Allison Miner Music Heritage Stage Collection
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- 2017 Chief Howard's Wild Squatoulas Mardi Gras Indian Youth Program
- Interviewer, Maurice Martinez, 01:07 Demonstration 01:45 Howard Miller explains how he came to mask 05:51 Miller discusses John Williams, who made him a chief 08:01 Miller explains the origins of Mardi Gras Indians, and how a spiritual practice came to merge with a creative one 13:12 Miller explains how secrecy kept the culture alive 19:15 Miller discusses Danny Lambert 20:47 Miller discusses Alfred Montana 24:40 Miller explains his tribe’s connections to the Wild Squatoulas 25:52 Jared, Miller’s chief scout, introduces himself 26:12 Miller discusses his youth program, intended to keep the culture of Mardi Gras Indians alive 28:15 Miller introduces “Indian Red” and the importance of his mentors including Jerome Smith 29:39 Demonstration “Indian Red” 31:50 Miller clarifies meaning of lyric “Kill ‘em dead” 33:45 Miller explains that Indians pay for their suits out of pocket 34:30 Miller discuses the progress that’s been made in Indian-police relations 36:04 Miller addresses tribe changes since Katrina 36:53 Miller discusses the New Orleans Mardi Gras Indian Council 37:52 Jared discusses his sewing practice 38:30 Jared explains his freedom in designing his suits 38:41 Darryl Montana mentions the phenomenon of tribes’ resurrection, and how his father, Tootie, became the chief of the Yellow Pocahontas 40:43 Miller warms up the audience for participation in “Tu Es Pocky Way” 41:04 Demonstration “Tu Es Pocky Way”
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- 2017 DL Menard and Terry Huval
- Interviewer, Michael Tisserand, 01:03 D.L. Menard mentions having visited a town named Menard, where he was offered the key to the city 01:40 Michael Tisserand and Menard discuss “La Porte en Arriere” having made Rolling Stone’s top one hundred country and western songs 02:40 Demonstration “La Porte en Arriere” 04:47 Menard explains how he got started with the guitar in Erath, Louisiana 06:02 Menard describes his first guitars and how he got them 08:03 Menard discusses his first gig 08:48 Menard explains that he never announced his intent to be a musician to his family of farmers, as he never imagined he’d make a living of it 09:55 Menard describes his radio 11:08 Menard describes what he would listen to on the radio 11:25 Menard explains what drew him to Hank Williams 12:28 Menard discusses his meeting in 1952 with Hank Williams 13:43 Demonstration “Your Cheatin’ Heart” 15:56 Menard discusses writing “The Back Door” and its frequency of covers 17:44 Menard explains the story within the lyrics of “The Back Door” and how its success surprised him 19:29 Menard speaks to his songwriting methods 19:50 Menard explains how the turntable determines good songs 20:13 Menard describes his first recording 20:40 Menard explains how he got started touring 24:37 Menard explains the beginnings of his chair factory 26:35 Menard admits he can’t remember when or how he first met Terry Huval 26:58 Terry Huval describes his first encounters with Menard 28:24 Huval describes touring and being on the road 31:21 Demonstration “Happy Go Lucky” 32:23 Menard and Huval describe their relationships to Don Helms 35:30 Huval relates an anecdote about the writing of “Jambalaya” and its import to the Cajun population 38:06 Menard explains how he came to collaborate with Dewey Balfa on “The Green Oak Tree,” and how quickly he wrote it 40:04 Menard declines to translate the “Oak Tree” lyrics, explaining that he can’t always translate from writing in French 40:27 Huval explains the lyrics 40:44 Demonstration “Under the Green Oak Tree”
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- 2017 Danny Barker - A Life in Jazz
- Detroit Brooks, Gregory Davis, Gregg Stafford, Dr. Michael White. Interviewer Gwen Thompkins, 02:21 Danny Barker was born in the French Quarter in 1909, spent over thirty years touring and recording in New York with the likes of Cab Calloway, Lucky Millinder, Henry Red Allen, Dexter Gordon and Charlie Parker. He made history upon his return to New Orleans and founding of the Fairview Baptist Christian Marching Band, which saved the New Orleans brass band tradition. 04:55 Demonstration “Some of These Days” 11:50 Barker said music could come upon you any time in his childhood in New Orleans, a “magical phenomenon.” 13:34 Gregg Stafford explains his childhood musical experiences, akin to those of Mr. Barker. Bars like the Dew Drop Inn, parades, and brass bands such as Knights of Pythias and Odd Fellas provided ample musical stimulation. 16:02 Gregory Davis explains his youth in the Treme: second lines, funeral processions and bars provided music but not that that Barker heard in his own youth. Barker is who introduced these gentlemen to the jazz of his youth, as did Leroy Jones. It was in Jones’ band, the Hurricane Brass Band, that Davis and White first met. 19:09 Detroit Brooks explains that he met Barker through a previous marriage, having been married to a woman whose brother played with Hayward Johnson [?]. 19:52 Stafford was in the first iteration of the Fairview band, along with Lucien Barbarin, Charlie Barbarin, Daryl Adams, Raymond Johnson, Michael Johnson, Terry Cagnolatti, Gene Mims, Thomas Mims, Morris and Roy. 20:38 Stafford notes they would practice in Jones’ garage at 1225 Saint Denis; Barker accepted anyone interested into the band. Jones noted as a strong leader and gifted trumpet player. 22:59 Stafford notes band grew so big that Barker occasionally split them up for gigs. 23:33 Davis explains that his friendship with Barker grew out of collaborations with the Dirty Dozen Brass Band. He was first exposed to Barker’s work through the Blu Lu Barker song “Don’t You Feel My Leg,” which he heard on WWNO’s late-night jazz program. 25:31 Demonstration “Don’t You Feel My Leg” 31:48 Demonstration Michael White interview clip with Danny Barker: “Authentic New Orleans jazz is poor people in a night club and a cabaret, a man with some money in his pocket and a beautiful woman that he wants to pick up off the floor, he wants to dance with her, and he doesn’t want to be on the dance floor getting out of breath to what he’s dancing to. He wants to talk to her while he’s dancing, he wants to squeeze her, etcetera, things that a man will do and a woman wants a man to do. Huh? And he’s close to having the bodies and the hearts beat together when the vibration of the limbs and the muscles and coordination, got that? 32:56 Davis explains Barker’s penchant for storytelling, how he always wound things back to women, part of what made his songs feel authentic. 34:10 Stafford relates that Barker tried to coach him with women, and was happy to engage in a range of conversational topics, including politics. 36:06 White recounts his strange first meeting with Barker, encountered while looking at a picture of him in a library book. Bonded over jazz history. White was in the second incarnation of the Fairview Baptist Christian Marching Band, the oldest of the children. 40:53 Brooks explains the origins of the Danny Barker Banjo & Guitar Festival, intended to preserve the history and culture of these stringed instruments. He considers it carrying a torch from where Barker left off. 43:15 Demonstration “When You’re Smiling”
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- 2017 Edward Kidd Jordan
- Interviewer, Matt Sakakeeny, 01:46 Kidd Jordan describes his work as “creative music; I play music on the spot.” Compares his training in classical music as a youth to bebop musicians, who would memorize and play the same solos each time. 03:30 Emphasizes that jazz is a music of improvisation; if asked what key he’s playing in will reply ‘Whiskey,’ as anyone who can’t identity a key by ear is out of their depth. Notes his experiences in Europe being recorded being accompanied by birds and playing various metal objects. Relates that he felt qualified to become a musician when he found himself able to improvise. Confesses he’s cleared out concert halls in his time, which doesn’t bother him, as he identifies as living and dying by the sword. Explains how regular practice has instilled him with confidence, feels able and eager to incorporate anything into a performance. 06:25 Darryl Levine explains that when playing with Jordan anything can happen, explains that it’s about timbres and tone colors of the moment. Emphasizes that improvisation begins with a solid knowledge of your instrument, as improvisation is “really not a music of chance.” 07:25 Jordan explains that he also works within his musical set-up, including which neck strap he uses, for optimal performance. He improvises his equipment as well, which he sees as a part of a piece. 08:50 Jokes about how expensive mouthpieces can be. 09:52 Tuning/Demonstration: “Blues for the People” 17:27 Jordan explains how he and Levine play off on one another, which requires listening at each other. This doesn’t require thinking in chords such as other formal musics require, but rather listening and responding. 19:00 Jordan explains that older New Orleans jazz musicians weren’t practicing, as they were working too much; despite different circumstances considers their experiences of improvisation similar, working off of collective experience. 21:11 Jordan says an important thing to remember is that the music keeps on developing. Wishes he could live two thousand years to experience such evolution. 22:18 Concurs with Matt Sakakeeny that despite New Orleans having so much music, there is not much room for his type of work. As a result, he plays in Europe more often than New Orleans. Does not begrudge traveling, as he is happy to be given the chance to play anywhere, beyond the pains of leaving his wife alone at home. 23:56 Levine explains that his father exposed him to jazz early on; believes today’s youth are not getting similar exposure. Also laments their lack of mentors in New Orleans, particularly post-Katrina. Says this is a role – mentor, uncle-like figure – Jordan played to many. 25:15 Jordan explains that some people disapprove of his tutelage, which doesn’t bother him, as he believes in continual development. Emphasizes that when teaching children he starts with fundamentals, including reading music, which lots of current young musicians don’t know how to do. 26:30 Jordan laments changes in Broadway shows, which now use tapes rather than live bands, depriving working, reading musicians of gigs. 27:40 Jordan says the first thing he tries to teach students is good technique, which he prioritizes over all else. Skills like perfect pitch are overrated if not in concert with technical competency. Sustained dedication is also key; points out he’ll be going home to practice this night. 29:06 Levine celebrates being a lifetime student. 29:34 Jordan explains a lack of ego can be very helpful: if he sees a child doing something he’s never heard or feels he can’t do, he explores it and tries. 30:03 Demonstration 35:33 Jordan explains that he and Levine have to come together in their improvisations; recognizes that to some ears it just sounds like noise, but points out that so did the music of the likes of Stravinsky and Schoenberg. 36:50 Jordan reveals he developed his high register by improvising with birds in the morning. Explains again that an improvisational ear matters more to him than one uniquely able to recognize pitch. 38:24 Jordan describes Fred Anderson as an unheralded tenor player, celebrates him for never having tried to sound like anybody but himself. 43:00 Jordan agrees with audience member that live music can be indelible; likens it to ‘the hallelujah,’ as sometimes experienced/imparted by preachers. 44:53 Asked about the future of his family, Jordan points out that his most talented musical son, Paul, quit music and pursued aerospace engineering.
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- 2017 Egg Yolk Jubilee, Pioneers of Heavy Brass
- Interviewer, Jennifer Odell, 01:46 Demonstration “The Black Drawers” 05:06 Paul Grass discusses his film Heavy Brass 06:09 Grass speaks to the first iteration of the band, then called the Paneed Syncopators 06:39 Mike Hogan talks about how he and Grass got together musically 08:51 Eric Belletto discusses how he got involved with the band 09:32 Hogan and Grass discuss their first gig, as the Paneed Syncopators 10:56 Grass describes their first original song 12:11 Geoff Douville discusses the process of titling songs 15:06 Demonstration “Freaks” 17:01 Band discusses their songwriting process 18:59 Douville explains the general composition process 21:14 Band discusses the story-telling in their lyrics 21:50 Grass discusses his film A Night at Amethyst’s 22:29 Douville explains their parade set up 23:32 Band considers the differences between between a marching and an electrified band 24:53 Band discusses how to maintain a rock feel as a marching band 25:51 Douville and Grass explain seminal New Orleans influences, which they were exposed to as teenagers 30:04 Demonstration “Dance of the Salivating Pickler” 31:31 Douville talks about meeting Ernie K-Doe 32:40 Band remembers their gig with K-Doe at the Mother-in-Law Lounge 35:18 Band remembers playing with Al ‘Carnival Time’ Johnson 36:12 Band remembers Mike Joseph, their late band member 37:57 Demonstration “Chupaheybra” 40:37 Band discusses ways they consider themselves to have changed 45:20 Belletto speaks to his influences
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- 2017 James Rivers, Multi-Instrumentalist
- Interviewer, Jason Berry, 01:58 James Rivers describes how he got into music as a child, and his trajectory toward his own band, with which he still plays, the James Rivers Movement 05:46 Rivers describes the sessions for Al Johnson’s “Carnival Time,” and Professor Longhair’s “Big Chief” 08:16 Rivers discusses his relationship, and numerous collaborations, with Clint Eastwood 16:35 Rivers names all the different instruments he plays 17:20 Rivers explains his trajectory with the bagpipes 21:58 Rivers reveals his harmonica trick 23:32 Rivers reminisces over his old gigs at Silvio’s and Mel’s Lounge, when he would turn gigs into impromptu second lines 25:58 Rivers describes the origins of the James Rivers Movement 27:04 Rivers speaks to his band’s repertoire 27:50 Rivers explains his criteria for adding tunes to his repertoire 28:52 Rivers explains that regardless of instrument, he plays from the heart 29:22 Rivers speaks about his albums 30:25 Rivers discusses his personnel 31:32 Rivers discusses personnel from his past 32:35 Rivers describes encounters with Sam Cooke 33:02 Rivers explains how he hooked up with Etta James 33:37 Rivers lists other musicians he’s crossed paths with, including James Sugar Boy Crawford 35:50 Rivers explains how sporadically he plays the bagpipes on stage 37:35 Rivers explains that he is always accompanied by his band on the bagpipes 38:18 Demonstration “Do You Know What It Means To Miss New Orleans” 41:23 Rivers names the song he wrote for The Bridges of Madison County and describes his cameo 43:01 Demonstration “Jamming with JR” 43:50 Demonstration Rivers’ music from Tightrope 44:59 Rivers
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- 2017 Jon Batiste
- Social Music from the Late Show with Stephen Colbert. Interviewer, Karen Celestan, 01:37 Jon Batiste says that his first musical mentor was his father, and that thanks to his family he has always been around music. 02:19 Batiste relays his history of musical development, beginning with free piano lessons. In private lessons he learned to trust his ear, and at the Louis Armstrong summer camp that he got exposure to musical peers outside of his family. 04:37 Batiste celebrates his teachers, largely undersung, at the summer camp, who taught him some lessons that he didn’t absorb until years afterward. 05:32 Batiste speaks to the differences between natural talent and cultivating talent, and how the teachers at the Armstrong camp didn’t encourage their pupils to rest on their laurels. 07:07 Batiste speaks to his favorite artists and influences, explaining that the moves of Cash Money and No Limit Records had an effect on him. Cites Chopin and James Booker in addition to folks within the New Orleans canon. 09:10 Batiste explains that he can rarely listen to music for enjoyment, as he tends to have an objective, and gives example of such. 10:39 Batiste reveals that he uses voice memos on his iPhone to keep track of melodies that attract him, and that every snippet of music heard on The Late Show is part of a full tune 12:23 Batiste explains he got his gig on The Late Show after an appearance on The Colbert Report 13:21 Batiste goes into detail about his experience on The Colbert Report and how it lead to his gig as bandleader for The Late Show. 17:50 Batiste says main draw of The Late Show was that a TV gig was entirely new for him and his band 19:09 Batiste identifies the instrument he plays during the opening of the show as a harmoniboard. 20:53 Batiste explains he sees his upbringing in south Louisiana and study at Juilliard as two sources of information within his own development 22:51 Batiste and Karen Celestan discuss “Paul Barbarin’s Second Line” as an example of jazz improvisation 23:23 Demonstration Second line/bamboula rhythm and ways to improvise on top of it 25:19 Batiste expounds on his conception of “social music” 27:38 Batiste explains that he picks musicians for Stay Human based on similar mindsets to his own, and a generosity of spirit 29:25 Batiste explains that as a bandleader he’s drawn to people with alternate ideas, and sees himself as a musical facilitator. 30:35 Batiste explains that he sees Christian values, particularly that of service, as applying to his musical practice 31:23 Batiste explains how he considers the whole concept of celebrity to be at odds with Christian values 33:14 Batiste laments that his celebrity can effect his loved ones, but admits that changing that would require “changing the world” 34:31 Batiste explains his decision not to sign with a label 38:23 Batiste gives some background on John Lewis and his John Lewis Project with Wynton Marsalis and the Jazz at Lincoln Center Orchestra 40:28 Batiste gets into his relationship with New Orleans food 43:24 Demonstration “Do You Know What It Means To Miss New Orleans”
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- 2017 Judith Owen, Stellar singer Chats with Satirist
- Interviewer, Harry Shearer, 02:34 Judith Owen explains her background 03:20 Owen explains how her background compounds her musical interests and style 05:19 Owen describes what she listened to growing up and the influence her father’s taste had on her 07:33 Owen discusses how she’s enamored by chords 10:01 Owen describes her admiration for New Orleans piano players, and explains how she identifies as a songwriter 11:55 Owen describes her songwriting process 15:32 Owen discusses getting involved with Leland Sklar and the experience of recording her album Ebb and Flow with him 20:56 Demonstration “Josephine” 24:32 Leland Sklar discusses what drew him to Judith Owen and her music 25:52 Owen explains her affection for Sklar, and the importance of assembling a good, amusing touring group 27:34 Owen describes some of her joys in touring and being a musician 29:35 Owen explains how touring and her musicianship and the fun that entails are keeping her young 31:39 Owen ruminates on lives in show business being like a form of revenge against high school bullies 34:30 Owen discusses her range, and how her versatility harmed her business prospects until a variety became recognized and labeled as part of her style 38:09 Owen considers the rewards of sticking to your own style and idiosyncrasies 41:50 Owen discusses her acting collaborations with Harry Shearer and how she identifies as an actress more generally 44:09 Demonstration “Sweet Feet”
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- 2017 Kenny Barron
- Interviewer, Michael Gourrier, 03:05 Kenny Barron discusses his first piano teacher, Robin and Kevin Eubanks’ mother 03:59 Barron speaks about his older brother, Dr. Bill Barron 08:06 Demonstration 10:23 Barron describes his musical scene in Philadelphia and how he started playing with Dizzy Gillespie, which included his first trip to New Orleans 14:24 Barron describes the origins and evolution of his Thelonious Monk tribute band, Sphere 20:33 Barron and Michael Gourrier reminisce over past Jazz Fest performances 21:22 Demonstration 21:49 Demonstration 23:54 Barron explains his tune dedicated to Marie Laveau 27:39 Barron adds to Gourrier’s list of his notable former students 30:16 Barron discusses his penchant for Brazilian music 32:37 Demonstration “Thoughts and Dreams” 34:27 Barron talks about his trio with Ron Carter and Gerry Gibbs 35:11 Barron remembers his gigs at Kelly’s and Spider Kelly’s in Philadelphia 36:13 Demonstration “Sunshowers” 38:34 Barron discusses his history with the Impulse label 40:36 Demonstration “Lunacy” 41:58 Barron speaks on You Had Better Listen, a recording he did with Jimmy Owens 43:21 Barron discusses working with Stan Getz 45:28 Barron explains some of his teaching challenges and techniques 48:19 Demonstration
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- 2017 Kenny Neal and the Baton Rouge Blues Legends
- with Oscar Davis, Harvey Knox and Mz. Pat. Interviewer, David Kunian, 03:04 Harvey Knox explains how he got started playing blues in Baton Rouge. He was a trombone player but found they didn’t hire horns, so bought a guitar. 03:53 Knox explains the musical background of Tallulah, Louisiana, his hometown. 04:37 Oscar Davis speaks to his background, and how he got his first harmonica from his brother. 08:38 Kenny Neal explains how music was more or less just in the ether in his childhood. 10:30 Neal relates that his interest was piqued by the fact that as a child he’d be given money for playing. Says his career began with his joining Buddy Guy on tour as a bass player. 12:20 Neal reveals that he noticed Chicago musicians carrying their contracts with them for bragging rights, decided to pursue one of his own, but moved to Toronto, where resumes were required. In response he assembled his younger brothers into a band, and booked big names he’d met on tour with Guy. 14:21 Neal explains that Guy and Junior Wells served as his elders. 16:02 Davis names Tabby Thomas as his elder, explaining that he encouraged him to trade the drums for the harmonica. 18:18 Davis names his influences, the founders of Baton Rouge blues. 22:30 Neal explains what he thinks make Baton Rouge blues distinct, attributing much to the cultural diversity of the area. 24:16 Knox says he thinks a festive feeling is part of Baton Rouge’s blues’ trademark. 24:57 Knox relates his experience with Hep C and explains how healing he finds music, which he considers part of its relatability. 27:51 Davis explains what he sees as the universal relatability and appeal of the blues. 29:11 Knox says how important he finds the feeling of the blues. 29:55 Neal names Guitar Kelly and Silas Hogan as unsung heroes of Baton Rouge blues. Tells a story of adapting one of Guitar Kelly’s songs. 31:45 Davis names the Nighthawks as other unsung heroes. 32:01 Neal points out Sammy Thorton, the original bass player with the Nighthawks, in the audience, and tells story of how he let him join him on a gig he snuck into as a teenager. Thanks him for being a teacher. 33:48 Neal credits his father, Raful Neal, Tabby Thomas, and Buddy Stewart for having started the blues festival in Baton Rouge. 34:27 Neal explains how he finds Tabby Thomas to be a character, and how generous he’s been toward other musicians. 36:55 Neal discusses his new venue in Baton Rouge. 38:31 Neal explains that his father wrote “Old Friends.” 43:02 Neal mentions his Grammy nominations.
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- 2017 Kim Carson
- Don't Fear the Twang, Interviewer John Swenson, 00:35 Kim Carson explains she first played at Jazz Fest in 1995; this is her twenty-second appearance. She sang “I Can’t Help It If I’m Still In Love with You” with Russ Russell and the Rustlers in 1994, by surprise, her second public appearance. 01:55 Carson didn’t grow up in a musical household but felt supported. 02:36 Carson relates her last conversation with her grandmother, who died suddenly of cancer, which inspired her to pursue singing. 04:24 Carson relays her love for Hank Williams, whose songwriting she appreciates partly for its simplicity. 06:30 A call from her grandfather about having dreamt she wrote a good song spurred her to investigate songwriting, which she began with help from experts John Thomas Griffith, Paul Sanchez, and Joe Tullis, who were recommended to her by Steve Himelfarb. 08:33 Relates story of beginning her first song, inspired by a huge number of quarters she got as change from dinner, called “Where Is The Jukebox When You Need One?” 10:14 Demonstration “Where’s the Jukebox When You Need One?” 12:54 Carson explains where she played first starting out; preferred playing in Slidell because Clarence Gatemouth Brown would come out, and once sat in. 15:43 Carson sings the praises of Teresa Andersson, who was a member of her band, having met through Anders Osborne, Andersson’s then-partner who Carson was songwriting with. In addition to the band, their duo was the beginning of the Tipsy Chicks. 18:06 Explains that she didn’t, in real time, realize that there weren’t many female songwriters around town when she was starting out, though sees retrospectively that they gravitated toward one another. 19:10 Carson shares stories of her deceased fiancé, Rodney St. Pierre, and explains how she found she could sing the song she wrote about him, “Just Because You’re Gone,” without choking up by disguising it in an upbeat tempo within a bluegrass tune. 23:27 Demonstration “Just Because You’re Gone” 26:50 Carson explains the role of the Kerry Irish Pub, where she has a weekly Monday night gig, in her musical development and history, emphasizing its dedication to live music. She explains that many venues stepped back their live music booking following 9/11 and Hurricane Katrina. 28:45 Carson shares a story about Rusty McHugh, who wrote her song “Tequila Makes My Clothes Fall Off” 30:53 Carson explains that vulnerability is a challenge for her, while humor comes easily in songwriting. For this reason “Missing You” is considered her most honest song. 32:06 Demonstration “Missing You” 36:06 Carson recounts her Katrina experience, featuring the generosity of Houston 39:12 Carson gives the background of her Katrina song, “Buddy Johnson” 40:45 Demonstration “Buddy Johnson”
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- 2017 Lake Street Drive
- Interviewer, Megan Brown, 02:24 Demonstration “Faith” 07:30 Members share how they met and first impressions at the New England Conservatory 12:00 Mike Olson recounts forming and naming the band 17:05 Rachael Price explains that they started out with gigs in dive bars 17:41 Olson explains how their cover of “I Want You Back” affected their career 21:05 Demonstration “What I’m Doing Here Now” 25:27 Price elaborates on the meaning of their album title Side Pony 26:49 Olson speaks to the process of recording Side Pony with producer Dave Cobb 29:42 Price explains how the band has gotten into co-writing, and intends to produce their next album that way 30:54 Bridget Kearney speaks to translating songs from the studio to the stage 32:47 Mike Calabrese discusses the challenges of not sticking to one particular genre 35:15 Price explains that they don’t have a stylistic plan for their next album, but prioritize exploring how to translate their live energy into a studio 39:11 Price and Kearney articulate oscillating confidence toward their success 41:06 Demonstration “Got Me Fooled”