Allison Miner Music Heritage Stage Collection
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- 2018 The Creole Influence in Traditional Jazz
- Don Vappie - Interviewer - Gwen Thompkins, ABSTRACT: 05:10 After Thompkins describes the phenomenon of New Orleans musical clans, Vappie explains that his exists on his mother’s side. His grandmother’s brother was Papa John Joseph, a bass player who ran a barbershop with his brother that served as a meeting place for musicians of color. 07:23 Vappie explains that in his day musicians congregated at local bars and venues to find out what was happening. 09:01 Ashlin Parker explains that he goes to Frenchmen Street for that purpose, confirming New Orleans as “the most inclusive music scene in the world,” commending particularly the habit of intergenerational gigs. 11:47 Demonstration 16:03 Vappie explains how he began as a funk musician, that being the music he grew up with. He describes how pervasive music was in town, and reminisces on buying a 45 to share with band mates in preparation for talent shows. He explains that the diversity of music kids tried to play came from their exposure to many genres. 19:11 Vappie describes how he initially got into jazz, taking shelter from how boring he found the repetitiveness of disco. He began working his way backward through time, exploring the music. He describes the parallels he found between funk and trad jazz in these explorations, illustrating the cooperative counterpoint developed by each instrument having a distinct, layered role. 25:36 Vappie and Thompkins debate whether King Oliver was a Creole, settling on his having been, at the very least, “culturally Creole.” 27:18 Vappie and Parker reflect on King Oliver’s influence. 28:46 Recording, “West End Blues” 29:35 Parker credits Oliver with popularizing mutes, including experimental ones. 30:33 Recording, “The New Orleans Shout” 31:00 Parker and Vappie discuss the integrity of King Oliver’s recordings. Vappie gets into how different recording was back then. 34:33 Vappie reveals that he transcribes music for the Creole Jazz Serenaders, to establish parameters for improvisation. 36:38 Vappie explains that he’s seen bands all over the world trying to play early New Orleans music, which he considers an honor. Ironically, not as many people in New Orleans are trying, which he says is why he’s doing it. 39:09 Vappie tells how he and Wynton Marsalis’ early funk bands engaged in battles. 41:57 Vappie explains how managing bands has gotten harder since Katrina; in the days before the storm, everything was easier with word of mouth and people knowing you and what you could do. He explains that finding musicians and venues for a large band is difficult, easier with a machine-like backing. 46:56 Vappie explains that it was Johnny St Cyr, a banjo player, who led him to King Oliver. He gets into the fact that the banjo is actually an updated African instrument, though it’s long carried Uncle Tom connotations. 52:12 Demonstration
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- 2018 The Early Years of Jazz in New Orleans
- Dr Michael White and Gregg Stafford; Interviewer - Jason Berry, ABSTRACT: 01:31 Stafford introduces his family photograph from about 1904, featuring his grandmother’s uncle, Tom Matthews. 03:53 White gets into his musical lineage, including his ancestors who were playing jazz in the ‘20’s, who he only discovered once he was deep into music. He points out how incredible it is that he and Stafford had similar ancestors and wound up playing together. 09:00 Stafford reflects on Percy and Willie Humphrey. He worked with Willie, and often watched Percy as part of the Eureka Brass Band. 11:38 White reflects on the Humphreys. He knew Willie fairly well, playing with him once, and played with Percy for a few years. Whereas Stafford described Willie as a trumpet-like clarinet player, White describes Percy as a clarinet-like trumpeter. 13:33 White describes the role of a clarinet in a brass band, specifically playing jazz funerals. 14:53 Demonstration, funeral clarinet 15:45 Demonstration, funeral clarinet and trumpet 17:22 Stafford explains how he came to join the Young Tuxedo Brass Band in 1972, beginning with his accidental entrance into music, courtesy of his chosen elective being full in high school. 23:35 Stafford, now the leader of the Young Tuxedo Brass Band, says it’s on its third generation of players, working on the fourth. 25:05 White describes how he was inducted into brass bands, beginning with Doc Paulin’s. 29:37 Stafford describes the first time he saw/heard White, in a parade, and chronicles how they came to play together. 34:20 White introduces “I Saw Jesus Standing In The Water,” a tune he wrote specifically for Stafford to sing. 34:56 Demonstration, “I Saw Jesus Standing In The Water” 37:54 Berry plugs the upcoming Kickstarter for City of a Million Dreams, a film looking at the history of New Orleans through the lens of jazz funerals, starring White and Stafford. 39:15 White and Stafford describe what’s kept them in trad jazz; White explains that it’s a set of principles that he’s begun applying to his personal life and experiences the forefathers never had. Stafford says that the New Orleans spirit can be displayed in evolving music, but also that he takes seriously his connection to traditions, which he hopes won’t go extinct. 42:22 White expounds on the importance of dressing well, explaining it’s a tradition born from the earliest days of jazz, when black people were trying to advance the cause of social uplift and eradicate their own invisibility.
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- 2018 The Radiators: 40 Years!
- Interviewer - John Swenson, ABSTRACT: 01:44 Swenson introduces the band members. 04:15 Volker explains the origins of their new album, Welcome to the Monkey House. He admits to stealing the title from a Vonnegut short story he read in Playboy as a teenager. 06:10 Recording, “Welcome to the Monkey House” 09:40 Scanlan describes the chemistry that made him call Monkey House his favorite record ever. 10:58 Scanlan explains that it was him in the Suspects that led him to the studio where they recorded Monkey House. 12:03 Bua and Scanlan describe how easy developing the rhythm patterns were, due to how well the band was gelling. 13:38 Baudoin reflects on how much he enjoyed growing up in the country, amongst his Cajun relatives. 14:49 Baudoin and the band reflect on Earl King, including how he bailed on their first gig in New York, refusing to fly on Friday the 13th. 16:40 Malone and Volker describe the process of “King Earl,” on which they collaborated with Tommy Malone. 18:11 Recording, “King Earl” 20:37 Malone explains that the lyrics of “King Earl” weave in some of King’s own. 21:42 Scanlan reflects on playing Jazz Fest with Professor Longhair in 1977, and how different the festival was in its early days. Band continues to riff on early Jazz Fest stories, including see Ironing Board Sam in a water tank. 26:52 Malone describes the first time he met Volker, at Tulane. 27:45 Malone, Volker, and Scanlan describe what they learned from their stint at a corporate label, and how it helped them leverage the band. 31:09 Recording, “Fountains of Neptune” 34:16 Scanlan recalls what he can about Professor Longhair’s memorial show in 1980. 35:10 Volker says there may be a possibility of future touring. 35:42 Malone and Volker express regret that they didn’t ask their elders, musical and relative, more questions when they had the chance. 37:47 Bua explains that he was offered a chance to apply to be the Doobie Brothers’ drummer but turned it down, committed to returning to New Orleans with his “brothers.” 38:24 Scanlan tells how he was asked to audition for the Allman Brothers, but felt tired to the Radiators. 39:20 Scanlan explains turning down a gig with Eddie Money, initially because he wouldn’t let him wear his hat and then because he thought Professor Longhair was a college professor.
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- 2018 The Ragin Cajun: Doug Kershaw and Steve Riley
- Interviewer - Nick Spitzer, ABSTRACT: 02:02 Kershaw tells how he came to write “Louisiana Man;” preparing to discharge from the Army, he asked himself what he wanted more than anything in the world and decided it was to not be ashamed of being Cajun. He explains that he began playing music with his mother, who played guitar and one finger fiddle. 04:14 Kershaw sketches the culinary scene on the houseboat he was born on. 06:43 Riley explains that for as long as he can remember, he’s known the name Doug Kershaw, who he admired for maintaining his roots, growing up playing with Dewey Balfa. He says that the Balfa Brothers and Kershaw did equal parts promoting Cajun music, the Balfas’ being more traditional and Kershaw’s more mainstream or universal. 08:51 Kershaw says that he was able to keep his local connections while gaining renown because he wanted to; while reading and writing French were taken from it, speaking wasn’t, and he figured out he could put the lyrics into English. He points out that if “Louisiana Man” were in French, it’d be evident as a Cajun song. 10:45 Kershaw explains how he and Riley came to do their album, Face To Face, together. 11:18 Riley speaks about the instruments they used, and that brought them together, including Kershaw’s precious old accordions. 13:31 Kershaw speaks to how he came to play the fiddle. 16:00 Demonstration, “The Cajun Stripper” 19:15 Kershaw tells how funny he finds it that the music he did with his brother Rusty is now categorized as rockabilly. He articulates his wilting belief in genre, which he believes enabled him to avoid being categorized and facilitated crossing over. He tells how he and his brothers got their band name, the Continental Playboys, from a club. 21:45 Kershaw recollects the Louisiana Hayride, which was followed by the WWBA and the Grand ole opry. 25:25 Kershaw speaks on his life in Colorado, where he’s lived for thirty-one years and got married in the Astrodome. 29:30 Demonstration, “Saute Crapaud” 31:53 Demonstration “Feed It To The Fish” 34:12 Kershaw speaks about the family he sees on frequent visits home to Cameron Parish. 35:24 Demonstration, “Louisiana Man” 38:55 Demonstration
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- 2018 The Songbird Robin Barnes
- Interviewer - Karen Celestan, ABSTRACT: 01:25 Barnes explains that she feels lucky having grown up in a family of musicians in the Lower Ninth Ward. 02:15 Barnes describes tailoring her performances to specific audiences, always reading a crowd. 04:02 Barnes explains how she chose what to play on her album Songbird Sessions. 05:11 Barnes introduces her husband, Pat Casey. 05:32 Casey explains his intent for Sessions, and how easy it was to bring together given the quality of the personnel. 06:35 Barnes and Casey tell the story of how they met and got together. 08:56 Barnes explains how she came to be labeled a “contemporary crossover artist.” 10:29 Barnes tries to explain how she might woo a jaded-looking audience member. 11:19 Demonstration, “Summertime” 12:27 Barnes tells how her mother signed her up for church choir when she was six, and her experience with “Ave Maria” made her want to sing for the rest of her life. 15:03 Barnes describes what followed her choir experience, being in the family band, The Soul Heirs. 16:04 Barnes reminisces Over growing up in the Ninth Ward, and how music helped her through Katrina. 20:28 Demonstration, “Going Back Home” 23:15 Barnes lays out her view on New Orleans music, explaining she thinks the next generation should uphold the traditional foundation while being unafraid to innovate. 25:52 Casey describes the effect and influence New Orleans grooves had on him, and how they are always taken into account in his and Robin’s music. 26:50 Barnes explains how crucial rhythm is to New Orleans music, partially linking to its African heritage. 28:46 Barnes attributes her range to Ella Fitzgerald and Anita Baker, and generally celebrates the innovation and courage of female jazz vocalists. 31:23 Demonstration, “What A Wonderful World” 36:02 Barnes, Casey and Celestan consider where to get the best gumbo. 38:18 Barnes cites Super Sunday as the best second line. 38:42 Barnes and Casey give mango freezes, hydrating, and bringing sunscreen as their advice to Jazz Fest first timers. 39:16 Barnes lists her favorite hip-hop artists. 40:18 Barnes includes Sunpie Barnes, Irma Thomas and Erica Falls on her list of local must sees. 43:40 Demonstration
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- 2018 The War and Treaty
- Interviewer - Michael Tisserand, ABSTRACT: 01:25 Demonstration, “Set My Soul on Fire” 07:19 Tanya describes the pull of Mahalia Jackson, someone she cites as a major influence. 07:44 Tanya explains how music was all around her in childhood, and a variety of genres, due to her parents’ different tastes. 08:52 Tanya speaks to her love of Dolly Parton, another major influence. 09:52 Tanya explains that a film appearance is what got her onto the professional music path, which she diverged from until meeting her husband. 11:06 Michael explains how his mother rigged their radio to be stuck on the classics, skewing his musical sense as a child, then cites his favorites as Mahalia Jackson, Shirley Caesar, Thomas Whitfield and Nat King Cole. 12:06 Michael explains how the Army led him to songwriting and piano playing. 14:34 Demonstration, “Hit Dawg Will Holla” 19:50 Michael and Tanya describe their genre as “love.” 20:22 Michael describes his performance on Military Idol. 21:05 Tanya describes their decision to begin making music together. 22:37 Michael speaks to the intricacies of working as a married couple. 24:45 Michael explains how he sees, rather than hears, the songs that he writes, which he thinks simplifies things. 26:39 Michael describes the background of the song “Florida,” which sprang from Trayvon Martin’s murder. 28:03 Michael and Tanya recite lyrics from “Florida.” 28:42 Tanya tells how they moved from Michigan to Nashville. 29:45 Demonstration, “Hey Pretty Moon,” which he explains was written in Baghdad. 34:54 Michael lists the club they frequent in Nashville. 35:17 Michael and Tanya speak to their admiration of Pete Seeger and how excited they are to be playing at his festival. 36:16 Tanya and Michael describe how overwhelmed, grateful and honored they feel getting response like the standing ovation they received at the Ann Arbor Folk Festival. 37:16 Michael and Tanya explain how little time they spend apart. 38:04 Michael and Tanya discuss their upcoming album, Healing Tide, produced by Buddy Miller. 39:08 Michael and Tanya consider a house show, which they say they love so long as the food is good. 40:26 Demonstration, “Love Like There’s No Tomorrow”
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- 2018 Tin Men
- Washboard Chaz, Alex McMurray and Matt Perrine; Interviewer - David Fricke, ABSTRACT: 01:43 Perrine says that the trio’s instrumentation – sousaphone, washboard and guitar – is so unexpected as to be like a blank slate, allowing them to play whatever they want. He explains that they tend to gravitate toward what they think will sound really good, or really funny. 02:49 McMurray explains that they realized how the instrumentation balances out nicely early on in their playing, attributing it to luck. 03:26 McMurray explains that the band began at one of his gigs at the Circle Bar in 2002; sometimes Matt would show up, and sometimes Chaz would, and one night they both showed up together. All three attest to how quickly they felt it sounded like a band; they came up with a band name that very night. 04:45 Perrine gets into how he arranges, having produced the latest record, saying he tries to find what will get the song across most clearly. He also says that given his bandmates’ expertise on their instruments, they tend to come up with parts he won’t touch. 06:06 Demonstration “Part of Me” 09:52 Leary tells how he got into the washboard, initially seeing them during his time in the ‘60’s in New York. He learned how to play from a friend in Florida who had the same set-up as he does now, and began by listening to bebop. Fricke commends his versatility, saying that one cover from Sing With Me, Herbie Hancock’s “Rocket,” made him realize the washboard is like the original scratching turntable. 11:56 Demonstration “Rocket” 13:42 McMurray explains that whenever he sits down to write a song, he’s trying to make it for the Tin Men, as they always want more material. He thinks the new album is rather Fats Domino-ish, because of its proximity to his death. 14:58 McMurray tells how he found people to play with when he arrived at Tulane; by the time he finished, he was playing places like the Maple Leaf, and feel hooked, amazed you get paid – is music and beer – to play music. He worked as a dishwasher “to support his music habit.” 16:23 McMurray explains that his songwriting style evolved partly out of his inability to make people dance, which was what most of his peers were aiming for in college. He cites Walter Wolfman, who he’d go see every Saturday, as a major inspiration, particularly for ballads. 17:34 Leary says he is unexceptional in having come to New Orleans via Boulder – many people pursuing music careers do. It took two visits for him to know he was meant to be in the city, which he continues to feel grateful to be. 19:29 Perrine tells how he was failing to make a tuba career make sense in Sacramento when he got a call from Steve Yoakum offering him full-time work on Bourbon Street, and so he came to first live here playing in one club sixty hours a week. 21:21 Perrine gets into the differences between tuba and sousaphone, articulating his preference for sousaphone, including its portability. 23:17 Demonstration “Misty Mountain Hop” 28:11 Leary speaks to his washboard’s accouterments, explaining that he collects regular juice cans but has to get the bigger peanut cans, now a rarity, online. The bell comes from an office supply store, and the woodbox is the only part available at a music store. He keeps only one board at a time, and says he goes through about three hundred thimbles a year. 30:06 Perrine reveals that he has three sousaphones, having recently sold some. While they can be expensive, he explains it’s easy to get deals because of how much space they take up. 31:41 Perrine defends the sousaphone’s expressiveness, explaining that the sousaphone comes closest to approximating his other instruments, acoustic and electric bass, when necessary in a given environment. He also found that the sousaphone allowed him more open space, feeling less haunted by his influences. 34:25 McMurray tells how he first started trying to learn jazz songs so that he could join Kermit Ruffins’ jazz jam, which offered free beans and rice. That did, gradually, send him in a new direction. 36:23 McMurray explains how “You’ve Got To Be Crazy To Live In This Town” popped out fully formed, after the phrase kept running around his head one day in 2005-06 when he spent the whole day trying to get air in his tires, due to all the roofing nails around the city streets. While unsure exactly how or why that song was picked for Treme, he expresses gratitude for their support of musicians. 39:40 Perrine expresses his hope that the record industry having morphed into everyone being working musicians again will wash out those that are not serious about it. 40:42 Demonstration “Function at the Junction” 42:33 The band speaks to their touring experience. 42:56 Each band members speaks to their other musical outfits. 46:42 Demonstration “Sing With Me”
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- 2018 Tommy McLain and CC Adcock: Our Swamp-Pop Songbook
- Interviewer - Scott Jordan, ABSTRACT: 01:21 McLain and Adcock attempt to define swamp-pop. 03:24 Riley explains what he sees to constitute swamp-pop; Adcock chimes in. 04:45 McLain explains the origins of the term ‘swamp-pop.’ 06:06 Demonstration, “Before I Grow Too old” 08:47 McLain explains how he and Adcock took pieces from ‘everybody’ – citing Fats Domino and Little Richard – and made it their own. 09:45 Adcock describes the scene in Lafayette when he was a teenager, and how he made it his business to befriend McLain, who he was always listening to, and solicited for his debut album. 12:18 Riley explains how Adcock got him into swamp-pop. 13:04 Adcock describes how Warren Storm and Tommy McLain came to the Band of Gold, and announces the smaller band’s plans to make a McLain album. 14:27 Adcock introduces what McLain wrote intending to be a hit for him, “Remember Us.” 15:06 Demonstration, “Remember Us” 18:09 McLain, Adcock and Riley each pick a song as a must-have on a swamp-pop jukebox. 18:37 McLain describes his songwriting process, which varies. 19:45 Adcock and McLain testify to the fact that McLain is still very much in it with music, not jaded or bored, and tremendously grateful. 21:20 Demonstration, “The Greatest Show on Hurt” 24:45 McLain speaks to the connection between his music and his preaching. 29:20 McLain explains his nickname ‘The Cajun Rod Stewart.’ 32:14 Demonstration, gospel 35:14 McLain explains how he had to go into his car to listen to the radio growing up, and how hearing Little Richard steered him away from country toward R&B. 37:33 McLain speaks to the primacy of the audience, and how he always knew appeal would either make or break him. 38:54 McLain describes seeing boys play in the Pentecostal church his grandmother took him to, and how deeply they inspired him, despite his terror of the preacher. 40:01 Riley testifies to McLain’s songwriting, describing being struck by a song he heard in Mamou that he later discovered was McLain’s and had been translated into French by Belton Richard. 41:14 Demonstration 44:30 Demonstration, “Sweet Dreams” 46:50 Demonstration
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- 2018 Ukelele Virtuoso: Jake Shimabukuro
- Interviewer - John Wirt, ABSTRACT: 01:15 Shimabukuro explains that while this is his first solo Jazz Fest appearance, he previously attended as part of Jimmy Buffett’s band, of which he was a part for nearly three years. Touring with Buffett helped start Shimabukuro’s solo career, as he never plays back to back shows, which allowed Shimabukuro to arrange solo shows on his nights off. 02:53 Shimabukuro demurs from the title of “world-class virtuoso” and says he doesn’t know what being called “the Jimi Hendrix of ukulele” means. He does admit to being a Hendrix fan, explaining that he admires musicians who push the limits of their instruments; the same for non-musicians, he cites Bruce Lee as a major influence. He was drawn to the fact that Bruce Lee embraced all different styles of martial arts, which he considered a great way to approach music. He began in traditional Hawaiian music, but decided, inspired by Lee, to begin listening to anything he could get his hands on, and incorporating the parts he liked into his playing. 06:06 Shimabukuro confirms Wirt’s suspected flamenco influence, citing Carlos Montoya as an influencer, particularly given that upon first listening to an album he thought it was three separate guitar players. He emphasizes that this was pre-YouTube, and he had only audio clues, no visual – he set about trying to find new ways of strumming the ukulele to mimic his sound. He subsequently saw videos and realized he’d gone about it wrong. He feels grateful for having not had visual cues, as it forced experimentation. A similar thing happened upon his hearing the koto; he developed a method of imitating it that was successful yet subsequently proved unrelated to how that instrument is played. 10:02 Shimabukuro denies being a “superstar” in Japan, but explains how that’s kind of where his career started. Due to Japan’s proclivity toward Hawaiian music and the ukulele, he was offered his first official record contract there in 2001, and effectively lived there for five years. He enjoyed it greatly, and it led to the YouTube video of him playing “While My Guitar Gently Weeps,” which is what propelled him to the global scene. 12:43 Shimabukuro explains what a surprise that video was to him and gets into its origins – he’d been on his inaugural visit to New York and was asked to appear on a local TV show called Ukulele Disco, a clip of which eventually began circulating at a friend’s school, which was e-mailed to him (at that time, 2005, still a novelty). To this day he has no idea who posted it. He likes to tell people George Harrison had a hand in it, as he was a big ukulele fan and advocate. 16:23 Demonstration “While My Guitar Gently Weeps” disrupted by elevator warning 18:38 Demonstration “While My Guitar Gently Weeps” 22:22 Shimabukuro responds to Wirt’s comment that the ukulele may be considered a joyful instrument by explaining that it’s range and tuning give it a resonance similar to that of children’s laughter. Lacking bass notes not only gives it a higher register, but allows greater freedom, as upper mid-range frequencies tend to jive well together without as much thought as it required for lower ones, which he illustrates with a metaphor of picking out random notes with your right hand on a piano – which tends to sound fine – versus your left, which tends to sound muddied. He also extols the benefits of having a small instrument that travels well, which he believes goes over particularly well in this day and age. 26:27 Shimabukuro gets into the provenance of the ukulele he’s playing, his first signature instrument with the Kamakas, a Hawaiian family that’s been in the business of ukulele fabrication for a hundred years. He has six he’s used through his career, and explains that each new one becomes the only one he plays, in the name of forming a relationship bond. 30:19 Shimabukuro explains that the development of his style sprang from his inability to sing. Unable to simply strum (as his mother did, while singing) he had to find a different way to imply the melody. He cites Eddie Kamae, Ulta San and Peter Moon as three huge ukulele influences, Moon particularly for his melodicism, explaining that the way the ukulele has been played in Hawaii diverges from its perception outside. He clarifies, however, that he believes there’s no wrong way. He clarifies this by explaining that Lyle Ritz developed a method much unlike anything on Hawaii, using a baritone ukulele, but that’s become the jazz style of ukulele playing. 36:36 Shimabukuro tells how he got to meet Eddie Kamae, including a visit while he was in hospice, during which he told Shimabukuro to always play “to his wife,” which Shimabukuro took to mean to play from the heart. 38:21 Shimabukuro relates that his social warmth grew from an upbringing in Hawaii, sharing an anecdote that his grandma would start waving out the window at distant cars while driving, knowing she’d know whoever was in the other car even if she didn’t yet know who it would be. 42:04 Demonstration Medley
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- 2018 Voodoo Drum Connections from Haiti to Congo Square
- Luther Gray and members of Kod Kreyol of Haiti; Interviewer - Matt Sakakeeny, ABSTRACT: 01:08 Musicians introduce themselves. 02:20 Demonstration 04:10 Arnaud addresses the diversity of African rituals throughout Haiti, which he explains differ regionally. 06:44 Arnaud explains the meaning of the song, a yanvalou, they played. 08:10 Grey speaks to the influx of Haitians in New Orleans in 1811, the year of the largest slave revolt in Louisiana. He emphasizes the ties throughout the West African region, which Morris seconds, explaining that there’s a rhythm in Haiti called kongo. 10:43 Demonstration, kongo 12:39 Demonstration, bamboula 14:10 Morris explains the equivalent bamboula rhythm in Haiti, called contoh edus. 14:54 Demonstration, contoh edus 15:35 Grey introduces his drum, a djembe from Benin. 17:06 Demonstration, Martinique drumming sitting on the drum 18:05 Morris introduces the Haitian drums. 20:30 Morris describes the drums used in each of the three major Haitian rituals. 23:35 Morris clarifies the differences between the voodoo known around New Orleans and Haitian vodou, having clarified that the ceremonies are indeed vodou. 24:00 Grey reflects on the Haitian diaspora to the US, explaining the long-standing sacred nature of Congo Square, where Haitians in New Orleans went to honor their ancestors, outside the rampart (now Rampart Street) that then demarcated the Catholic city. 27:05 Demonstration, calinda 28:53 Morris describes where the calinda comes from in Haiti. 29:43 Grey explains the origins of “talking drums,” how Africans developed rhythmic patterns to mimic their tonal languages as a means of communication. Morris explains that drums are still a unifying force. The power of this meant that music was often suppressed by colonizers, and slave masters. 35:30 Morris describes some of Kod Kreyol’s activities in Haiti, where they’re based. 36:15 Grey plugs a recent children’s book on Congo Square, and Bamoula 2000’s weekly gig there. 37:33 Morris introduces Kod Kreyol members in the audience. 37:56 Demonstration 41:34 Morris describes the Haiti connection she feels in New Orleans, shared by the band – things feel familiar in a way that’s unusual. 43:42 Demonstration, “The Wild Bamboulas”
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- 2018 Walter Trout
- Interviewer - Grant Morris, ABSTRACT: 01:49 Trout reflects on his set on the Acura Stage. 02:40 Trout speaks to how going on stage was once quite difficult, due to a prolonged undiagnosed bout of Hepatitis C, and how a liver transplant turned it all around. 05:12 Trout attributes the cirrhosis that necessitated his liver transplant to “a misspent youth.” 05:45 Trout explains that he wanted to be a blues player, the reason he moved to LA, because the music moved him like nothing else, though he enjoys a variety of genres. 07:06 Trout explains that he’s on tour an average of nine months a year, so picks up a guitar daily, but mostly in front of crowds. He is, however, taking lessons for the first time in his life, which he says are helping him improve, though he finds them challenging. 08:43 Demonstration, new technical knowledge from his lessons. 09:10 Trout, describing music as “limitless,” explains how he tries to push himself to improve. 10:55 Trout describes playing with John Lee Hooker, and the band’s departure from the twelve bar structure. 12:23 Trout explains how he got the gig with Hooker, in which he was the only white person in an all-black band, which backed up a huge number of greats, some of whom he lists. 15:01 Trout says he began writing songs early on, eventually switching from ballads and rock tunes to the blues, heeding a girlfriend’s advice to avoid the themes of missing a former lover and bribing lovers with material goods. 16:26 Demonstration, “I Got the Blues for My Baby” 17:28 Demonstration 18:49 Trout speaks of his time in the hospital, revealing that he assumed he wouldn’t make it, and his recovery. Initially frustrated that his first songwriting attempts after re-learning to play were “clichéd shit” he took his wife’s advice to write about what’d happened to him. 22:40 Trout admits that the album he wrote during his recovery, Battle Scars, may well be his best, but he’s hoping not to have peaked, as he continues seeking betterment. 23:57 Trout discusses “Gonna Live Again,” which closes that album, and he describes as a conversation with god, asking why he’s been kept around. 24:47 Demonstration, “Gonna Live Again” 27:33 Trout explains that his “misspent youth” involved two years with heroin, to which he was introduced by Jesse Ed Davis, who he met almost immediately upon moving to LA. He tells how Carlos Santana effectively performed an intervention, resulting in his sobriety since 1987. 33:32 Trout reveals his recipe for psychological health, realizing that each day present an opportunity to make choices that increase your self-esteem and self-respect. 34:06 Trout tells how his parents were both music aficionados. 34:36 Demonstration, “Hard Times” 35:28 Trout shares how lucky he is, having had parents who never told him to get ‘a real job.’ 35:45 Trout explains that he has a brother who he never sees, his being a sea captain. 36:18 Trout describes We’re All In This Together, the project that followed Battle Scars, in which he decided to seek joy. 38:32 Demonstration 39:42 Trout explains that though he was friendly with B.B. King, he never got a chance to play him, missing an opportunity not long before he died because he succumbed to jet lag. 41:36 Trout describes his decision to leave John Mayall’s band to form his own, a decision made on his thirty-eighth birthday.
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- 2019 53rd Anniversary of the Savoy Music Center Saturday Jam
- With Marc Savoy, Ann Savoy, Joel Savoy, and Wilson Savoy. Interviewer - Ben Sandmel, 01:26 Demonstration 06:28 Marc Savoy discusses what prompted him to open the Savoy Music Center, and how the positive outside attention that came to be focused on Cajun music began at the Newport Folk Festival in 1964 13:21 Marc charts the evolution of his and Ann’s Jazz Fest appearances; they recount some of their history with Dennis McGee 15:15 Demonstration 19:33 Ann describes her current projects; Joel discusses his infamous triangle record and describes his current projects; Wilson describes his current projects 25:05 Wilson and Joel describe growing up alongside and amid the jam sessions and discuss the music they were exposed to as children 29:39 Ann describes how she got into Cajun music 32:00 Ann introduces their next song, inspired by Moise Robin 32:49 Demonstration 37:08 Ann speaks about her daughters, both also involved with Cajun culture 38:33 Ann introduces their next song 39:00 Demonstration, “Tits Yeux Noir” 42:23 Marc explains how he never aspired to be a professional musician 44:34 Demonstration 47:07 Interview ends