Allison Miner Music Heritage Stage Collection
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- 2017 Lee Konitz and George Schuller: Not So Cool After All
- Interviewer, Jason Patterson, 04:44 Lee Konitz discusses his influences 05:13 Konitz explains why he chose the alto saxophone 05:49 Konitz thanks his influencers for helping develop his tone 06:18 Konitz refuses to talk about the beginning of his career, explaining he’d rather talk about the present than the past 06:40 Konitz discusses the importance of improvisation within a set list 07:45 Konitz, George Schuller & Dan Tepfer discuss the band; their tenure together and how they tend to function as a unit 10:30 Konitz speaks to playing changes and his trick of singing syllables 11:07 Tepfer explains how he sees Konitz’s connection to form 12:33 Konitz speaks to his versatility in terms of playing both standards and avant-garde, though he says the “out there” is more difficult to maintain 13:08 Schuller describes his experience playing with Konitz 15:03 Tepfer and Konitz discuss how Konitz’s style varied from the norm with many of his peers, most heavily influenced by Charlie Parker 17:10 Konitz, Schuller and Tepfer reflect on Gil Evans and the so-called Birth of the Cool band 20:35 Schuller reflects on his father, Gunther Schuller, who coined the term ‘third stream,’ and what that terminology meant, particularly in light of some certain groups 25:50 Tepfer describes his background, particularly vis-à-vis being the youngest member of the band, including how he came to meet Konitz 31:29 Tepfer speaks to the differences of learning to play inside and outside of institutional structures 34:21 Konitz discusses his new habit of singing and scatting lyrics 37:03 Demonstration “Darn That Dream”
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- 2017 Leyla McCalla
- Interviewer, Alison Fensterstock. Experimental, Traditional and Original Folk, 01:39 Leyla McCalla explains the origins of her first solo album, Vari-Colored Songs 04:06 McCalla illuminates how her Haitian heritage influenced her exploration of New Orleans and its music, and affected her album 07:26 Demonstration “Heart of Gold” 10:34 McCalla discusses her cello technique and how she came to it 12:55 McCalla explains the inspiration for her second album, A Day For The Hunter, A Day For The Prey 15:09 McCalla reveals her insights into the Haitian proverb her album title – and that of the book that inspired it – comes from 15:57 McCalla discusses how she chooses which languages to sing in 17:25 Demonstration “Peze Café” 21:29 McCalla explains the meaning of “Peze Café” 23:06 McCalla describes the process behind her latest album, Capitalism Blues 26:55 McCalla names some of her collaborators on her latest album 28:30 McCalla muses over the role of art in tumultuous political times 30:34 McCalla discusses her developing project for Duke Commissions 33:46 Demonstration “Capitalist Blues” 36:56 McCalla recounts her residency through the National Parks Service and Festival International 38:10 McCalla describes her collaboration with the Lakou Mizik Collective from Haiti 38:54 McCalla discusses her recent reading 40:19 Demonstration “Blue Runner”
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- 2017 Louis and Andre Michot of Lost Bayou Ramblers
- Interviewer, Steve Hochman, 00:50 Demonstration “Blues de Toc Toc” 04:00 Louis Michot explains “Blues de Toc Toc,” or “Popcorn Blues” which he believes may have been written by Nathan Abshire 04:52 Louis and Andre Michot discuss their musical heritage and the music they grew up within their family 07:37 The brothers discuss having become full-time musicians, which they see primarily as serendipitous 08:10 The brothers discuss their flood benefit album, Rue Vermilion Revival, and the history of the Lost Bayou Ramblers 11:22 The brothers discuss their musical evolution within Cajun music, from their first album on, and credit their producer, Corey Ritche, for having pushed them in new directions, such that they are now on the forefront of CDM 23:37 Demonstration “Si J’Avais Des Ailes” 26:26 Louis & Andre explain their desire to be versatile 27:53 The brothers discuss their involvement in Spider Stacey’s Finnegan’s Wake project and how they hooked up with Stacey generally 29:33 Louis discusses his trips to La Charité-sur-Loire, where the MIchots have family connections, their upcoming tour, and their involvement with Le Festival du Mots 31:58 The brothers discuss their beer, and the video “Aloha Golden Meadow” 34:30 Louis gets into his brewery and musical involvement with Bayou Teche Brewing 35:14 The brothers explain their future plans, including touring 37:13 Demonstration “Arret-Ça” 40:20 Andre explains his history with accordion-making
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- 2017 Luke Winslow-King
- Interviewer, John Wirt, 01:37 Luke Winslow-King describes his National steel guitar and discusses his brand choice 03:18 Winslow-King discusses busking, in New Orleans and elsewhere 04:08 Winslow-King explains ways busking informed his performance 05:20 Winslow-King describes his initial arrival in New Orleans 06:04 Winslow-King explains some of what seduced him about New Orleans 06:45 Winslow-King discusses his diverse musical interests and their interplay 08:34 Winslow-King describes how he considered himself welcomed into the musical scene of New Orleans 10:27 Winslow-King discusses how he met John Boutté and the ways he’s been of help 12:36 Winslow-King describes his relationship to Shannon Powell 13:36 Winslow-King describes his interest in and attraction to “people’s music” 15:15 Winslow-King recalls his experience as one of John Sinclair’s Blues Scholars and how Sinclair and his friend Michael Erlewine contributed to his musical education 16:23 Winslow-King explains how Sinclair and Erlewine regaled him with tales of encounters with musicians from the Ann Arbor Blues Festival, which they were involved in starting 17:29 Winslow-King discusses the backstory of John Lennon’s song “John Sinclair” 18:16 Winslow-King acknowledges his good luck in having met people supportive of his career and explains the importance of keeping an open sociable mind 19:36 Demonstration “The Welcome Table” 23:07 Winslow-King explains how he watches watch he listens to, as musicians put out what they take in 23:45 Winslow-King explains his criteria for what he will listen to 24:31 Winslow-King describes the intimacy of his latest album 25:35 Winslow-King posits the dissolution of his marriage as a boon for his songwriting 26:05 Winslow-King recounts his work as a music therapist and how what he witnessed has informed him as a performer 26:56 Demonstration “I’m Glad Trouble Don’t Last Always” 31:14 Winslow-King describes Michigan’s musical heritage and how he got into the blues 32:42 Winslow-King explains what his band he had when he a teenager was up to, and how it helped form his musical foundation, particularly that in improvisation 35:02 Winslow-King describes his journey as a singer 37:21 Winslow-King explains his attitude toward change and adaptability 38:57 Winslow-King explains that his dream team is still a work in progress 39:32 Winslow-King lists some artists he’d enjoy opening for 40:54 Winslow-King describes how he got recruited as lead guitar for Little Freddie King’s last record 41:36 Winslow-King describes his work with George Porter, Jr. and some other notable New Orleans musicians 42:09 Winslow-King quickly describes his guitar, in response to an audience questioning
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- 2017 Marc and Ted Broussard
- Classic South Louisiana Soul Music. Interviewer, Scott LaBorde, 01:34 Ted Broussard explains that he and Marc have been on a father-son tour that began in 2016, in which he shares part of the Broussard family history 02:37 Ted shows photos of his parents, explains his knowledge of each side of the family. Explains that his mother and her siblings were born and raised in a 144-square foot houseboat on the Atchafalaya Basin 05:34 Ted relates his mother’s family relocation after the great flood of 1927, and how they were recruited as plane spotters during World War II 06:56 Ted shares a photo he remembers as the point when he realized that Marc could sing 07:37 Marc explains there are significantly fewer photos of him than there are of his older brothers 08:54 Ted shares Adam Levine’s praise of Marc, and a photo of Michael Grimm, and one of Marc with Bonnie Raitt, with whom he is still in touch 10:09 Marc introduces his song “Au Long de la Riviere”, which he describes as a sort of tribute to his ancestors for the journey they made into the swamps and tributaries of Louisiana 10:48 Demonstration “Au Long de la Riviere” 15:00 Marc explains his songwriting process 15:54 Marc gives some background information on the guitars he and his father play 16:55 Marc explains their touring habits, speaks to his nonprofit and their collaborative albums 18:37 Marc, speaking to his video habit, explains that one of the perks of being a singer is not having a lot of set-up required 19:34 Marc explains the origin of his song “Home” 21:21 Demonstration “Home” 27:30 Marc and Ted get into the artists covering “Home” 29:41 After spotting his wife and mother, Marc mentions his children 30:50 Marc explains Rock Boat 31:45 Marc discusses his performance at the National Music Hall of Fame 33:04 Demonstration “I’m Gonna Wait Til the Midnight Hour” 33:55 Demonstration “Cry To Me” 37:19 Ted explains he noticed Marc’s musical talent when he was five-and-a-half, and Marc reveals he was banned from talent shows beginning in the seventh grade 38:30 Marc says he has no special backstage requests 39:12 Demonstration “Return to Pooh Corner”
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- 2017 Members of Dawes
- Interviewer, Edna Gundersen, 00:39 Demonstration “Roll with the Punches” 05:24 Taylor Goldsmith describes the band’s aspired musical progression, or expansion 06:57 Taylor Goldsmith describes Blake Mills, a member of his former band’s, influence on Dawes’ latest record 08:10 Lee Pardini and Taylor Goldsmith speak to the new breed of sounds found on their new record 09:31 Taylor Goldsmith explains the gap the band has between being seen live and listened to on an album, but how he feels they’re approaching a singular sound 11:30 Taylor Goldsmith explains how their being pegged as a California band helped them discover a rich musical history that inspired them 13:13 The band members list their favorite bands growing up, Taylor expounding on the importance of a band’s chemistry 15:23 Demonstration “All Your Favorite Bands” 18:01 Taylor Goldsmith explains, vis-à-vis the lyrics of “We’re All Gonna Die,” the possibilities of seeing a fan appear more connected to the music as an audience member than he does as he performs, and how that keeps the music fresh 20:51 Taylor Goldsmith expounds on his relationship to personal material and experience as a songwriter 23:40 Taylor and Griffin Goldsmith discuss how their father, a professional musician, supported their decision to follow in his footsteps 24:39 Griffin and Taylor describe how clear separate roles and a great deal of trust amongst band members has helped them succeed, despite the legacy of troublesome musical brother pairings 26:34 Pardini explains that arguments are rare in the band, which the Goldsmiths weigh in on, consensus being that disagreements are non-contentious and valuable 29:03 Taylor Goldsmith explains how pirated music has changed bands’ relationships between albums and tours, diminishing albums and increasing the importance of touring as the way to make money 31:30 The Goldsmiths list some of their favorite New Orleans musicians, and Taylor speaks to the city’s allure 33:00 Taylor Goldsmith explains how they came to play with Robbie Robertson 35:19 Taylor Goldsmith explains how context effects each set 36:47 Taylor Goldsmith contrasts Blake Mills and David Rawlings as producers 38:34 Taylor Goldsmith compares playing large and small venues 39:33 Taylor Goldsmith discusses what writers he’s drawn to, and how he considers himself as a writer 42:21 Taylor Goldsmith provides the backstory to the lyrics of “Your Favorite Bands” 45:15 Demonstration “A Little Bit of Everything”
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- 2017 Pedrito Martinez & Roman Diaz, AfroCuban Traditions of Rumba and Yoruba
- Interviewer, Dan Sharp, 02:25 Pedrito Martinez speaks about his childhood, and his fortune in meeting Roman Diaz at a young age 05:17 Martinez explains the differences between rumba and batá 06:03 Demonstration La topa 08:02 Demonstration Guaguanco 11:08 Martinez translates Diaz’s explanation of how the singers, dancers, and percussionists in rumba and batá are interconnected, citing example of the changoneta 12:19 Demonstration Changoneta 13:17 Martinez translates Diaz’s mentions of other rhythms 13:41 Demonstration 15:09 Demonstration 18:40 Martinez translates Diaz’s explanation of the relationship between dancers and drummers, including how competitive it is 18:52 Martinez translates Diaz’s explanation of dancers’ relationships with tambores 19:53 Martinez translates Diaz’s statement that in some traditions a displeased dancer can take over drumming and demand that the drummer dance 20:29 Martinez translates Diaz’s comments on the traditional big groups of percussionists, and how difficult it can be for drummers to keep up with the steps of dancers 21:49 Martinez translates Diaz’s statement that dancers will pick drummers who suit them, emphasizing that it’s about connection as much as it can be competition 23:38 Martinez explains the primacy of melody in his drumming work, which he attributes partly to his being a singer 25:29 Demonstration 26:08 Martinez explains the nuances of the patterns he adapts 26:34 Demonstration 26:59 Martinez explains that congeros often play rhythms taken from batá 28:49 Martinez discusses his collaboration with Angelique Kidjo 31:50 Martinez explains New York’s position as a teacher in his life 33:59 Martinez discusses his residency at Guantanamera in New York City 36:25 Martinez discusses his relationship with Paul Gadd 37:07 Demonstration 39:59 Demonstration
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- 2017 Preston Frank and Ed Poullard
- Old-time Creole Accordion and Fiddle, Interviewer Nick Spitzer, 02:00 Demonstration: Two-step 06:22 Keith Frank explains that he followed his own musical path 07:35 Keith Frank takes credit for the dance band’s version of The Jeffersons theme song, which Nick Spitzer had addressed as a big hit in Louisiana. 08:50 Ed Poullard relates that he moved to Beaumont nine months after being born but returned regularly to Louisiana 10:03 Poullard explains that due to his family, despite physically being in Texas, his childhood was that of a Creole, with French being spoken and traditions such as house parties and dance halls being adhered to. 11:34 Poullard relates his experiences with accordions, which he builds. He had been tinkering and then got patterns from Marc Savoy, incentivized partly by his children’s interest in the instrument and his desire not to have to buy multiples. 15:30 Demonstration 19:40 Keith Frank speaks to how to get young people out to hear music 22:08 Demonstration “Why You Wanna Make Me Cry” 25:29 Poullard explains that that song in that key is new to him since playing with Preston; he learned the song it was based on, composed by Canray Fontenot 27:00 Poullard and Spitzer discuss how few Creole fiddler players are left who came up within the tradition 28:50 Poullard discusses the erosion of the fiddle within contemporary Creole music 30:42 Preston Frank explains that he began under the name Preston Frank & The Soileau Playboys, often misspelled ‘Swallow’ 31:29 Demonstration “Soileau Special” 35:45 Keith Frank explains how he felt in awe of his father, working all day and then playing music all night and then immediately returning to work 36:54 Preston Frank explains that he’s the only of his six siblings to have stayed in Soileau 37:18 Keith Frank explains he’s remained in Soileau because it’s his home, and his working studio is there 38:01 Demonstration “Born in the Country”
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- 2017 Tank and the Bangas
- 2017 NPR Tiny Desk Winners. Interviewer, Melissa Soul Sister Weber, 01:26 Demonstration “Boxes and Squares” 06:18 Terriona Ball describes that song as addressing the phenomenon of feelings when behaving as though you’re in a relationship with someone you’re not 06:47 Ball explains that her history as a slam poet, which she relates as being incredibly vulnerable, influences her writing and performance style to this day. 07:23 Ball relates how Tank & The Bangas formed at an open mic night called Liberation Lounge. Soon after band cohered decision was made to go on tour to see if magic held up outside the local sphere. 08:26 Ball explains that her musical goal in going on the road was to “touch the world,” hoping to influence others the way in which she has been so touched by influences such as Nina Simone and Stevie Wonder. 10:32 Ball expands on her concept of ‘new New Orleans.’ 12:51 Merell Burkett explains his uncle Kelvin’s role in his musical development. 13:18 Ball describes her childhood in the Eighth Ward and subsequently New Orleans East, noting that she was exposed to a variety of people and tastes. The presence of multiple pastors in her family instilled a desire to cheer people up. 14:49 Burkett describes the band’s sound as “theatrical soul.” 15:09 Ball explains that she finds their music difficult to categorize. Acknowledges gospel as the root of much music, and growing up as an opportunity to branch out. Acknowledges her love of television. Says that the band has not felt a need to try to limit themselves in term of genre as their influences are diverse. 16:06 Ball’s entrance into singing was with her sisters, the Ball Sisters, largely at church. Despite a predominant interest in writing and poetry she was convinced to pursue music by a mentor who said that combining poetry and music would help get her heard. 17:25 Ball & Burkell relate their enthusiasm toward having toured with Big Freedia 18:33 Ball explains her experience with Norah Jones 20:47 Ball & Burkell relate their experiences at New York’s Afropunk 22:39 Burkell states musical hope as an ability to live off his music and passion 23:45 Ball & Burkell explain that their manager, Tavia, had the idea to enter them into NPR’s Tiny Desks Contest. It required pushing, and there was a last-minute decision to change the song from “Old Heart” to “Quick,” all of which they are grateful for. 26:17 Ball confirms Weber’s suspicion that the use of an art talk book in the Concert video was intentional 26:37 Ball relates the process of writing “Quick” 28:16 Demonstration “You So Dumb” (poem) 35:12 Burkell explains that NOCCA helped members train their ears toward improvisation and general acuity 36:17 Ball explains that she believes the band connects with young people because their dynamic together “is like recess all the time.” Connecting with youth is important to her as she sees them as the future. 39:56 Ball discusses her initial hesitance to participate in a Style Like You video and ultimate decision to do so because of her history of discomfort with clothing 42:42 Ball says that she mostly had mentors outside of school, but that her tenth grade teacher did take her to a poetry slam at another New Orleans high school which changed her trajectory; celebrates poetry as an outlet and motivator for youth.
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- 2017 Telmary, Cuban Hip Hop Street Poet
- Interviewer, Holly Hobbs, 01:33 Telmary Diaz describes Vedado, the neighborhood in Havana where she grew up 02:21 Diaz describes the moment she realized she was musical, at an event with a DJ friend of hers 03:40 Diaz describes her relationship with her parents; her mother died young and though her father was initially not supportive of her art she’s grateful that he encouraged her to read. 04:50 Diaz relates the origins of her first band, Free Hole Negro, formed in 1999. 06:52 Diaz explains that her band tried to build an audience, for a following. Speaks to how she considers hip-hop artists Cuba’s true journalists. Relates that Harry Belafonte convinced Fidel Castro to re-open the closed hip-hop festival, which was shut down again a few years later. 08:45 Diaz tells the story of her band Interactivo, which shared a Cubadisco Award with Chucho Valdés in 2006; explains how this reflected an attitudinal change toward hip-hop in Cuba. 11:41 Diaz explains musical connections between Cuba and the US, expresses her hopes that more instances of things like Ry Cooder discovering and publicizing the Buena Vista Social Club will happen. 13:31 Diaz explains that her connection to New Orleans began through Dr. John, with whom she collaborated on his Louis Armstrong tribute 15:29 Diaz discusses the parallels she sees between Cuba and New Orleans, and expresses her desire for more New Orleans music to make its way into her country 17:11 Diaz explains her relationship with and influences from Terence Blanchard 18:53 Diaz discusses her song “Que Equivocao” 20:31 Diaz speaks about the album she’s currently working on, contrasting it to her previous album, Libre 24:12 Diaz gives some background to the three songs she intends to perform 25:52 Diaz explains the housing situation in Vedado and how it’s changed 27:12 Diaz details her take on the new generation of Cuban musicians 28:44 Diaz explains her view of rap as a percussion instrument 30:27 Demonstration 34:33 Demonstration “Music is My Weapon” 39:35 Demonstration “Que Equivocao”
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- 2017 Verdine White and George Porter Jr., A Funk Bass Summit
- Interviewer, Ashley Kahn, 02:56 George Porter, Jr. and Ashley Kahn discuss Porter’s recent gig schedule 04:07 Porter and Kahn mull over the fact of 2017 marking Earth, Wind & Fire’s fiftieth anniversary 05:04 Porter explains how the Meters developed their rhythms, which he largely credit to Zigaboo [Modaliste] their drummer 08:43 Porter describes how the Meters worked as an instrumental group, which is what they began as 12:14 Demonstration 14:00 Porter speaks to the Meters local roots and limited conscious influence during the era of James Brown, due to their contractors’ desires to keep them on a short leash 16:12 Porter explains his social habit during the Meters’ early days 17:25 Porter describes where he sees Meters’ influence on current musicians, and his feelings on it, and how he holds management and disc jockeys accountable for the prevalence of sampling and uncredited influence 22:30 Verdine White and Kahn speak about Ron Carter, the most recorded bassist in history 24:13 White talks about his evolution as a musician 25:05 White talks about his first record, the soundtrack for Sweet Sweetback 26:45 White discusses how he evolved between records, partly due to his brother Maurice’s emphasis on concept 28:48 White explains how Earth, Wind & Fire’s music came to be a bit more defined than it was early on 29:53 White explains how some things he thought wouldn’t make it onto albums did, and vice versa; uses “Sun Goddess” as an example 31:38 White talks about how and why he was able to discover and develop his style in California 32:19 White speaks to his limited awareness of other bassists due to how busy he was early on 33:21 White discusses his relationship with Stanley Clarke 35:21 Demonstration “September” 36:13 White gets into the backstory of the song 40:36 Porter gets into the history of Rejuvenation, the album he chose to play a sample from 43:48 White contrasts his experience as a vocal group to Porter’s description of growing into one 47:20 White discusses his brother Maurice’s evolution as a musician 47:42 Porter explains his own instrumental evolution 48:22 Demonstration “Africa” 50:12 White explains how his life has changed with increased band activity 54:06 White describes his upcoming gigs 55:40 Porter explains that he doesn’t listen to music as he’s focusing on learning how to write 56:10 White describes who he listens to
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- 2017 Walter 'Wolfman' Washington
- Interviewer, Leo Sacks, 01:40 Walter Washington explains that the long term he’s had with his band makes performance easy, as they’re able to flow together 02:10 Washington compares playing in a tent to playing on a stage 02:56 Washington explains that listening to bluesmen like Bobby Blue Bland inspired him to learn how to sing 03:57 Washington describes the choir he grew up in 04:32 Washington explains how Johnny Adams influenced his singing 05:21 Washington reveals that Ernie K-Doe, his first cousin, gave him his first electric guitar 05:34 Washington explains how his uncle gave him his first acoustic guitar, but had to help him with tuning 05:58 Washington remembers a guitar he built himself out of a cigar box 06:29 Washington points out that his introduction to his cousin Prince La La Nelson made him aware of the fact that many of his family members were guitar players 07:14 Washington describes where he grew up 08:00 Washington recalls his last day job and his decision to quit it for music 09:55 Demonstration chords 10:11 Washington explains how he got into the house band at the Dew Drop and what it was like 10:58 Washington lists some of the Dew Drop musicians 11:29 Washington reminisces about the Dew Drop generally 13:15 Washington explains his name change 15:14 Washington describes his experience with spiritual music 16:13 Washington elects his mother’s the best fried chicken 16:59 Washington recalls touring early on 18:55 Washington explains the finances of living on tour with Lee Dorsey 20:11 Washington describes the tedium of a limited touring set list 21:10 Washington speaks to Dorsey’s personality 22:25 Washington describes his relationship to guitars 24:32 Washington describes life at home, off the road 24:49 Washington discusses his upcoming albums 27:47 Demonstration “The Mouse House” 29:34 Washington tries to recall his life circa 1962 29:53 Washington recalls recording “The Mouse House” 30:57 Washington discusses his influences from the Dew Drop 31:29 Washington speaks to the benefits of sewing 32:00 Washington speaks to his relationship with Willie Tee 32:46 Demonstration “I Won’t Cry” 33:53 Washington describes what Johnny Adams taught him about singing 35:08 Washington discusses his relationship to New Orleans and his perspective on what other people think of the city 36:20 Washington describes his New Orleans hall of fame 37:53 Washington plays the blindfold test, attempting to identify different recordings 40:57 Washington describes the impression the Neville Band made on him 41:23 Washington discusses his interest in astrology and how he believes it can affect bands 42:31 Washington explains what most turned him on watching Jimi Hendrix 43:35 Washington describes realizing he could use music as a way to survive in this world 44:41 Washington explains how he sees all music to spiritual 45:12 Washington describes how he sees god to have helped steer him clear of drugs and alcohol, and his relationship with god more generally 47:27 Washington explains that his spirituality is often a surprise to people