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2019 James Rivers
001-2019-001
33:41 Master Camera files on Hard Drive, Mp4
Thu Apr 25 2019
Interviewer - Matt Sakakeeny
00:23 Introductions; James Rivers addresses the variety of genres and instruments he engages; explains what makes the bagpipes the most difficult instrument he plays; describes getting his start on the clarinet, explaining how he was seduced by the school band 06:07 Rivers gets into what his neighborhood, the Sixth Ward, was like when he was growing up, including the stretch of Claiborne Avenue that’s now occupied by the overpass; explains going to high school out of his neighborhood for the sake of its band, and discusses the legendary marching band directors of the time; describes refusing scholarships to forgo college for a music career 09:38 Rivers explains his switch from clarinet to saxophone, celebrating saxophonists of the time; his discography 11:47 Rivers plays the melodic riff of “Sea Cruise”; Rivers explains Huey Smith replacing the singer on “Sea Cruise,” and its capitalist and racial implications; getting hurt touring with Huey Smith 14:55 Rivers explains how New Orleans was a hit factory in the ‘50’s, and details working with Dave Bartholomew and Allen Toussaint, two of the heralded producers; his evolving choice between jazz and R&B, and how economics impacted it; Jimmy Reed turned him onto playing harmonica, and his innovation to mount it on the flute 20:34 Rivers explains the diversity of performance he puts on, including a satirical rap; his act is the same, regardless of audience; describes his popular rise in the 1960’s, and how he caught Clint Eastwood’s attention, due to a popular club gig, in the early ‘80’s, leading to multiple collaborations on film soundtracks and a concert at Carnegie Hall 28:48 Demonstration: “Do You Know What It Means To Miss New Orleans?” 31:08 Rivers enumerates his regular gigs in and out of town; Q&A, audience members inquires about where to get albums 33:41 Interview ends
video recording
Public Access is available in the Archive due to copyright restrictions. Copyrights are retained by the participants. The video is available for viewing at the archive.
New Orleans Jazz & Heritage Foundation Archive