Allison Miner Music Heritage Stage Collection

: 1989 Al Broussard; Allison Miner intro - Al Broussard on his 83th birthday., 00:00 Welcoming remarks, introduction to Music Heritage Stage; Al Broussard will be playing piano on his 83rd birthday; from the 5th Ward of New Orleans, born and raised 01:40 Demonstration 06:40 Demonstration: “Boogie Woogie Woman” 14:02 Demonstration: “I’m Confessing That I Love You” 20:48 Demonstration: “Happy Birthday”; Distribution of Birthday cake and gifts for Mr. Broussard 24:03 Demonstration: “I’ll Be Glad When You’re Dead” 30:26 Demonstration: “Last Night On the Back Porch” 35:00 Demonstration: “Cecilia” 40:27 Demonstration: “St. Louis Blues” 47:06 Interview ends

: 1989 Allison 'Tootie' Montana; Allison Miner interviewer. Allison "Tootie" Montana and Ed Montana. Video tape of interview is 001.1989.023, 00:00 Introduction of Allison “Tootie” Montana Chief of the Yellow Pocahontas and his brother Edward Montana; Father and Great Great Uncle on mothers side were the first Mardi Gars Indians; All Tribes came from the Creole Wild West and is where it got its start and originated in the 7th Ward; Edward first started masking in 1932; The first black Indian to mask on a carnival day in New Orleans was Blaze, Buck and BK (?) 07:46 Making of the Suites, Disks made of metal 11:05 Allison Minor taking about how traditionally music was strictly percussion with tambourine only. Singing rhymed couplets; a lot of the Indian songs mixed with prison songs (ex. “Shoe Fly”); Correction of the song “Soul, Soul, Soul”; supposed to be “Sore, Sore, Sore” it is a fighting song after a battle; Explanation of the Song “Indian Red” to identify each member of the tribe and what they do. 15:48 “Hom ba” (?) to kneel down 22:18 Creating his 3 dimensional style; When the Yellow Pocahontas Suit Style started; Types of feathers used; turkey feathers; Black Benny started using plumes 29:49 Role of a Chief in the community 36:26 Passing on song tradition and where they had their practice; Lead singing and Indian improvising 40:40 Explaining and Singing “Indian Red” 45:00 It’s Wild Man not Witch Doctor 45:22 Types of food that you eat during, Mardi Gras Donuts; The brothers’ relationship 55:55 Interview ends

: 1989 Ben E. King; Allison Miner interviewer. Ben E. King., 00:00 Ben E. King born in Henderson, NC; father moved the family to New York for restaurant business; grew up in Harlem; King grew up singing with street corner a Capella groups; du wop groups, The Five Crowns; 1959 the band went to the Apollo theater opening for the original Drifters and Ray Charles and then took over and became the new Drifters 4:02 1st major record deal was in 1959 for a song called “There Goes My Baby” recorded with the Drifters; left the Drifters; Atlantic records 05:21 Demonstration: Allison Miner plays recording of “Young Boy Blues” written by Phil Spector and Doc Pomus; Ben E. King sings OVER HIS OWN VOICE; King realized later in his career he was associated with great writers writing specifically for his voice; John Lennon listed King as one of his favorite vocalists 08:10 Discusses “Save the Last Dance for Me” “This Magic Moment” 08:50 Demonstration: Allison Miner plays recording of “Amore, My Love” 10:20 King idolized and respected Brook Benton and Sam Cooke and tried to emulate them on that track; talks about Harlem, the Apollo; Amateur show; was with Atlantic for many years; Omit Erdogan and Betty Nelson (King’s wife) wrote a song together “Don’t Play that Song” 13:10 Demonstration: “Don’t Play that Song” 16:44 Demonstration: “Spanish Harlem” 18:44 Demonstration: “Stand By Me” From the record “Live at the Apollo” 22:31 The recording of “Stand By Me” was done Live at the Apollo in ‘62 23:19 The story behind “I Who Have Nothing”: King was in Italy on a tour with manager, Al Wow 26:14 King’s favorite female singer: Aretha Franklin; favorite male vocalist: Sam Cooke or Brook Benton 31:28 Doc Green (one of the original members of the first four) passed away recently; Jerry Leiber and Mike Stoller wanted to do something different with the new set of Drifters, 34:02 Interview ends

: 1989 Black & White Zydeco by Ann Savoy: Robert Jardell, CJ Chenier, Harry Hypolite, Shirley Bergereon; Black & White Zydeco C.J. Chenier, Robert Jardell, Ann Savoy. Nick Spitzer interviewer., 00:00 Introduction of Cajun and Creole accordion side by side; how Cajun and Creole music are similar and different; Cajuns were influenced by Creole Caribbean culture; Cajun music influenced by African culture song example: Pine Grove Blues; Ann Savoy’s book gathers photos and songs “Cajun Music: A reflection of a People” 03:55 Introduction to audience of Ann Savoy; Robert Jardell; CJ Chenier on accordion; Harry Hypolite; Shirley Bergeron; Troy Carriere 05:29 Anecdote: 19th century French influence in Louisiana outnumbered Cajuns, Creoles, etc.; Cajun men would marry outsiders and the children would be brought up speaking French; Cajun women would marry northern Louisiana men with American influence 07:11 Ann Savoy begins to explain that she has selected traditionally trained Cajun and Zydeco musicians to play to differentiate the genres of music live; CJ Chenier is a Zydeco accordion player; Ann introduces Robert Jardell, a Cajun singer 09:10 Demonstration; “Zydeco est pas Soleil” CJ Chenier performs song originally recorded by his father; CJ plays without a bass and guitar on the Zydeco songs, the traditional Zydeco way of playing: accordion and percussion only; Most of the Zydeco bands have a triangle 13:10 Robert learned his version of “Zydeco est pas Soleil” from Aldous Roger 14:04 Demonstration: Cajun version of “Zydeco est pas Soleil” 16:23 Demonstration: RUB BOARD 18:30 Demonstration: “Allons a Lafayette” Cajun style 20:35 Demonstration: “Allons a Grand Coteau” Zydeco style 23:49 Dewey Balfa asks a question revealing: In old days blacks and whites had the same kind of diatonic accordion (before piano key accordions), Cajuns had a triangle as well, and zydeco bands had a rub board with their accordion 26:05 Christina Balfa goes up to play accordion; Ann describes the strengths of different accordions 27:49 Demonstration; “Lafayette Waltz” Cajun Band 30:10 Demonstration; Zydeco Band 32:27 Demonstration: Tina Balfa plays triangle 32:58 Demonstration: “Paper in My Shoe” Robert Jardell Cajun version 35:40 Demonstration: “Paper in My Shoe” Zydeco version 38:00 Demonstration: “Jolie Catin” Cajun Version 41:13 Demonstration: “Calenda” Zydeco style favored by CJ’s father Clifton Chenier 44:10 Demonstration: “Jolie Blonde” Cajun Style 47:37 Demonstration: “Jolie Blonde” Zydeco Style 53:12 Demonstration: “Le Waltz des criminales” Waltz of the criminals Cajun band 56:30 Demonstration: “Allons Danser Zydeco” Zydeco band 01:04:12 Interview ends

: 1989 Bo Dollis of Wild Magnolias Thomas Landry, Johnny Stephens with Lawrence Harrison (steel drum); Allison Miner interviewer. Bo Dollis of Wild Magnolias Thomas Landry, Johnny Stephens with Dawrence Harrison (steel drum). This item is part of the “Crescent City Living Legends Collection” that was admitted to the National Recording Registry at the Library of Congress in 2002., 00:00 First festival in Congo Square, Mardi Gras Indian Parade; Introduce Bo Dollis; Introduces Lawrence Harrison, steel drum, Mohawk Hunters 2:30: Bo introduces Wild Magnolias: Thomas Landry (2nd Chief), flagboy Johnny (?), drummers; history as member of Wild Magnolias; flagboy to chief 4:35: comparison of Bo Dollis and Tutti Montana 5:50: Demonstration: The Golden Crown 10:57: Demonstration: (Somebody Got) Soul Soul Soul 19:27: Costume making 21:28: Wild Magnolias begin chanting with drums 22:00: Demonstration: Iko Iko 26:37: Demonstration: Handa Wanda 32:40: Demonstration: Little Liza Jane 38:55: Demonstration: Injuns Here They Come 43:40: Allison Miner announces band, Bo Dollis’s 20th festival, thanks Lawrence Harrison 45:12 Interview ends

: 1989 Bob Greene on Jelly Roll Morton; Allison Miner interviewer. Bob Greene., 0:00: Bob Green raised in New York City; Influenced by all kinds of jazz in New York 4:38: Jelly Roll hard to work for, Green in 7 piece group- hard to keep it together as band leader; Jelly Roll debt to rag timers- went out to St. Louis because he worshipped Scott Joplin. Louis Chauvin in St. Louis, wrote Heliotrope Bouquet- song plays; reminiscent of Treemonisha era 8:00: Jazz is fragile music- performed art, not scored art; Ensemble recorded on RCA Victor Red Seal; Used Jelly Roll’s arrangements; Ragtime era leading into New Orleans jazz piano style 10:28: Ragtime; European music; Jelly Roll said piano should be imitation of full jazz band- left hand: guitar, drum, trombone. Right hand: clarinet and trumpet; 1904- Jelly Roll wrote King Porter Stomp- Benny Goodman became famous playing it 12:46: Plays King Porter Stomp 15:14: Jelly’s instrumentation; left New Orleans at peak of creativity, died penniless, doesn’t get enough recognition; Bob Green talks about Jelly Roll’s life: left New Orleans 1910, played in mansions on Rampart Street, made 100+ tips, then toured Biloxi and Shreveport, then California 17:25: Jelly Roll didn’t bother with copyrights; 1930, deep in depression, playing at Jungle Inn above hamburger joint in Washington, while hearing his own un-copy written songs on the radio; tried to make comeback in California 18:00: Bob Green’s other influences: Jess Stacey; Demonstrates Stacey’s playing style 21:45: “Don’t You Leave Me Here” or “Alabama Bound”- last tune he recorded 22:00: Plays song 25:44: Library of Congress series by John and Alan Lomax on Jelly Roll Morton; Jelly Roll talking about Mardi Gras Indians- plays with New Orleans feel; Professor Longhair-Lomax said after Jelly Roll Morton, Professor Longhair was next great pianist to come out of New Orleans; Bob Green listened to Jeanette Kimball, niece of Toots Washington, great piano player 28:18: Favorite Jelly Roll pieces: “Tiger Rag 29:15: plays piece 33:23: Documenting Jelly Rolls records 35:44: Plays “Creepy Feeling” 39:58 Interview ends

: 1989 Brother Percy Randolph and Little Freddie King; Percy Randolph and Little Freddie King. Introduced by Allison Miner, 00:00 Allison Miner introduces Freddie King and Brother Percy Randolph; been playing together 13 years; not an interview, exclusively demonstrations 00:44 Demonstration “Got to Walk with Da King” 03:15 Demonstration; instrumental 07:15 Demonstration; instrumental 10:25 Demonstration “Chicken Dance” 14:10 Demonstration “Dust My Broom” 18:40 Demonstration; instrumental 21:34 Demonstration “I Don’t Know What to Do” 25:57 Demonstration “Boogie” 29:15 Demonstration; instrumental 31:35 Freddie King introduces Percy Randolph on Harmonica 32:28 Demonstration; only electric guitar 33:50 Demonstration; instrumental 34:43 Demonstration; harmonica and singing “Train and a Model T” 36:21 Demonstration; harmonica 38:07 Demonstration; harmonica and singing 39:52 Demonstration; “Going Down” 46:21 Interview ends

: 1989 Dewey Balfa with Robert Jardell, Shirley Bergeron, Peter Schwarz and Christine Balfa; Nick Spitzer interviewer. Dewey Balfa; Robert Jardell, Shirley Bergeron, Peter Schwarz, Christine Balfa., 00:00 Introduction of Dewey Balfa and Peter Schwarz; Robert Jardell; Shirley Bergeron; Tina Balfa 02:14 Dewey expresses his appreciation to be present on the Allison Miner stage and the uniqueness of each musician there; explains Peter’s story from Germany apprenticing with Dewey 03:11 Dewey introduces old friend Robert Jardell with anecdote about Robert killing duck with a shotgun and glowing review of “the most traditional heart” of a young person of anyone he knows; Dewey says Shirley has more feeling for his music than anyone and is an award winning steel guitar player 06:33 Dewey brought up without the modern ease of technology enabling the enjoyment of music playing with fiddle and triangle after a hard day of work 07:55 Demonstration 10:35 Many styles of playing 2nd fiddle; in Cajun music the 1st fiddle plays the melody, 2nd fiddle plays the baritone below the melody; alternative style for the 2nd fiddle is beau shuffling; Dewey wants to show how the bass was done 11:42 Demonstration: “Depuis a l’age de quinze ans” 13:51 Dewey was brought up listening and learning this traditional Cajun music; late 1980’s diatonically tuned instruments were introduced to Arcadians by New Yorkers; Robert demonstrates specific ways to play the accordion; melody only and then shuffling, Dewey explains the difference as he plays 16:42 All of the musicians play as a “paying hobby”; Guitar was introduced to Cajun music after WW2, triangle was there since beginning 18:54 Demonstration: “My Conscious is Clear, What about Yours” or “Every Night When You Can” 26:07 Demonstration: “Allons Danser” 31:45 Demonstration: “Orphan Child Waltz” written by D.L. Menard 37:52 Peter responds to question: 1984 apprenticeship through the National Endowment for the Arts got him started playing music; summer program in West Virginia exists to learn about oral tradition with Dewey; many fiddle players have two fiddles tuned differently and switch between them 40:58 Cajun music is Americanized by blues influences although older folks in northern Louisiana can still play more traditional music like from Normandy 42:20 Demonstration: “Talk to me about a little drink but never about Marriage” or “Parlez-nous a Boire” 47:07 Interview ends

: 1989 Filé with Ward Lormond, Al Bernard and Darren Wallace; Allison Miner interviewer. Filé with Ward Lormond, Al Bernard, Darren Wallace., 00:00 Musical Zydeco Intro; Thank you and informal introduction from musicians Al, Dan, and Ward. Al is from Cecilia; Dan is from Lafayette, Ward is from Scott 01:22 Demonstration: Perdin Two-Step 05:22 Darren Wallace talks about his family coming from Texas to Louisiana for the oil business; grew up around French people, Cajun music; Dewey Balfa and Lionel Leleux strongest Cajun fiddle influences. 06:29 Allison notes File as one of the only bands to balance rock influence with Cajun and make the music danceable; Al Berard speaks of coming from a different musical background; starting off playing guitar, old country music songs; rock band at 15; comes from a real Cajun background. 08:28 Ward Lormand talks of his start playing drums and then playing the accordion of his roommate, Cochon inspired him to start playing Cajun; primary accordion influence Felix Richard 09:44 Demonstration; song written by Al Berard “Marie” 14:30 Demonstration “Turtle Tail Bayou” 18:27 Allison asks where they learned the songs; Ward responds he knew them because they were ingrained in him from growing up in a bar; Ron Brown with the largest collection of Cajun 78s sends him songs. Darren learned next song from fiddle player Vorice Conner, Al and Ward wrote words to it. 19:11 Demonstration “Two Step Waltz” 23:08 Demonstration; Cajun music for remaining 6 minutes of session. 26:46 Demonstration; new song begins 33:08 Last Song ends; Allison makes closing commentary and thanks Darren Wallace on Fiddle, Ward Lormand on Accordion and Al Berard on Guitar, P’tit Fille; Ward thanks the surprisingly large audience 34:56 Interview ends.

: 1989 George Wein; George Wein. Allison Miner interviewing., 00:00 Allison Miner introduces George Wein, creator of Jazz Fest; approached in 1969; Royal Sonesta Hotel; Newport Jazz Festival and Newport Folk Festival; inspired by the rock rebellion and informal youth concerts of the 60’s and the Beatles 02:00 Original title of Jazz Fest was New Orleans Jazz Festival and the Louisiana Fair; with ONLY artists who were from New Orleans or did something about it; First Jazz Festival was in 1970 in Congo Square 04:47 Some of the people that Allison found for the Jazz Fest had already played at the Newport Folk Festival; Fife and Drum band from Mississippi, Clifton Chenier, Robert Pete Williams 06:51 George produces 1000 stages during the year in 25 or 30 festivals per year; sponsored by Ben and Jerry, Miller, Playboy, JVC Electronics, Melon Bank 07:04 George is first a musician and jazz lover; played with Edmond Halls Quartet and Max Kaminsky and Peter Russell; found his ability to organize and coordinate things and started Mahogany Hall and Storyville Nightclubs; loved Louis Armstrong and the influence of New Orleans and its importance to jazz 08:30 He has a band called the Newport Jazz Band 11:15 Jazz and Heritage Foundation (Board of Directors) is the organization that manages funds for the artists involved and the radio- Allison describes in detail; didn’t make money until 1975; have come a long way to be able to give back to the community 13:40 Demonstration 17:00 As George gets older his relationships with other musicians in the context of being a promoter and organizer get better and he feels allowed to play at his shows more; difficulties of touring in Europe 20:22 After managing artists George realized that he couldn’t produce events and manage careers; records artists seldom on Concord Records: the Dirty Dozen Brass Band, Terrence Blanchard, Donald Harrison 22:18 difficulty of personal goals as a creative innovator and leader; wants to build the company so that the young producers there can continue the work they’ve done and float with the times 23:11 Newport Jazz Festival started in 1954 (35th Anniversary); JVC Festival in New York is the direct descendant of the Newport Jazz Fest; Nice is George’s favorite festival 25:32 the privilege of experiencing the ambience of getting down in New Orleans and the chance to participate in that. 29:20 Demonstration 30:43 Interview ends

: 1989 Hackberry Ramblers; 04/30/89 - Hackberry Ramblers with Ben Sandmel., 00:00 Allison Miner introduces Ben Sandmel and the Hackberry Ramblers 01:08 History of the Hackberry Ramblers and where they fit into Louisiana music scene; typical of Cajun music and the ways they differ through discussion and music samples 02:08 Demonstration: “Hackberry Ramblers Theme song”; how they start all of their dances 04:20 Demonstration: “French Waltz” and Two-step version of the “French Waltz” 06:40 The Hackberry Ramblers have been together since 1933; (Luderin) My mother was interested in me playing the fiddle, which she called the violin. The violin is played with notes and fiddle played by ear; she payed $10 for the fiddle and bought a correspondence course; He was playing “commercial” salon music, hillbilly music; he was playing foxtrot type of music 08:32 His dad was transferred to Hackberry where they were testing for oil; Edmond lived across the street; came from a family of accordion music. Edwin plays both guitar and accordion; switched over to the guitar with the decision to become a professional band; played Cajun Louisiana music as well as western swing numbers outside of Texas 11:23 Demonstration: “Beaumont Rag” 13:06 1933 they began recording commercially; Johnny Faulk joins interview (upright bass); Founding members Ed and Luderin cut around 378 records from the late 20s through the 40s; Ben is the most recent band member; Luderin was one of the first band leaders to implement a sound system; named themselves Hackberry Ramblers 15:56 Began broadcasting from Lake Charles KFDM; they played dance halls every night and there were no lights; plugged the first sound system into the model A Ford outside; very difficult during the Depression 18:07 Three to eight members: a fiddle, 2 guitars, a bass fiddle; for the records recorded for RCA in the 30’s there were 4 members; fiddle, 2 guitars, a bass and later on added a drum; In 1945 or 1946 they added a trumpet, a saxophone, and a piano; making a semi-orchestra and a string band 22:06 Demonstration: “Pipeline Blues” 27:10 Demonstration: “I’m Wondering” 31:40 Demonstration: “Cajun Hop” 35:25 First played French Waltz, etc.; recorded their English records under the name Riverside Ramblers and French records under the Hackberry Ramblers 36:26 Considered retiring but in 1963 Chris Strachwitz (owner recording studio in Berkeley, CA) knocked on their door to see if they would record again 41:15 Demonstration: Original song of D.L. Menard 44:20 Demonstration: “Hackberry Ramblers Theme song” 45:33 Interview ends

: 1989 Harmonica Workshop with Charlie Sayles, Walter Liniger and Chicago Bob Nelson; Harmonica Workshop with Charlie Sayles, Chicago Bob Nelson, Walter Liniger. Allison Miner introduces., 00:00 Allison Miner introduces a Harmonica workshop; introduces Walter Liniger, a researcher at the blues archives at the University of the Mississippi; Charlie Sayles, originally from Massachusetts self-taught Harmonica player; Bob Nelson, from Chicago, originally Louisiana, with a band called the Shadows and has worked with Howlin’ Wolf, Muddy Waters, Slim Harper, etc. 03:38 Invitation to blow along with the instructors (Chicago Bob Nelson) on the audience’s own harmonicas 04:35 Demonstration: Audience participatory “beat” instruction of Harmonica Solo 06:25 There are different styles of harmonica playing exemplified by well-known blues harmonica players; Sonny Terry is Country Blues: things like Train Songs, Fox Chase, where you use a lot of wind 07:04 Demonstration: Sonny Terry’s Playing Style 08:25 Demonstration: Big Walter’s Style 10:32 Demonstration: the Blues Instrumentals 14:00 Charlie Sayles takes over the workshop 14:10 Demonstration: “One Way Out” Sonny Boy Williamson, D key harp 16:10 Demonstration 17:40 Demonstration: Lil’ Walter’s style 18:58 Charlie hung around with Big Walter Horton in Chicago when he was a kid, he taught him: 19:18 Demonstration: Big Walter Horton’s style 21:18 Demonstration: 1st position 21:58 Demonstration: 2nd position/cross-harp 24:34 Demonstration: B flat, slower tune 27:05 Walter says the harmonica is not authentic and indigenous to him; his presentation of harmonica is a reflection of his experience of the south; Walter’s understanding of the harmonica comes from rural characteristics. 28:47 Demonstration 37:01 Demonstration: All three Harmonica players play together for the audience 47:07 Interview ends

New Orleans Jazz & Heritage Foundation

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