Allison Miner Music Heritage Stage Collection

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2017 Zion Harmonizers: 78 Years and Rising Again
2017 Zion Harmonizers: 78 Years and Rising Again
Interviewer, Joyce Jackson, 04:03 Brazella Briscoe describes how the Zion Harmonizers chose to stick with traditional four-part harmony 06:06 Demonstration “I Couldn’t Hear Nobody Pray” 08:13 Demonstration 11:19 Demonstration “I’ll Rise Again” 15:25 Briscoe discusses their singing contests 16:40 Briscoe reminisces over the Harmonizers’ trainer, Howie Bowie 17:36 Briscoe discusses the Harmonizers’ experiences on the radio, including some of their sponsors 19:15 Briscoe describes some of his experiences touring, including losing one of their bass singers in Italy 21:36 Briscoe discusses recent recordings and their decision to start a label 23:14 Briscoe discusses their long-standing gig at the House of Blues’ Sunday brunches 24:16 Briscoe explains the ubiquity of the Harmonizers’ gigs 24:45 Briscoe introduces his band mates 27:12 Demonstration “We Shall Come Rejoicing” 31:08 Demonstration “Down By the Riverside”
2018 Archie Shepp
2018 Archie Shepp
Interviewer - Ashley Kahn, ABSTRACT: 03:21 Shepp explains that he does not identify as a jazz musician, getting into the word’s French origins and explaining how he prefers the term ‘African-American music.’ 05:58 Shepp describes how, as a black person, he has always known, felt and considered culture and politics to be inextricably linked. 07:50 Shepp tells how enriching a musical environment he found Philadelphia to be, clarifying that a lot of the musicians there, including himself and Coltrane, were from the south. He shares how it was playing the blues, which he’d learned from his father, that impressed him to Lee Morgan, who began hiring him on gigs. 12:55 Shepp speaks to what an incredible and precocious musician Morgan was, getting hired by Dizzy Gillespie at the age of eighteen, and cites him as a grand influence. 15:25 Shepp tells how he thinks artists should challenge their experience and be involved in areas where things need to be changed. 18:01 Shepp explains that only when he got to college did he realize that the spoken word could be included on recordings. In 1960, he did a slam to his grandmother, and began incorporating poetry into his music and albums. 21:12 Recording, “Come Sunday” 27:12 Shepp speaks to a visit home to his mother, who asked if he was “still playing little tunes that don’t have any melody,” which spurred him to change his course. 30:35 Shepp tells how when he first became a college teacher in 1969, there was a dearth of material on black music, excluding that of primarily French scholars on the likes of Louis Armstrong. This necessitated him creating a lot of his own, writing essays and the like. He explains that there is now a wealth of written and audiovisual material to be used, though he retired in 2002. 35:45 Shepp denies that the current musical scene is like a resurgence of the ‘60’s, seeing young people as more passive and less activist, less invested in changing their circumstances, which he sees inextricably linked to the US’ lack of focus on education. 42:37 Shepp explains that he named his orchestra Attica Blues, as he titled an album, because he doesn’t consider things to have “changed so profoundly,” and considers it imperative that everyone get involved in improving not only their own but other’s circumstances. 44:46 Recording, “Attica Blues”
2018 Betty Winn and One A-Chord
2018 Betty Winn and One A-Chord
Interviewer - Joyce Jackson, ABSTRACT: 00:50 One A-Chord members Keyonne Davis and Patrice Parker introduce themselves. 01:40 Winn explains how gospel has been a part of her life, or really a lifestyle, since childhood. 02:34 Winn tells how she came to start one A-Chord, motivated by concerns she found growing in her while touring with other groups. 03:26 Winn describes the musical environment of her family’s church. 04:40 Winn explains the music A-Chord played in the beginning, much of which it continues to, and how her singing with her siblings shaped what she still does. 05:34 Winn admits to having written a few songs along the way, enjoying updating people’s expectations of gospel. She gets in specifically to how her song “Praising in New Orleans” came about, responding to audience inquiries about how what happens on stage differs from what happens in church. 07:23 Demonstration, “Praising in New Orleans” 09:01 Winn describes some of her experiences overseas, including a trip to Norway, explaining how much she enjoys touring and the warm reception her group receives. 12:46 Winn lists her recording albums, explaining that though she thinks she has a few more left to do, she hasn’t recorded since Katrina. 14:10 Winn introduces her next song, a medley she put together, thinking that the messages of a Civil Rights tune and one her mother sang around the house paired well. 15:14 Demonstration, medley 18:33 Winn describes how she maintains control when recording. 20:56 Winn relates her experience as a woman in gospel, crediting the fact that she didn’t tour until her children were teenagers and the support and business savvy of her late husband as factors in her ability to thrive. 25:12 Winn explains how she keeps up and engaged with youth. 27:06 Winn reflects on gospel being influenced by other genres, explaining that she likes it, though she does try to make clear its origins. 29:28 Winn explains that she looks to younger people for energy and to keep evolving, rebuffing the idea of traditionalists with the phrase, “music is music.” 31:32 Demonstration, “What A Wonderful World” 33:51 Winn says she intends to record, but isn’t pushing for tours. 34:36 Davis rebuffs the idea that you can’t sing both opera and gospel. Winn cautions that gospel singers do need to train to learn how to avoid straining their voices. The gospel/jazz/classical divide is discussed. 38:11 Demonstration
2018 Canadian-Celtic New Traditions: The East Pointers
2018 Canadian-Celtic New Traditions: The East Pointers
From Prince Edward Island; Interviewer - Steve Hochman, ABSTRACT: 00:40 Demonstration, “Party Wave” 06:47 Tim Chaisson gives some background on “Party Wave,” which they wrote and he describes as their take on traditional music, which he calls “the whole point of the band.” 07:40 Koady Chaisson explains the blend of what goes into traditional music from the east coast of Canada. He and his brother are seventh generation musicians, and were immersed in dancing before being “strongly encouraged” to learn how to play. Charron also came to it through his family. 09:05 Charron describes how in Ontario, being larger, traditions are harder to come across than in PEI, which has a high concentration of musicians and things seem well preserved. 09:25 The Chaissons reveal that they have a hundred and twenty first cousins, and are all fairly close due mainly to music, including their grandfather’s fiddle festival that they recently took over. 12:10 Tim Chaisson ruminates on the differences between the three PEI bands at Jazz Fest; two from areas where French is predominant, whereas the east coast has had it mostly stripped away. Koady Chaisson explains that names were Anglicized after a mass deportation. 14:57 The Chaissons describe a renaissance and revival of French/Acadian culture in Canada similar to that in Louisiana, a pushback against the government oppression. 16:20 The Chaissons explain their enthusiasm around Cajun culture and music, which they hope to further explore on future visits. 17:41 Tim Chaisson introduces “82 Fires,” written while they were on tour in Australia amidst a slew of bush fires. 18:17 Demonstration, “82 Fires” 23:20 Koady Chaisson speaks to the exit trend on PEI, including seasonal migration for work. There’s a trend of short-term solutions becoming long-term lifestyles. Ironically, due to marriages, the band is now spread out all over the world. 27:52 Charron explains that while he’s never technically lived on PEI, he’s spent a great deal of time there, so much so that his parents say he’s developing a PEI accent, which he and the Chaissons go on to describe and discuss. 29:07 The Chaissons explain how different the cultural blends, predominantly Scottish and Irish, on the east coast of Canada sound. 30:17 The Chaissons reflect on how the English and French cultures seem much more blended now than they were during their childhoods, which they see as a good development. 31:56 The band speaks to the cultural pockets of Canada, explaining how different styles of music are found in different places. 33:09 The Chaissons explain that they were exposed to styles other than traditional music growing up, but picked it to perform out of enthusiasm, which they say is necessary for any band so heavy on touring. 34:39 The Chaissons speak to the influence of and connection to Cape Breton. 35:40 Tim Chaisson gives his fiddle festival spiel. 36:06 The band explains that nothing comparable to zydeco developed in their area, though they do have accordions and banjos. 36:48 Tim Chaisson reveals Stan Rogers to be his favorite songwriter. 38:55 Demonstration
2018 Cynthia Girtley
2018 Cynthia Girtley
Interviewer - Sally Young, ABSTRACT: 01:10 Girtley reflects on her childhood, during which she sang strictly religious music. It was Dr. Michael White who introduced her to jazz and the blues, which she eventually decided she could sing without going to hell, though she avoids “risqué blues.” 04:15 Demonstration 06:46 Girtley discusses her childhood influences, explaining that in her youth music was everywhere in New Orleans. She got baptized at four in order to join the church choir, and started piano lessons when she was seven. She confesses that she and her sisters snuck in unsanctioned music like the Supremes while her mother was out at the grocery store on Saturdays. 10:10 Girtley admits that her taste for non-secular music constitutes a parallel to Mahalia Jackson. 11:05 Girtley explains that she dreaded piano lessons as a child, but at the age of ten or twelve got invited by her piano teacher to play at a local Baptist funeral. She was amazed to get paid, and decided then and there to be a musician. More than finances, it was seeing that she could touch people that motivated her. 16:51 Girtley remembers how her cousin, Marva Wright, left the church choir when the pastor gave her an ultimatum about her side singing “for the devil” in the French Quarter. 18:25 Girtley explains that she became familiar with Mahalia Jackson’s music without knowing who she was, through her mother’s repeated listening to her recordings. She began doing tributes to her when she was living in Washington DC. 20:19 Recording, Mahalia Jackson, “Come on Children Let’s Sing” 21:01 Girtley tells how she can play something back after hearing it, having been “gifted with a pretty good ear.” 21:53 Girtley speaks to her variety of piano teachers, and tells how she got into opera, which she was initially deterred from by the lack of her father’s backing but ultimately turned against because her teacher asked her, as a ninth grader, to abstain from talking to boys on the phone. 25:00 Demonstration, opera singing 26:04 Girtley explains that she has “an internal mic,” comparing herself to her great-grandfather, who had what was called a calling voice, summoning people to church with his singing unamplified. 27:30 Girtley gives some background on Michael White and explains their annual ‘The Sacred and the Sinful’ Jazz Fest program, exploring the common chord through gospel, the blues, and jazz. 29:17 Recording, Billie and De De Pierce, “off the Gulf Coast Blues” 30:07 Demonstration, “Off the Gulf Coast Blues” 32:47 Girtley speaks to her albums. 33:20 Demonstration, “He’s Got The Whole World In His Hands” 34:11 Girtley says that her current gospel is letting people know, through music, that there is a god. 38:15 Girtley speaks to her touring experience, emphasizing how much she enjoys it. 39:29 Demonstration, “A Closer Walk With Thee”
2018 Erica Falls
2018 Erica Falls
Interviewer - Michael Gourrier, ABSTRACT: 01:40 Recording 04:24 Falls gets into her background with singing, explaining that she only got into it in high school, having been intimidated by her mother’s abilities. She first got onto the scene on Bourbon Street, and then with a show band called ELS. She cites both experiences as major learning opportunities. 06:53 Falls reflects on Allen Toussaint, to whom she was a protégé and who she considered a genius, though she was equally impressed by his gentle and kind demeanor. 09:33 Demonstration, “old Records” 14:10 Falls explains her term ‘vintage soul,’ which she’s known as the queen of. 15:50 Falls reflects on Joe Sample, explaining how their relationship came about through her performing background vocals on his album Creole Joe. 17:56 Falls explains how Sample and Toussaint made a student of her, partly through their exacting natures, including making people start at the beginning of a song once a mistake had been made. 18:39 Falls describes how she got to play with Corey Henry and the Treme Funktet. 20:19 Demonstration 24:34 Falls tells about her experience working on The Butler. 26:41 Falls tells her Sting story. 28:40 Falls speaks of her ties with Galactic and her affections for the Houseman. 29:54 Falls explains how Galactic led her to an upcoming tricentennial gig at the Hollywood Bowl. 30:42 Falls speaks of her time in Australia. 31:43 Falls describes her gigs and time in Idaho. 32:25 Falls talks about her time in Minnesota, emphasizing that folks in these wintry states come out no matter the weather. 33:22 Falls describes her new album, HomeGrown, emphasizing how personal it is. 34:16 Demonstration, “Lovin’ the Feeling” 40:01 Falls explains how drawn she is to voices, within and beyond songs. 41:28 Recording, “Dreams”
2018 Fess Up! A Professor Longhair Centennial Celebration
2018 Fess Up! A Professor Longhair Centennial Celebration
Pat Byrd, Jon Cleary, Reggie Scanlan, Uganda Roberts, and Polly Waring ; Interviewer - Ben Sandmel, ABSTRACT: 06:32 Demonstration, “Tipitina” 09:01 Cleary explains that with the benefit of hindsight one can see that Professor Longhair was a “unique musical brain,” sounding a way that no one before him did, including due to his propensity for Afro-Caribbean rhythms. 11:40 Roberts reveals that Fess liked Perez Prado’s band, a big Latin American dance band, which he believes to have influenced him. They, on congas and keyboard, had a great musical rapport, and never had to rehearse. He says they “got along like brothers.” He then gets into his time playing bongos for Chris Owens, who dubbed him Jamaica Joe. He reveals that part of his familiarity with Fess came from his music playing in a bar in his neighborhood when he was a kid. 14:37 Demonstration “Go To The Mardi Gras” 17:23 Scanlan explains that he also heard Fess’ music as a kid, his standards being “part of your Mardi Gras experience.” He knew Fess’ manager, who after repeatedly saying he ought to play with Fess invited him over to jam. Two weeks later, Scanlan was told the bass player had left and was invited into the band. He considers his time with Fess the most important section of his development. He explains that given Fess’ propulsive left hand on the keys, his job on bass was to get underneath and support him, and to know when not to play. He tells how generous Fess was with experimentation, and that his ample power was immediately evident. 22:26 Byrd speaks to her father’s sense of humor, and how lovingly bizarre she found him. She emphasizes how often he told his band to pay attention, and illustrates his ability to do the same with an anecdote from Piano Players Rarely Ever Play Together. She says he taught her the importance of respecting others, even when they’re wrong, and speaks to his indefatigability, stating that he cannot be imitated or duplicated. While she says she’s heard musicians approximate his rhythm, none can nail “the wiggle,” stating, “if you wasn’t born with it, you’re not gonna get it.” 27:58 Byrd explains all she’s gone through to honor her parents’ wishes that their house not be sold, in which she now runs what she calls rooms of memories, which are free and open to the public. 32:41 Byrd shares the anecdote of her father’s green chair, in which he built a remote to control all his gadgets, as getting up repeatedly was difficult for him. Eventually, as presaged by Dr. John, all the wiring caught the chair on fire. 36:44 Waring explains how Piano Players came to be, born from her late husband’s musical passions and interest in getting to know musicians. Allen Toussaint led them to Fess and Tuts Washington, and Waring took the opportunity of Fess’ centennial this year to re-issue the film on DVD and include further interview footage of Fess. 41:55 Byrd gets into her parents’ participation in the New Orleans Civil Defense Unit, speculating that her dad saw it as a way to give back to his fans. 43:39 Waring reveals that there is a forthcoming documentary on Allen Toussaint, being finished by her husband’s editor. She confesses to having thought about what to do with all the Tuts Washington footage that didn’t make it into Piano Players. Fess told her that while Tuts could reach an octave just by laying his hands down, Fess, with shorter fingers, had to jump. 45:53 Roberts tells that he met Fess at a house party, and shares their touring tradition of going out to find him his favorite breakfast of red gravy, grits, and a round steak. 47:04 Demonstration, “Big Chief”
2018 Fire in The Hole: Chief Victor Harris - 53 Years with Fi Yi Yi
2018 Fire in The Hole: Chief Victor Harris - 53 Years with Fi Yi Yi
Interviewer - Maurice Martinez, ABSTRACT: 02:33 Harris explains why he began masking, to emphasize his African heritage. 03:20 Harris reflects on how he began masking, explaining that he’d wanted to since he was a child, observing the Yellow Pocahontas in his neighborhood of the Seventh Ward. 06:20 Harris ruminates on Tootie Montana, his Chief, and how seriously he took his appearance. 07:09 Robertson explains how he linked up with Harris. 09:20 Harris describes how his masks “manifest themselves.” 14:18 Harris describes what he considers the highlight of masking, when one tribe meets another. 17:50 Phillips explains how the Fi Yi Yi drums differ from traditional bass drums, and demonstrates their rhythm and chant. 24:19 Harris introduces his grandchildren, explaining that the tribe starts very young, in efforts to keep their traditions alive. 29:39 Demonstration, “Shoo Fly, Don’t Bother Me” 34:34 Harris re-emphasizes that Chief Tootie Montana shifted the focus from physical aggression to competition over who could be the prettiest, saying the thrill of meeting other tribes is the highlight of masking. 36:31 Harris explains that the ruling of who’s prettiest is left to the people. 37:48 Harris extols the sociability and talents of Mardi Gras Indian, particularly in relief to Mardi Gras krewes like Rex, who don’t sew, sing or dance. 39:16 Harris explains that, with all the help he receives, it likely takes a full year’s time to prepare and sew each suit. 41:44 Demonstration, “Indian Red”
2018 Gambian Kora: Sona Jobarteh
2018 Gambian Kora: Sona Jobarteh
Interviewer - Gabou Mendy, ABSTRACT: 01:43 Jobarteh explains that she was born to the kora, it being a big part of her family. It was in her hands before she had a professional thought, but after experimenting with many instruments and styles she found that the kora was most in tune with her and the music she wanted to make. 02:48 Jobarteh clarifies that though she grew up in London, her only family there was her mother and brother, the vast majority of her family ties being in Gambia. 03:35 Jobarteh says she believes she is impacting the kora tradition, as one of the rare women who plays the instrument. She has a school the trains not only women but people outside of griot families. She explains that she believes in tradition, but also its necessity to evolve to keep up with society. 05:01 Demonstration, “Canou” 12:39 Jobarteh explains the history of griots, a social role that developed during the empire-building of the thirteenth century. They are keepers of oral history and musical traditions, and crucial for the major ceremonies, those being christenings, marriages, and funerals. 15:33 Jobarteh speaks to the fluid connection between Mali and Gambia, telling how people often ask her whether her songs are Malian or Gambian. She practices both styles, due to her family having migrated from Mali just two generations ago. She also points out that the borders, indeed countries, didn’t exist in the time the griot traditions developed, under the Mandinkas, but rather are colonial structures. 17:44 Jobarteh talks about ‘fasiya,’ the name and concept behind her latest album, which has to do with intergenerational dynamics, challenging your forebearers so that you can advance them. She explains that having audiences ignorant of tradition presents new challenges, and she’s dedicated herself to finding new ways to present the traditional music, so that audiences from anywhere can enjoy and feel it. 21:33 Jobarteh explains that her school is filling a hole left by all the masters musicians who have left Gambia in pursuit of musical careers, leaving a gap in the passing down of traditional knowledge. Seeing change bringing holes within families, she decided to fill them by taking traditional family knowledge into a more formal context. She emphasizes that hers is a full-time school, specializing in music but providing all subjects, populated by children from all over she handpicked for their musical talent, so that they get the full dedication. The children feel proud and empowered by learning and playing traditional music, which she sees as key, and another instance of the tradition evolving and re-asserting itself. 26:03 Jobarteh attributes her ability to have made a career on kora to the modern development of stages, and along with them spectators and audience, separating music somewhat from the culture in which it was previously engrained. Acknowledging the transition from traditional to performance as a difficult one, she believes it’s facilitated many careers. 29:15 Demonstration, “Saiya” 34:07 Jobarteh speaks to the pervasion of outside influence, and how disturbing it is to see Mandaean language co-opted into the hip-hop youngsters are so fond of; however, she expresses hope that presences like Sidiki will help re-steer the modern impulse toward something more of their own, rather than something outside coming in – this she believes to have potential as another beautiful example of tradition re-inventing itself. 36:54 Jobarteh reveals that she is also working on the first cultural academy in the country. 39:08 Demonstration, “Saira”
2018 Hot Club de France and New Orleans Jazz
2018 Hot Club de France and New Orleans Jazz
Raphael Bas of Harmonouche; Interviewer - Tom McDermott, ABSTRACT: 00:32 Bas explains how a festival in the town where he grew up exposed him to a great variety of music and musicians. 01:50 Bas emphasizes Django Reinhart’s influence. 02:20 Bas explains the name of his band, Harmonouche, a mash-up between harmonica or harmonies and ‘manouche,’ a French term for gypsy or gypsy music. 02:54 Bas tells how he’s essentially advocating for the harmonica, trying to place it as a lead instrument, which he calls “the accordion of the poor.” 04:31 Demonstration, “Douce Ambiance” 09:09 Bas describes his father’s musical influence, explaining how he was the only musical member n his family. He explains that he did not have his first formal guitar lesson until he was thirty-two. 10:51 Bas explains how much of Django’s recordings came from American music, and that he sort of feels like he’s now doing that in reverse, adding his French touch to the music he’s learning in the States. 12:08 Bas tells how “Sheik of Araby” was a hit in France under a different title. 12:39 Demonstration, “Sheik of Araby” 18:53 Bas expresses his desire to demonstrate musette, selecting a song taught to him by a friend who recently passed away and was a master accordion player. 19:37 Demonstration, “Swing Valse” 24:20 Demonstration, “NolAmour” 27:17 Bas acknowledges Baden Powell as an influence, and emphasizes the diversity of genres of what and who inspired him. As he says, “when it’s good, it’s good.” 29:32 Demonstration, musette 36:09 Demonstration
2018 James Andrews
2018 James Andrews
Interviewer - Eric Paulsen, ABSTRACT: 01:23 Andrews describes the influence of his incredibly musical family, considered some of New Orleans’ royalty. He says he plays a combination of all New Orleans music, “a gumbo.” 02:32 Andrews speaks to his worldwide touring. 03:32 Andrews emphasizes that he and his family members, like cousin Glen David and cousin Troy Andrews, each do their own thing. 03:49 Andrews explains his musical beginnings. 04:45 Andrews tells how he has used other people’s songs, including John Boutté’s “Down in the Treme,” but also writes and arranges his own. 05:00 Andrews, asked about his songwriting inspiration, tells how he came to “The Nightlife,” overhearing a pimp and a woman talking on a bench in Las Vegas. 05:46 Demonstration, “The Nightlife” 06:21 Andrews describes first learning to play, that it happened in school and with a lot of people’s support, and that most crucially he learned how to read a crowd. 07:10 Andrews asserts that everyone playing jazz is playing the blues. 07:31 Andrews explains that he’s been with the Crescent City All-Stars since Katrina. 07:58 Andrews introduces the members of the All-Stars. 09:01 Demonstration, “My House Burned Down” 11:58 Andrews expresses his gratitude at having worked with Allen Toussaint, from whom he says he learned a lot. 13:05 Andrews tells how he was unsurprised by all the people who turned out for the Fats Domino second line he organized. 14:02 Andrews explains the tremendous influence of the Treme. He particularly extols the Olympia Brass Band. 15:02 Andrews reveals that his grandfather wrote “oh Poo Pah Doo” which is why his family named their bar in the Treme after it. 15:22 Demonstration, “Ooh Poo Pah Doo” 20:46 Andrews explains that jazz and second lines are the king of New Orleans global musical reputation. He credits Louis Armstrong, Buddy Bolden, Jelly Roll Morton and King liver for building it, and Fats Domino for expanding it to rock ‘n’ roll, partly by maintaining the second line beat. 23:35 Andrews describes his upcoming tour, celebrating European hospitality. 25:25 Andrews’ wife is shouted out for her performance of “At Last.” 26:18 Andrews confirms Jazz Fest as his biggest audience, calling it “the Superbowl” for New Orleans musicians. 28:24 Demonstration, “At Last,” featuring Karen Andrews 35:08 Andrews explains that he looks at his job as an experience. 35:35 Andrews emphasizes how much his band improvises. 36:06 Andrews reveals he attended the inaugural Jazz Fest as a kid. 37:10 Andrews explains that not all his band members are from the Treme, as he is. 38:57 Demonstration, “Down in the Treme”
2018 Ketch Secor and Critter Fuqua of Old Crow Medicine Show
2018 Ketch Secor and Critter Fuqua of Old Crow Medicine Show
Interviewer - Keith Spera, ABSTRACT: 01:49 Demonstration, “Tiger Rag” 05:40 Secor speaks to his and the band’s ties to New Orleans. 09:20 Demonstration 12:48 The band describes some of their experience busking in New Orleans, and how busking gave them their start and honed their skills with audiences. 15:16 Secor explains how an encounter with Doc Watson when they were busking in Boone, North Carolina constituted a big break in their career, getting them a gig at Merle Fest, which they succeeded at by doing it their own way, street style. That attracted the attention of a woman from the Grand old opry, which set them on a roll. 17:37 Demonstration, Dewey Balfa 20:55 Fuqua and Secor explain the obscure origins and mystery of “Wagon Wheel,” which they’d thought sprang from a Bob Dylan bootleg, but wound up being traced to Big Bill Broonzy. 25:18 Demonstration, “City of New Orleans” 31:41 Secor discusses the Railroad Revival Tour and the documentary about it, The Big Easy Express. He explains the cultural re-appropriation that penetrates New Orleans, and his desire to embody it from elsewhere. 35:19 Demonstration 39:21 Secor gets into their latest album, Fifty Years of Blonde on Blonde, explaining its intent to put that Dylan music into the folk music canon, taking 1966 Nashville back to 1926. 41:01 Fuqua alludes to a negative festival experience involving woods, ticks, and police. 42:36 Secor gives some background to “Jim Jones” and explains that they’ve never recorded it. 44:00 Secor introduces the band.

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