Allison Miner Music Heritage Stage Collection

: 2019 Allison Miner Tribute; With Steve Armbruster, Pat Byrd, Keith Frazier, Dodie Smith-Simmons. Interviewer - Grant Morris, 01:50 Grant Morris introduces the panelists and gives some background on Allison Miner and the Music Heritage Stage 07:42 Dodie Smith-Simmons discusses her connection with Allison, and all her capabilities she witnessed 13:52 Recording, “Tipitina” 15:30 Pat Byrd describes how Miner pulled her father, Professor Longhair, out of a major depression and describes their relationship 23:04 Keith Frazier speaks to the impact Miner, who he describes as a tough cookie, had on the ReBirth Brass Band, crediting her partly with their Grammy 24:10 Recording, “Feel Like Funkin It Up” 25:16 Frazier credits Miner with teaching ReBirth to rely on lawyers when signing anything; Byrd and Smith-Simmons reflect on Parker Dinkins, the first lawyer Miner provided ReBirth 29:10 Byrd ruminates over the fact that it took a proverbial village to create and nurture Jazz Fest 31:46 Steve Armbruster elucidates Miner’s love for Cajun music 34:32 Jonathan Kaslow describes his mother falling in love with dancehall toward the end of her life, and championing it as she had so much other music; Armbruster speaks to Miner’s shared love for folk and roots music with her husband 36:37 Jonathan discusses Miner’s chapter in Cleveland, Ohio; Rashi Kaslow reflects on some of his favorite memories of his mother 39:47 Jonathan describes how odd it was discovering that his childhood was not the norm 41:41 Johanna Miner reflects on her sister, generally 44:15 Recording, “Thank You, Pretty Baby” 51:51 Interview ends

: 2019 Ani DiFranco; Interviewer - John Swenson, 00:49 John Swenson gives background on Allison Miner 02:58 Ani DiFranco addresses her forthcoming memoir and explains her memoir’s accompanying mixtape 08:45 Recording, “Out of Habit” 10:52 DiFranco describes her relationships to poetry and describes the companionship songwriting brought her 13:12 Recording, “Anticipate” 14:50 DiFranco considers the evolution of her phrasing; she extols Maceo Parker, and explains part of his contribution to the mixtape ; she celebrates Betty Carter 19:46 Recording, “If He Tries Anything” 22:30 DiFranco discusses the revelation of her young focus on survival reaped from writing the book and re-recording old songs; she provides backstory on “If He Tries Anything” 27:51 Recording, “Subdivision” 31:31 DiFranco reflects on letting things go; she muses over recording with Dr. John, which segues into celebrating artists stepping into the political arena and reflects on the Roots of Music 36:39 DiFranco plugs her Jazz Fest gig; she speaks to the benefits of aging as a woman in this moment 44:47 Interview ends

: 2019 Big Chief Monk Boudreaux; Interviewer - Tom Piazza, 01:04 Tom Piazza introduces Big Chief Monk Boudreaux; Boudreaux states where he grew up 02:57 Boudreaux speaks to his father masking when he was a kid and describes how he came up, trained in making suits, originally having been taught how to sew by the White Eagles’ first spyboy 05:26 Boudreaux discusses how he became well versed in tradesmanship, due to his family and speaks to the importance of music during his childhood, particularly Al Jolson, his earliest favorite singer 08:14 Boudreaux explains how he sees masking as becoming who he really is and explains how he taught his new wife, who didn’t grow up masking, how to sew 11:05 Boudreaux discusses what an impression music made on him as a child; how important listening was in his musical education; how he came to learn how to sew, and his first suit and describes the position of chief scout, his first with a tribe 15:28 Boudreaux speaks to the flow state achieved by sewing; explains how the White Eagles became the Golden Eagles; describes how and why he was picked for big chief and speaks to the improvisational singing required of chiefs 21:32 Boudreaux speaks to the importance of H&R Bar, and the racial mixing habits it represents; Uptown and Downtown Indians and shares his Katrina story 35:10 Boudreaux discusses his project Voices of the Wetlands; explains his love of travel, and how he packs his suits and cites New York as his favorite place he’s traveled to 39:30 Boudreaux discusses his film roles; the increase in Indians since the storm, and some of the problems with how it’s come about and speaks to the respect Indians command in the community 43:45 Boudreaux describes the origins of Super Sunday and Queens 45:49 Interview ends

: 2019 Big Sam; Interviewer - Jennifer Odell, 00:55 Sam Williams describes his Jazz Fest schedule; he confirms a second volume companion to his latest album 02:21 Williams lists some of his influences, combatting the misconception that New Orleans musicians come up exclusively on New Orleans music; he describes the evolution between his last two albums, and how he’d been straddling funk and rock 04:45 Williams gives some detail on how studio and performance mentalities differ; he extols Kidd Jordan, one of his teachers 09:21 Williams reflects on the confluence and synthesis of his influences 10:47 Williams explains some turnover in his band, the result of expanding opportunities, and celebrates having studied with a bunch of his bandmates, a not uncommon phenomenon in the city 14:33 Recording, “Hot” 16:57 Williams gives some background on “Hot”; he explains how songs come to him in a variety of ways 19:31 Williams speaks to the encouragement and motivation of group dynamics, and how playing with his band differs from guesting in others’ 21:37 Williams explains how the Dirty Dozen Brass Band inspired him to want to start his own band, and his beginnings with the trombone. He speaks to the cycle of trombonist bandleaders emerging and inspiring others 24:09 Williams shares some of his wisdom gained from the Dirty Dozen; he reflects on creative risk 26:35 Recording, “Apple Pie” 29:16 Williams gets deeper into why he viewed slowing down “Apple Pie” as risky 30:35 Williams teases about his next album; he discusses not considering himself a singer; he reflects on his room to improve, and the ironic lack of practice time that comes with being a grown professional 36:27 Williams describes how he’s felt perpetually ready for the stage, and how facing big crowds gets easier each time; he explains how he wound up at NOCCA, despite his late start (for New Orleans) in music 40:37 Williams describes the determination it takes to make it in music, if you’re moved by what you’re listening to; he reveals that he listens to all kinds of music, including while recording 42:30 Williams speaks to the importance of music education incorporating the business side 44:11 Interview ends

: 2019 Bryan Lee; Interviewer - Paul Cebar, 00:32 Bryan Lee details how helpful a character Allison Miner was, which he experienced through his show at WWOZ 04:47 Lee remembers the country station he listened to as a kid, and tells a story about BB King and his band facing discrimination touring in Nashville, expressing that he has also been discriminated as a blind person 12:23 Lee describes his childhood gigs; he explains how he got into the blues, via a Freddie King 45 15:04 Lee describes his first trip to New Orleans, and what it led to, including the details of his move 25:30 Lee gets into his relationship with Quint Davis 29:20 Lee distinguishes himself from some regular Festers by confessing to having loved playing on Bourbon Street, and ruminates on that scene, including an encounter with Clint Eastwood 35:01 Demonstration 41:42 Lee describes changes in traveling as a blind person in the States; he explains what keeps him from living in New Orleans, against his own desires 44:45 Interview ends

: 2019 Caesar Vincent's Legacy; With Steve Riley, Sam Broussard, Chris Stafford, and Anna Laura Edmiston. Interviewer - Barry Ancelet, 00:15 Barry Ancelet plays snippets of various versions of “Travailler C’est Trop Dur” 03:04 Ancelet describes his research into Caesar Vincent, and the archival project born from it 07:53 Ancelet introduces the panelists 08:02 Steve Riley explains his initial hesitation with the proposed project, and how with time, deeply listening to Vincent’s songs, he came around to the melodies and lyrics 11:02 Ancelet plays a snippet of Vincent’s “Mon Aimable Catin,” one of the songs Riley recorded for the album 11:51 Riley explains how he had to come up with a workable rhythm for his band 12:15 Performers demonstrate a stripped-down version of “Mon Aimable Catin” 14:02 Ancelet plays an excerpt of the Mamou Playboys’ recorded “Mon Aimable Catin” 14:58 Ancelet explains the benefits of modern versions/interpretations, keeping older songs alive for new generations 16:00 Ancelet describes the plot of the song he asked Anna Laura Edmiston to do for the album, and the unusual circumstances of her recording 19:08 Ancelet plays a snippet of Vincent’s version of “Les Anneaux de Marianson” 20:11 Edmiston explains not having known the breadth of the ballad when she agreed to it 22:01 Group plays “Les Anneaux de Marianson” 23:40 Ancelet plays recorded “Les Anneaux de Marianson” to illustrate sound design 25:08 Ancelet plays another excerpt to sample the tragic lyrics 26:54 Ancelet reveals the drone sound in the song was accomplished with masking tape on a B3’s keys 27:45 Chris Stafford explains his role in the production, emphasizing how he let artists’ visions guide his contributions and input as engineer 30:50 Ancelet plays a snippet of Vincent’s version of “L’Ecole du Roi” 31:20 Ancelet plays an excerpt from Feufollet’s version of “L’Ecole du Roi” 32:50 Edmiston explains that she grew up singing “L’Ecole du Roi,” and now sings it to her daughter at bedtime 33:43 Riley tells how his boys went from a deep skepticism of Vincent to requesting and singing along to “L’Ecole du Roi” 34:44 Ancelet plays excerpt of Vincent’s “La Bas Oh Dans Ces Bois” 35:18 Sam Broussard explains how he “chopped up” Vincent’s voice and re-arranged the rhythm for his interpretation, seeing the challenge as keeping such long songs interesting 36:25 Ancelet plays excerpts of Broussard’s “La Bas Oh Dans Ces Bois,” and Ancelet relates Vincent’s descendents being blown away by the project 38:10 Ancelet plays a bit from the end of Broussard’s “La Bas Oh Dans Ces Bois” 40:36 Ancelet answers an audience question about children understanding the lyrics, explaining that there is not such a deep difference between Cajun and standard French, and that the age of the lyrics helped. Ancelet relays his delight at the opportunity to work with young musicians who didn’t have a linguistic barrier with French 41:38 Ancelet responds to a question on the origins of the songs, explaining that they came from France but represent the type of song that Louisianans used to listen to (rather than dance to) 42:44 Interview ends

: 2019 Cha Wa; Interviewer - Maurice Martinez, 02:06 J’Wan Boudreaux explains how he got more into masking and Mardi Gras Indian culture as he aged; Boudreaux tells how he and Joe Gelini met; Jose Maize explains how he hooked up with the band 06:15 Maurice Martinez gives some background on the Mardi Gras Indian tradition 10:01 Demonstration 14:08 Demonstration, “Indian Red” 18:18 Boudreaux speaks to the doors the Grammy nomination opened up 21:25 Recording, “Golden Crown” 22:25 Boudreaux explains his background speech included at performances and on the CD 25:24 Demonstration, “Chapters” 31:11 Boudreaux explains the band’s name; Martinez gives a brief background on Mardi Gras Indians 34:52 Joe Gelini, Boudreaux and Martinez explain what it takes to come out on top in an Indian battle, and Boudreaux clarifies that members of separate tribes are friendly 38:28 Boudreaux and Gelini reflect on the losing Stephen Malinowski; Gelini plugs gigs and merchandise 42:13 Demonstration, “Hold ‘Em Joe” 44:59 Interview ends

: 2019 Chris Smither; Interviewer - Scott Jordan, 01:04 Chris Smither discusses hearing Quint Davis dream up Jazz Fest; he considers what he’s most kept from a childhood in New Orleans 03:40 Smither discusses R&B and the odd racial politicking of American music, and how it influenced him; he considers Snooks Eaglin and Lightnin’ Hopkins 12:11 Smither discusses the scene at Dick Waterman’s apartment, where he met a number of musicians, compares the scenes in New York and Cambridge 15:59 Smither discusses Honeysuckle Dog; he explains how he briefly took himself out of the game 18:48 Smither describes how he sees his own tone and considers his relationship to comedy 20:53 Smither introduces a song he considers ‘lighter’ 21:29 Demonstration 24:38 Smither discusses his relationship to poetry and reveals his father to have been a languages professor 26:13 Smither describes a memorably bad gig and reflects on visiting his catalogue for a retrospective, and his pleasant surprise at how many songs held up 32:37 Smither discusses his pride around his very first song, describes being self-taught, and describes becoming acquainted with the blues and his relationship to art 41:41 Smither describes the decision to record “Sitting on Top of the World” for his new album 46:48 Interview ends

: 2019 Clifton Chenier and Buckwheat Zydeco Tribute; With CJ Chenier, Reginald Dural, Nathan Williams, and Lee Allen Zeno. Interviewer - Michael Tisserand, 00:32 Demonstration 04:14 Michael Tisserand introduces the panelists; CJ Chenier speaks to the pronunciation of his father’s name 07:56 Chenier describes the offer and experience of joining his dad on the road and discusses his father’s stage presence; he considers his father as a boss 11:31 Chenier describes falling in love with zydeco through its audience 12:26 Reginald Dural explains how Buckwheat Zydeco, his father, turned toward zydeco inspired by Clifton Chenier ; Lee Allen Zeno talks about seeing Clifton Chenier as a kid 16:14 Nathan Williams describes how Chenier and Zydeco influenced him, and how Zydeco took him under his wing. He celebrates Buckwheat for having brought zydeco mainsteam 22:50 Dural speaks to the differences between his father at home and on stage and what a country man his dad was; he shares his full name 25:03 Dural gives some background on Buckwheat and Chenier’s relationships with Nathan Williams’ brother, Sid and Chenier explains how his father received a rocky reception early on 29:03 Demonstration, “Tous Les Temps En Temps” 32:47 Williams translates the song’s title 33:37 Zeno explains how Buckwheat Zydeco fought to use the term ‘Creole’ regarding his music; Chenier and Zeno give background on the origin on the term zydeco; they speak to future generations 39:09 Chenier, Williams and Dural speak to the musicians’ ability to advocate, and give the people what they wanted, musically; they reflect on Buckwheat and Chenier’s legacies 43:09 Interview ends

: 2019 Davell Crawford; Interviewer - Herman Fuselier, 02:07 Davell Crawford expounds on what Jazz Fest means to him, celebrating it as an opportunity to come home and “fill his gas tank.” He explains how New Orleans is a priority for him, and conceded to Quint Davis’ request that he clear his schedule for two weeks for the 50th 04:44 Crawford gets into Herman Fuselier’s background 05:31 Crawford reflects on early Jazz Fest memories, including his first gig, a tribute, on the Gentilly stage, to his grandfather, James Sugar Boy Crawford. He commends Quint Davis for letting him be flexible and creative with his performances, citing an unrehearsed piano gig with Dr. John and Jon Cleary, in the spirit of the WWOZ’s piano nights he participated in when he was young 08:45 Crawford clears up his recording history, explaining the pressure and guilt he felt to stick to New Orleans music, due to comparisons to legends such as James Booker, which evolved into a deep desire to do just that. He describes how intentional he was deciding which songs he recorded on his first album, committed to an ability to trace where the money went for songwriters 13:39 Demonstration, “You Gave Me Love” 16:19 Demonstration, “Please Send Me Someone To Love” 19:53 Crawford explains his latest CD, a tribute to Fats Domino he recorded in an impromptu fashion while in mourning, alone, in New York; describes the power of Domino’s music and expounds on him as a heroic and genius entertainer 27:37 Demonstration, Fats Domino medley 30:30 Crawford explains how Fats is “in his bones,” and describes that while he had to opt out of a James Booker documentary due to a lack of familiarity, he’s had plenty to say on Fats since his passing 32:35 Crawford describes parallels between his path and that of Roberta Flack, his godmother, with whom he also shares a manager, and celebrates her as both a musician and a person who’s been a nurturing presence for him in New York 39:55 Crawford describes his ability to bring people back into the moment, a gift he used with Fats Domino on the set of Treme 43:45 Crawford loops back to the joys of Jazz Fest, including being able to hug loved ones who have known him since childhood 44:55 Demonstration 46:22 Interview ends

: 2019 Delfeayo Marsalis; Interviewer - Maryse DeJean, 00:00 Demonstration 02:44 Delfeayo Marsalis explains the origins of his Uptown orchestra 04:52 Marsalis describes some pleasures and challenges of managing the orchestra; he states his aims for his Jazz Fest performance and reflects on the importance of modern music 08:58 Marsalis explains the dedication to activism instilled in him by his family 10:40 Demonstration 16:49 Marsalis describes his stance toward his social and political environment, which he considers to be, generally, for musicians, very idiosyncratic and explains his stance toward musicians opting out of gigs 20:44 Marsalis speaks to Uptown Music Theater, his twenty-year-old program for youth my 23:02 Marsalis introduces the orchestra’s next song 23:34 Demonstration, “Back To Africa” 27:37 Marsalis describes his youthful entry into producing and addresses the orchestra’s upcoming album 31:45 Demonstration 35:18 Interview ends

: 2019 Dr. Michael White; Interviewer - Sally Young, 01:32 Michael White explains that an early attraction to Spanish led him to pursue a PhD; he describes his current class at Xavier University, a survey of African-American music which he’s been teaching for thirty years 05:02 White tells of how he went to Saint Augustine partly seduced by their marching band, which he eventually joined; he describes his first job, with Doc Paulin, who he first met at Jazz Fest in 1975 09:23 Demonstration, “Lily of the Valley” 11:22 White describes a Jackson Square gig he did with Larry Batiste, which gifted him interactions with a number of legends, and, luckily, was recorded 14:52 Demonstration, “Burgundy Street Blues” 18:06 White describes how a George Lewis recording effectively changed his life, articulating some of his feelings about his home and inadvertently preparing him for his Jackson Square gig; he speaks about his music collection, which includes thousands of recordings and books, as well as ephemera, and was decimated by Hurricane Katrina 24:11 White reflects on the Fairview brass band 27:05 Recording, “Oh But on the Third Day” 28:56 White describes how his collaboration with Wynton Marsalis came about, the process of staffing and recording, and some of the reception to the project; he describes how his relationship with Marsalis expanded in the wake of their album 33:13 White provides insight into his motivation for forming the Liberty brass band, and seeking out older musicians, as well as explaining where he got the name 36:01 Demonstration, “Shake It And Break It” 38:16 White gets into his relationship with his label, Basin Street Records; goes over his Jazz Fest line-up; he explains how clarinets vary 43:58 White describes what drew him to traditional music, and the ways around it generally not being on the radio; he delves into his relationship with Thais Clark 49:05 Recording, “Horn Man Blues” 50:40 White gives a bit of background on Sidney Bechet 51:34 Demonstration, “As-Tu Le Cafard” 53:51 Interview ends

New Orleans Jazz & Heritage Foundation

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