turned out to be the last Frisco sessions. "I got with Isaac Hayes and Dave Porter and they recorded me." Hayes and Porter had yet to establish themselves as premier Stax producers so White's first recordings were made at
380:. The resulting two releases, issued in 1966 and 1967, marked White's return to Decca Records. The discs, including a remake of "Kiss Tomorrow Goodbye" had airplay in New Orleans and select other urban areas, though not enough to hit the charts.
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arranger. Reed played White a song he'd written called "Kiss
Tomorrow Goodbye". "But it was uptempo then and I said if I was gonna cut it I'd slow it down", White said. La Rocca suggested White record the song. "The next week we went down to
275:
By 1961 Danny White and the
Cavaliers were the best paid, and one of the most popular, bands in New Orleans. White told author Jeff Hannusch he was approached by Connie LaRocca, who had just started Frisco Records with her partner
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could sing. Curtis
Mitchell (bandleader and bass player) used to listen to every new record that came out and transcribe it to the band. That's how we were up on all the latest sounds and stayed so popular." White's guitarist
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frat gigs, and clubs like the Safari, the Sands, and the Dream Room." Banister continued, "Every night the place was packed. We usually had a job before we played the Dream Room and a lot of people would follow us there."
197:, "Give And Take" b/w "Somebody Please Help Me". The record failed to chart. White and the Cavaliers left the Golden Cadillac, and began appearing regularly at the Safari club on Chef Menteur Highway and the Dream Room on
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White returned to New Orleans after he was discharged from the service. "I went back to school on the GI Bill", he said. He also frequented music clubs like Hayes' Chicken Shack, the Shadowland Club, and the
396:
White moved to the Washington, D.C. area in 1972 and worked as a sales manager for a furniture company. He died January 5, 1996, after suffering a stroke. White was survived by his wife and seven children.
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approached White with an offer of a full-time job. "I told him I couldn't (accept) because I was a Marine." White and the owner reached an agreement in which White sang on weekends for $ 10 a night.
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in California. He recounted his first appearance fronting a band, "We used to go to this club called the Offshore Lounge to listen to music. It was a nice place, we'd see people like
285:'s Studio to cut it. I remember Allen Toussaint played on the session. Well, Cosimo told Connie LaRocca that 'Kiss Tomorrow Goodbye' sounded like a hit." The session was produced by
144:. "There was always lots of music around," he explained. "I sang in church and for plays at school. It was really my teachers who thought I had a good voice and encouraged me."
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White failed to follow up the success of "Kiss Tomorrow Goodbye" with two more Frisco singles. The next disc White recorded, "Loan Me Your Handkerchief", a song written by
164:"I got to know a lot of musicians, so me and a guy called Jack decided to start a small band that worked weekends. One of the first places we played was Dupree's Lounge on
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to issue it in the U.K., but failed to chart there. Hal Atkins remained a steady supporter of White's talent. He sent White back to Royal Studios to work with producer
234:. Prima himself had been discovered on Bourbon Street two decades earlier. In 1954 they were called to Las Vegas where, with saxophonist and Bourbon Street veteran
433:"I'm Dedicating My Life" / "Keep My Woman Home" Atlas Records 1251 (1966), Atteru Records 2000/1 (1966), Sue Records WI-4031 (1966), Unity Records 1257
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said, "Danny's records could have been bigger if he was on a national label, and we could’ve toured. We worked only around N.O., and like
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on piano, sold more than 100,000 copies, rising to the top of the local charts. White and the Cavaliers toured with artists such as
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242:. By the early 1960s some of the city's top R&B acts performed at the Sho Bar, including Danny White and the Cavaliers,
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124:(July 6, 1931 – January 5, 1996) was an influential R&B singer and bandleader who worked in the New Orleans area.
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said. "But he had a great band that used to work at the Sho Bar on Bourbon Street. Danny inspired me to write
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for national distribution. This Wardell Quezergue-produced record, featuring Irving Banister on guitar and
679:"recordcollectormag.com- "Times Have Changed But That Don't Make 'Em Better-Interview With Irma Thomas""
250:. Their late-night sets didn't end until the sun was up on Sunday mornings. New Orleans R&B legend
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play the record, it did not sell. It gained popularity in U.K. discotheques, prompting British label
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418:"One Little Lie" / "Loan Me A Handkerchief" Frisco Records 110 (1963), ABC-Paramount 45-10525 (1964)
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Danny White and the Cavaliers were a top attraction at the Golden Cadillac. In November 1956
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536:"Wavelength February 1985– "Kiss Tomorrow Goodbye": The Danny White Story by Jeff Hannusch"
436:"You Can Never Keep A Good Man Down" / "'Kiss Tomorrow Goodbye" Decca Records 32106 (1966)
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336:. White remembered, "Hal Atkins was transferred to WDIA up in Memphis and he got to know
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445:"Natural Soul Brother" / "One Way Love Affair" SSS International Records 754 (1968)
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in Memphis. Danny White's sessions were moved to Memphis, where he was produced by
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427:"Miss Fine Miss Fine" / "Can't Do Nothing Without You" Frisco Records 110 (1965)
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booked me." In 1964 Frisco partner Hal Atkins left New Orleans to take a job at
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White had his professional debut as a twenty-year-old Marine while stationed at
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409:"Kiss Tomorrow Goodbye" / "The Little Bitty Things" Frisco Records 104 (1962)
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in New Orleans, Louisiana, the youngest of seven children. He grew up in the
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844:"Offbeat March 1, 1999– Connie LaRocca And Frisco Records by Jeff Hannusch"
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406:"Give And Take" / "Somebody Please Help Me" Dot Records 45-16188 (1961)
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White's saxophone player John Payne had a second gig at the Sho Bar on
421:"I've Surrendered" / "Hold What You Got" ABC-Paramount 45-10569 (1964)
439:"Cracked Up Over You" / "Taking Inventory" Decca Records 32048 (1966)
412:"Never Tell Your Friend" / "Make Her Mine" Frisco Records 106 (1963)
424:"Moonbeam" / "Love Is A Way Of Life" ABC-Paramount 45-10589 (1964)
430:"My Living Doll" / "Note on the Table" Frisco Records 114 (1965)
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448:"Never Like This" / "King for a Day" Kashe Records 443 (1969)
415:"The Twitch" / "Why Must I Be Blue" Frisco Records 109 (1963)
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was a regular attraction there with his fourth wife, singer
258:"Danny was never a big-name recording artist," composer
475:"Former Singer, Bandleader Danny White Is Dead At 64".
865:"britannica.com- "British Invasion" by Ira A. Robbins"
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The Soul of New Orleans: A Legacy of Rhythm and Blues
214:, we only played at white clubs. We played a lot of
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592:Huey "Piano" Smith and the Rocking Pneumonia Blues
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594:. Louisiana State University Press. p. 47.
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368:. The discs received little play and few sales.
642:"Lawrence Cotton: Guitar Slim's Piano Player".
701:Ernie K-Doe The R&B Emperor Of New Orleans
616:"allmusic.com- "Danny White: Artist Biography"
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316:. White said "We played the Rockland, the
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725:"ponderosastomp.com- "Wardell Quezergue""
352:with the musicians who would become the
84:Capitol Heights, Maryland, United States
703:. The Historic New Orleans Collection.
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746:"wwoz.org- "Frisco Records Office""
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795:"sirshambling.com- "Danny White""
505:Danny White: Natural Soul Brother
132:Joseph Daniel White was born at
907:20th-century American musicians
768:Rhythm And Blues In New Orleans
238:, they became regulars on the
193:and Nashville record producer
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442:"Another One" unissued (1967)
507:(Media notes). Kent Records.
320:, all the bigger theatres.
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296:, was leased by Frisco to
70:, Louisiana, United States
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569:. Swallow Publications.
822:. Eyeball Productions.
565:Hannusch, Jeff (2001).
503:Hannusch, Jeff (2006).
770:. Pelican Publishing.
344:, and the gang around
40:Background information
818:McGrath, Bob (2019).
766:Broven, John (2016).
699:Sandmel, Ben (2012).
658:"wwoz.org- "Sho Bar""
358:Mabon "Teenie" Hodges
140:neighborhood and the
112:c.mid-1950s – c.1970s
212:Sugar Boy (Crawford)
590:Wirt, John (2014).
479:. January 11, 1996.
201:. In 1963, pianist
102:singer, band leader
50:Joseph Daniel White
364:on drums, and the
179:Huey "Piano" Smith
710:978-0-917860-60-7
601:978-0-8071-5295-9
354:Hi Rhythm Section
287:Wardell Quezergue
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108:Years active
80:(1996-01-05)
65:July 6, 1931
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897:1996 deaths
892:1931 births
870:January 22,
849:January 20,
800:January 20,
751:January 19,
730:January 18,
684:January 19,
663:January 18,
627:January 19,
541:January 15,
401:Discography
374:Sue Records
360:on guitar,
338:Jim Stewart
330:Isaac Hayes
314:Marvin Gaye
252:Irma Thomas
244:Ernie K-Doe
232:Keely Smith
228:Louis Prima
191:Dot Records
183:Ace records
128:Early years
122:Danny White
68:New Orleans
34:Danny White
22:Danny White
886:Categories
453:References
391:The Meters
384:Later life
306:Jimmy Reed
271:Recordings
248:King Floyd
236:Sam Butera
153:Al Hibbler
138:Hollygrove
61:1931-07-06
46:Birth name
322:Universal
294:Earl King
621:AllMusic
342:Booker T
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318:Apollo
312:, and
283:Cosimo
246:, and
216:Tulane
185:owner
173:Career
89:Genres
872:2021
851:2021
824:ISBN
802:2021
772:ISBN
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732:2021
705:ISBN
686:2021
665:2021
629:2021
596:ISBN
571:ISBN
543:2021
346:Stax
332:and
326:WDIA
278:WYLD
75:Died
55:Born
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