(label) was produced by Lee Enterprises, Post Office Box 8053, Houston, Texas. Ivory Lee Semiens operated it from the late 1950s until the 1970s. Its publisher is Allee Music Pub. BMI. Issues #I-343/344 and #I-1236/1237 reportedly date from 1962 but seem to predate #127. Issues #127 and I-128/129 date from late 1960. Issues #133, 136/137 and #4-1-465 date from 1961. Issue #134/135 was recorded on 7 November 1961. Issue #91272, dating from 1961, seems to have been intended as issue #132. It was reissued in 1962 by Vee – Jay RECORDS #LP 1044, together with some titles issued as Dart #152 or intended for issue by Dart. Issue #I-132 by Mable Franklin was recorded during July 1967.
IVORY RECORDS featured: B. J. Brooks & His Orchestra (#I-344); VINCENT FRANK (#I-128); Vencent Franks (sic: alias Vincent Frank: #I-129); Mable Franklin (#I-132); EARL GILLIAM (#138, I-343); IVORY LEE (#I-1236/1237); Lightnin’ Hopkins (#91272, or I-132); LITTLE IRVIN (#711); LEO MORRIS MARCEL AND HIS BAND (#4-1-465); Lonnie Mitchel and his Accordion (#136/137); POPPA HOP & his Orchestra (#127, 134/135); POPPY HOP & his Orchestra (#133); ELLIOTT WILSON with Frank Mitchell & His Orch. (#338).

(label) was operated from New York City, and issue #757 used the slogan ‘A Keyboard full of Hits’. Dagmar Von Hauer was its president. The pressing numbers for issues #750 and 754 are in a ‘DV-101’ series, reaching at least ‘DV-110’. One side of IVORY #757 also carries the pressing number #117-A. IVORY #750 was released during August 1949. IVORY #759 was recorded by March 1950. Salvation Records was a gospel subsidiary of IVORY and was active in October 1949. Ramon Bruce was a disc jockey, based at radio W H A T, Philadelphia, Pennsylvania, who recorded “jive verse”.
IVORY featured: Ramon Bruce and Michelle (#756); Ramon Bruce (#759); Harold Conner and the Do-Ray-Me Trio (#752); Do Re Me Trio (#750, #754); The Rhythm Kings (#751); Leslie Scott (#758; master #119); PEGGY THOMAS with the BUDDY TATE ORCHESTRA (757).
RR 75/12

(female secular vocal) toured England with Aretha Franklin in May 1968.

(guitar) was recalled by Booker T. “Bukka” Washington White as having been based in Alabama, probably at Bessemer. He appears to be WILLIE PRIEST EVANS.

(gospel vocal group) recorded in about 1962 for Process #104.

(saxophone) was born in 1938. Marchel Ivery was a staunch proponent of what has become known as the “Texas tenor” saxophone sound – a ribald, full-throated approach that married roadhouse ebullience to technical chops. Mr. Ivery died Tuesday 13 November 2007 at age 69 at Presbyterian Hospital after a brief and unexpected illness. Other Texas tenors included giants like Arnett Cobb, David “Fathead” Newman and Illinois Jacquet, and Mr. Ivery was certainly of their ilk. Art Blakey, with whom he served in the ’80s, called him “fire personified.” Even though he made a decision to stay in Dallas for family reasons, he still cut a wide swath in the jazz world. Local drummer Andrew Griffith played with Mr. Ivery since the early ’90s. Marchel played with Lightning Hopkins. “For me, coming up to Dallas in 1985 from Houston, he was a guy we all looked up to,” says Shelley Carrol, another great and underappreciated local sax man. “He never had a mean word to say. He might be tough, but he always put it with an encouraging word. We played together two Mondays ago, and we just played and laughed. In addition to forming the backbone of now-defunct local jazz label Leaning House, Mr. Ivery was a mainstay of the Sammons Jazz program, which took a refurbished waterworks pump house and turned it into a musical nexus. “He was a big part of Sammons since the beginning, in 1989,” says executive director Joanna St. Angelo. “And he’s been with us ever since. His joy in playing was matched only in the joy he inspired in the audience.”

(sic: gospel vocal) hailed from Florida. However, he recorded, probably at Memphis, Tennessee in 1971 for Designer. Booking Agent in 1972: Park Avenue.

(label) active in 1950, it was a precursor to SUN label. Its label bore the legend: “HOTTEST THING IN THE COUNTRY”. The label has a white background with red script.
IT‘S THE PHILLIPS featured: JOE HILL LOUIS (#9001/ 9002).

(label) was operated by J. Mayo Williams at Chicago, Illinois in about 1945. Issue #1004 has a black label with gold script. Issue #1004 was reissued by Sittin’ in with #18000, which was credited to LIL PALMORE and her CALDONIA BOYS (sic).
“IT’S AN” EBONY RECORD featured: Lil “Caldonia” Palmore WITH HER CALDONIA BOYS (sic: #1004);

(label) was active at New York City in September 1948, and was the forerunner to Jerry Blaine’s Jubilee label. Its name was changed to Jubilee in November 1948 to avoid confusion with NATIONAL label. It’s A NATURAL #5000 has a mauve label with gold script.
It’s A NATURAL featured: THE ORIOLES (#5000).