Allison Miner Music Heritage Stage Collection

: 1990 Charles Brown; Allison Miner introducing. Allen Toussaint interviewer. 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 Introductions; Demonstration “All My Life.” 05:51 Brown discusses family from Louisiana, and his song “New Orleans Blues.” Begins Demonstration; Toussaint points out that song was played in F-sharp. 10:13 Charles Brown discusses his grandmother in Texas City, Texas, who wanted him to be a school teacher. When he was around ten, he began taking piano classes in Galveston, Texas; Discusses background in college, where he studied chemistry and mathematics, minored in education. Took just one advanced piano class. 12:20 Talks about admiration of recording artists like Bessie Smith. Works as a teacher, and then as a chemist, doing mustard gas sampling. Volunteered to go into the army, but is disqualified because he has asthma. Decides to go to Berkeley, California and become a musician. Ran an elevator at a department store in California. Performs at an amateur show to win $25. 16:30 Demonstration of the song Brown played at the amateur show. 17:25 Demonstration of Debussey, “Claire de Lune,” which he also played at the amateur show. 18:27 Johnny Moore, leader of the Three Blazers, hears Brown at competition and tries to find him. Invites him to play with the trio. 19:36 Demonstration, “Embraceable You.” 20:39 Discusses audition for William Morris Agency, gives demonstration of piano styles played at audition. Classical music and “Drifting Blues.” 22:24 Discusses guitar technique, piano technique, and Brown’s influence on Ray Charles. Taking Ray Charles on tour, and working with Billy Shaw Agency; Touring with The Clovers, Billy Ward and his Dominos, Jackie Wilson. Discusses seeing Ruth Brown at the Apollo Theater in New York; Touring with Ruth Brown and Johnny Ace. 26:31 Brown discusses recording “Drifting Blues” on vinyl records. 27:35 Demonstration “Mary Christmas Baby” 31:30 Interview ends

: 1990 DL Menard with Eddie Lejune and Kim Smith; Allison Miner introducing. 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 DL Menard is an ambassador of Cajun music from Erath, LA; composed “La Porte d'en Arrière” (The Back Door) and is often called the Cajun Hank Williams 02:10 Demonstration 05:40 DL calls the folk festival a family reunion 06:20 Demonstration 12:15 Demonstration: “The Water Pump” 16:40 Demonstration: “The Green Oak Tree” 21:45 Eddie Lejune is going to play a song written by his father Iry Lejune 22:10 Demonstration: “Lacassine Special” 25:10 Eddie has recorded “The Mistake I Made” on Rounder records, and dedicates this song to his wife 25:35 Demonstration: “The Mistake I Made” 29:10 Demonstration: “Wildwood Flower,” by Mother Maybelle Carter 32:20 Demonstration: “The Back Door” 36:35 Interview ends

: 1990 Daniel Lanois; Daniel Lanois with Lula Landry, Darrel Johnson, and Ronald Jones. Allison Miner interviewer., 00:00 Musical introduction; Lanois transitions between French and English in his song 04:48 Allison introduces Lula Landry and Daniel Lanois, a Canadian producer and musician 06:31 Lanois’s entire family plays music together and with other musicians; their first studio was in the basement of their family home; was heavily influenced by American bluegrass music; 09:37 Miner mentions that his lyrics are filled with imagery; Lanois says he likes working-class and rural images; Lanois brings on Darrel Johnson and Ronald Jones to play a song about the Caledonia River 18:09 Demonstraton 21:34 Lanois says he has time for one more song or two short songs; he breaks out into a clapping spiritual with Johnson and Jones 25:10 Demonstration 30:53 Interview ends

: 1990 Danny Barker; Jerry Brock interviewer. 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., 0:00: Introductions; Discusses family - Barbarin family, grandfather Isadore John Barbarin from Onward Brass Band; uncles Louis and Paul Barbarin- composer, wrote Bourbon Street Parade; encouraged to play music, ukulele, drums, guitar, and banjo 4:10: Barker as songwriter, talks about Save the Bones for Henry Jones; recorded by King Cole and Johnny Mercer recorded by Orleans Records 5:40: Living in Tin Pan Alley and Hell’s Kitchen; Broadway- publishing companies, had to find your own royalties; Lived in Harlem for 38 years, played with a dozen bands from 1930-1939, played with Cab Calloway’s band 8:00: Talks about Cab Calloway; his wife Blue Lu Barker; wrote “Don’t you Make me High” for his wife Blue Lu; government sent notice to record label saying to stop pressing that record because it was corrupting younger generation 11:58: Other careers: Traveled to Los Angeles, recorded with Cab Calloway in two movies:” Stormy Weather” and “Sensations of 1945.” Also in “The Gathering of Old Men” in LaPlace Louisiana; made movie with Step and Fetch It in 1931; On Broadway in “The Constant Sinner” with Mae West; played with Jelly Roll Morton in 1930 in New York; Jelly Roll playing in “cat houses” in Storyville 22:00: Talks about Danny’s influence in the city, helping kids learn the music: Audience questions: Race and jazz; Louis Armstrong’s contribution to jazz; Sidney Bechet’s contribution 27:46 Interview ends.

: 1990 Dr. John; Dr. John. Allison Miner interviewer. ., 00:00 Dr. John is introduced. He discusses meeting Professor Longhair. Has been experimenting with solo piano, will be discussing techniques. 01:55 Dr. John grew up in New Orleans, the 3rd Ward on Jefferson Davis Parkway by Bank Street. His father sold records on Gentilly Road by Dillard University. He became familiar with local musicians and music venues. First studied guitar and piano, studied under musicians including Papoose (Walter “Papoose” Nelson Jr.). (Other names intelligible.) Began playing professionally around 15, or younger. Made recordings with Allen Toussaint, Charlie Williams (Clarence Williams?), Frank Fields, Red Tyler (Alvin “Red” Tyler), Lee Allen. “Storm Warning,” first recording for album that did not ultimately come out. 03:46 Discusses influence of Professor Longhair on his piano style. Moving to California to play with Harold Battiste. A.F.O. Band. Production of first commercial record, Gris Gris Record. Discusses the intersection of the traditional New Orleans musical influences in the Gris Gris Record with the psychedelic music popular at the time of it’s release. 06:41 Demonstration “Dorothy” written for Dr. John’s mother, recorded with A.F.O. Records in 1961 before it was later used as part of a solo album. 12:06 Discusses his past writing collaborators, including Doc Pomus and Jessie Hill. Production of “Right Place Wrong Time,” and working with Allen Toussant. Discusses record “In a Sentimental Mood.” 14:33 Discusses Professor Longhair’s tradition, it’s influence on his style, and Dr. John’s extensive music lessons on cassette tape. Dr. John explains how Longhair utilized different rhythms that would later be adopted by Rock and Roll, Rhythm & Blues and other genres. 16:12 Demonstration of Professor Longhair’s “Misery,” 19:14 Demonstration of “Junker’s Blues.” 23:10 Demonstration of “Bucket of Blood Type Blues,” Song title: “You Lied Too Much.” 26:45 Dr. John discusses his place in the tradition of New Orleans piano style. 27:42 Demonstration of Champion Jack Dupree song. 30:35 Interview ends

: 1990 Dr. Michael White; Dr. Michael White. Jerry Brock interviewer., 00:00 Dr. Michael White, jazz clarinetist; holds a doctorate in foreign languages and is a professor at Xavier University. White is also a recording artist and one of the main subjects of a documentary film called “Liberty Street Blues.” 02:40 Talks about traditional New Orleans jazz music, “Dixieland.” It’s an imitation of the traditional music developed by black jazz musicians such as King Oliver and Buddy Bolden. 03:55 Attended St. Augustin High School and studied with Edward Hampton. Musicians that influenced him are Danny Barker and Doc Paulin. Talks about how he met both. 08:00 History and development of New Orleans Jazz; White attributes much of its development to the need people have New Orleans to celebrate and express themselves; importance of Brass bands 11:15 White speaks to playing in different kinds of jazz bands, either a stage group or a street group 14:14 Demonstrates the arpeggio style with “A Closer Walk with Thee.” 18:00 Discusses Jelly Roll Morton’s style 22:20 Dr. White speaks about his effort to revive Jelly Roll Morton’s music, his collaboration with Wynton Marsalis in this effort, and the concert at Lincoln Center Classical Jazz Series. 30:05 Audience questions: folk clarinet styles such as Klezmer, relationship with Johnny Dodge or Sidney Bechet. 36:35 Demonstration of a new melody he’s working on in a minor key. 39:23 Interview ends.

: 1990 Eddie Bo; Eddie Bo. Allison Miner, interviewer., 00:00 Allison Miner makes introduction; Eddie Bo 02:53 Demonstration of Professor Longhair’s piano style; Eddie talks about Professor Longhair and his quirks; Eddie went to the Caldonia; the Bocage family; cousin Peter Bocage was an important trumpet player in the traditional New Orleans Jazz style; mother was a pianist; grew up around church music 05:03 Demonstration: Junker Blues 05:43 Talk about childhood; grew up in the 9th ward with David Lasley, Poppy Walter Lasley who were in Eddies traveling band with Irving Banister, Irving Charles on bass, James Black. The beginning of the ‘Hook and Sling’ era; Then went on the road as a New Orleans house band for Lloyd Price, Amos Milburn, Ruth Brown, Charles Brown, Willy John as Band Leader; talk about touring. 07:55 Between the years of 1955 and 1971, Eddie Bo made more 45’s then anyone but Fats Domino; Rounder 10:05 Demonstration: Check Mr. Popeye 1962 11:08 Demonstration: It Must Be Love 1961 13:01 New Orleans symphony Orchestra; Lee Diamond and recording “I’m Wise” which Little Richard then recorded as “Slippin and Slidin”. Eddie recorded “I’m Wise” in New Orleans for Apollo Records in New York City. 15:45 Demonstration (recorded): Tell It Like It Is.1960 16:51 Miner mentions the lyrics on that tune. They talks about his friend Alton ‘Elbow’ Thomas who plays tambourine on it and the close-knit New Orleans musical family. 18:07 Demonstration (recorded): I’m Wise. 1955. 19:06 Demonstration (recorded): Slippin and Slidin. Little Richard. 1956 20:26 Demonstration (live): Every Dog Has His Day. 21:46 Talk about the ‘hooks’ in his songs; demonstrates on piano 24:20 He studied music at the Grunewald School of music. There he learnt arranging and composition with Sun Johnson and professors from Europe. He trained with Ellis Marsalis and Edward Frank.; Grunewald publishing 25:35 Demonstration (Recording). Let Our Love Begin This Minute. 28:30 Discuss “Hook and Sling” which Eddie self-produced in 1967 for Scepter Records, with Al Scramuzza 29:25 Demonstration (recorded): Hook and Sling. 1967. 32:27 Miner refers to “I Just Cried Oh” which Snooks Eaglin has just recorded on his album. They talk briefly about royalties. 36:34 Demonstration: All I Need. 38:29 Interview ends

: 1990 Eddie Bo; Allison Miner interviewer. Eddie Bo., 00:00 Miner describes getting to know Edwin Bocage and his influence on her. She refers to Rick Coleman, the WWOZ DJ and Eddie Bo researcher who is sitting in the audience. She sites his two radio shows on Bo to be of great importance to her. 01:45 Eddie was born in Algiers in New Orleans and raised in the 9th Ward. Between the years of 1955 and 1971, Eddie Bo made more 45’s then any other musician in New Orleans, other than Fats Domino. He is also a contractor and designs and builds studios and clubs. Recently he has formed a new band and is doing many new things with his music. 04:04 Miner plays ‘Check Mr. Popeye’ from 1962, from the ‘Rick and Ron Sessions’ that have just been released on Rounder Records. 05:29 Eddie talks about his time with ‘The Lastey’s’ (?) as a bandleader and arranger. He mentions David Lastey, the father and Poppy the drummer. This band became the Shaw Booking Agency that went on the tour for a number of years and backed Little Willie John, Amos Milburn, Ruth Brown and Joe Turner. 07:11 Miner refers to the BMI printout of all of Eddie’s 116 songs; his prolific songwriting and his unique style. His main musical influences are George Shearing, Oscar Peterson and Art Tatum. He plays an example of their styles in his music. 09:11 He comes from a musical family. Peter Bocage, his cousin was one of the most important traditional jazz performers. Also his cousins Charles and Henry were also important musicians. Eddie attended the downtown Grunwald School of Music, that Ellis Marsalis and Edward Frank also attended. Eddie studied arranging and composition, taught by Sun Johnson. He mentions that the Marsalis family ‘from another generation’ taught them how to arrange for every instrument across the range. 11:04 Eddie was in the army and was known for being a boxer- ‘Spider’ Bocage. 12:14 Miner plays a recording of ‘It Must Be Love’. 15:05 Miner introduces ‘Tell It Like It Is’ and asks him about Lee Diamond and George Davis. Eddie talks about Lee and his relationship with Little Richard and ‘Slippin and a Slidin’. 16:04 Miner plays an excerpt of a recording of the 1960 ‘Tell It Like It Is’. 18:23 Miner introduces a recording of “I’m Wise’, the recording that Little Richard turned into ‘Slippin and a Slidin’ which became a massive hit. She plays excerpts of both tunes. 20:29 After touring with the Shaw Booking Agency, he came back to New Orleans and produced for a number of artists including Bobby Mitchell, Chris Kenner, Art Neville, Chuck Carbo, Johnny Adams and Joe Banachek. He also worked with Tommy Ridgley on the track ‘In the Same Old Way’ and Oliver Morgan on ‘Who Shot the LaLa’. Eddie gave Etta James one of her biggest hits with ‘My Dearest Darling’. 22:15 Miner plays ‘Let Our Love Begin This Minute’. 25:56 Demonstration: Eddie plays a mix of ‘Hard Times’ and ‘It Must Be Love’ on the piano. 28:37 Recorded excerpt of ‘Hook and Sling’. 31:28 Allison mentions the upcoming recordings e.g. the Rounder compilation due out, the Charlie Records recording called ‘Vippin’ and Voppin’ ‘ and the new Dirty Dozen recording. 33:43 Interview ends

: 1990 Eleonor Ellis; Eleonor Ellis., 00:00 Demonstration: “This song is about a real bad part of town, I don’t know what town…” 04:05 Brings up friend, Claudine, to play a Memphis Minnie song, “Me and My Chauffeur.” Demonstration. 05:45 Sound glitches, sounds like skipping but not sure if it’s the CD or the equipment. 08:14 Promotes her video, “Blues Houseparty.” This next song originally recorded by Mance Lipscomb from Texas, unsure of the title. 08:45 Demonstration. Lyrics: “Everybody’s got an easy rider but me.” 13:19 Demonstration. Lyrics: “I’m going home, sit down and tell my ma. That’s not way for me to get along.” 18:26 Demonstration: Song about Algiers and tells a bit about Memphis Minnie, having grown up in Louisiana. 19:22 Demonstration. Lyrics: “I was born in Louisiana, raised in Algiers…I believe I’ll get married, mmhmm, settle down.” 22:10 Invites Claudine up to play on the mandolin again, a Big Jaw Williams tune, called “Borrowing That Stuff.” 23:50 Demonstration. 28:46 Interview ends

: 1990 Germaine Bazzle; Germaine Bazzle. Allison Miner interviewer., 00:00 Allison Miner introduces Germaine Bazzle; Germaine played with June Gardner, her band leader; June Gardner and the Gentlemen of Jazz with Red Tyler, Edward Frank, Chuck Beatty; Eddy Collins played with them as well; learning experience playing with all of these musicians 02:10 Five years ago at the Contemporary Art Center Germaine led the band as a singer while doing a broadcast for WWOZ 03:24 Germaine raised in the 7th ward and Treme; talks about its influence; relationship musically with her childhood church; Treme had a stronger influence on her music than church; she bought records of Ella Fitzgerald, Charlie Parker, Sarah Vaughn 07:24 Demonstration 10:39 Talk about her solo-ability and its unique style; recording “Let’s Do Secret Love” ballad with Ellis Marsalis, Rush Nouvel, Noel Kendrick, and Victor Goines 12:17 Germaine attended Xavier university and taught at Xavier Prep; participated in the Opera; talked about the connection between Bach and Charlie Parker; Swingle Singers 14:39 Germaine talks about playing the bass with Earl Foster Group; primarily traditional jazz; Sing Miller 16:50 Red Tyler plays a lot of different genres of music; Germaine talks about her style and incorporation of different genre influences evolving to her current style 18:38 Germaine has a dream of having a Jazz Vocal Choir; talk about the voice as the original musical instrument and the value of choirs and vocal education in education 20:36 Demonstration “Foggy Day in London Town” Germaine’s first record with Lady BJ 22:21 Interview ends

: 1990 Henry Grey and Tabby Thomas; Henry Gray and Tabby Thomas. Dick Waterman interviewer., 00:00 Allison Miner introduces Dick Waterman. Henry Grey on piano, who is from Baton Rouge but has spent a lot of time in Chicago. He describes his sound as being a cross between a Louisiana and Chicago sound. Tabby Thomas will join them later. 01:25 Henry Gray was born in Baton Rouge in the mid-1920’s, served in WWII, and in 1946 moved to Chicago where he played with Howlin Wolf, Muddy Waters, Little Waltham, and some of the younger ones such as Buddy Guy and Junior Wells. Big Maceo Merriweather was a major influence on Gray while he lived up there. 02:34 Demonstration 05:05 Demonstration,“Ain’t No Use.” 07:48 Demonstration, “I’m Gonna Tell My Momma.” 09:44 Demonstration, an original blues song, “Blues Won’t Let Me Take My Rest.” 13:25 Demonstration, Lyrics: “I’m gonna wake up in the morning” 15:54 Demonstration, a song he cut with Howlin Wolf, playing the piano, “Little Red Rooster.” 20:08 Waterman welcomes Tabby Thomas to the stage. Talks about talent contest in 1951 San Francisco where he beat out Etta James and Johnny Mathis; his first successes as a recording artist in those years; Writing songs for Slim Harpo 29:46 Demonstration, “The HooDoo Party,” 1961. 33:15 Thomas discusses when he first heard Henry Gray play the piano, he switched to playing guitar; playing at his club in Baton Rouge, The Blues Box. 34:04 Demonstration, “Louisiana Woman.” 38:00 Thomas discusses his relationship with Big Mama Thornton and Willie Mae Thornton. 43:17 Interview ends

: 1990 Jesse Thomas; Jesse Thomas. Allison Miner interviewing., 00:00 Introduction; Born in Louisiana, traveled to Texas, Oklahoma, and lived in California for a while. Comes from a family of musicians, father played violin, his brother, “Rambling” Thomas, was also a recording artist. Jesse Thomas started playing guitar at age 7. Nighthawk Records produced an anthology of his work called “Down Behind the Rise,” starting with recordings from 1940’s. 01:13 Demonstration of “Blue Goose Blues,” the first song he ever recorded, 1929. 04:20 Demonstration: “Rain, Sleet, or Snow.” 08:20 Demonstration: “I’m Staying At Home.” 12:18 Demonstration: “Call me.” 15:55 Demonstration: title not given. Lyrics: “Blues was a feeling I had when you were gone.” 19:48 Demonstration: title not given. He says he can’t remember the words so he’ll just play it as an instrumental. 22:05 Demonstration: title not given. Lyrics: “When you hear me knocking, turn your lights down low.” 26:30 Demonstration: “Stop Crying On My Shoulder.” 30:36 Demonstration: instrumental, a version of “Honky Tonk.” 34:03 Demonstration: He says this song isn’t biographical but comes from a dream he had, called “She Throwed My Clothes Outdoors.” 37:54 Demonstration: title not given, sounds like a variation on “Blue Goose Blues.” Lyrics: “Way down south in Louisiana, Shreveport’s the name of the town.” 40:33 Demonstration: title not given. Lyrics: “I’ve got them lonesome blues.” 43:13 Audio cuts out. 43:28 Demonstration: “Basin Street Blues.” 45:39 Demonstration: “Do You Know What It Means to Miss New Orleans?” 48:00 Demonstration: “Caledonia.” 51:58 Demonstration: “Another Friend Like Me.” 57:19 Interview ends

New Orleans Jazz & Heritage Foundation

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