Allison Miner Music Heritage Stage Collection
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- 2019 Eddie Levert and Walter Williams of the O'Jays
- Interviewer - Melissa 'Soul Sister' Weber, 00:42 Melissa Weber remembers Allison Miner and her legacy 02:44 Eddie Levert and Walter Williams discuss the O’Jays latest and last album, The Last Word 05:39 Clip from “Above The Law” 06:38 Levert and Williams discuss how they view their music as less political than informative; explain how they met and began singing together as children, and are the only founding members of the O’Jays left that are still alive and performing 10:38 Williams explains how the O’Jays formed, and how they came about their name 12:00 Clip of “Lipstick Traces”; Williams explains how they came to record “Lipstick Traces,” and Levert tells how he came to have to sing it on a ten-day stint 14:43 Levert describes how the O’Jays came to be with Gamble & Huff 16:11 Williams explains how they landed the song “Backstabbers,” and both he and Levert reflect on their immediate realization that it was going to be something special; they name their favorites among their own songs 19:32 Levert describes the experience of recording Stevie Wonder’s “All I Do” 21:29 Audio clip, “For The Love of Money”; they discuss recording and performing “For The Love of Money” 23:53 Williams and Levert discuss what set their group apart from others on the Philadelphia International label 26:28 Levert reveals his theory as to why there may never be an O’Jays movie; Levert agrees to record a celebratory song if the Browns win the Superbowl; Levert gives some background on “Ship Ahoy” 30:30 Levert describes part of what made the “Philadelphia sound” of Sigma Studios so special 33:51 Demonstration, “Enjoy Yourself” 35:09 Interview ends
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- 2019 George Porter Jr
- Interviewer - David Fricke, 01:39 Porter describes the Foundations of Funk, including how their name came about 03:17 Porter speaks to his desire to get beyond the fifteen-twenty classic songs from the Meters’ catalogue; how much of the Meters’ music was never recorded, and how he’s trying to move away from the constraints of popularity and familiarity 06:19 Demonstration 07:04 Demonstration 08:25 Porter discusses the song he wrote that got onto a Meters album 10:21 Porter reflects on the Meters performance at the inaugural Jazz Fest in 1970 13:18 Porter speaks to European touring bands paying more attention to the Meters than local ones, and the gap that existed between his band and those they would open for early on, such as the Rolling Stones; the variety of audiences he’s experienced, and his ethos to never slack off as you never know who might be watching; remembers an experience he had with Bill Wyman on the ’76 European tour 19:52 Porter describes his path to the bass, directly from the guitar; demonstrates and discusses his first favorite bass lick, from Earl King 24:46 Porter reminisces over Allen Toussaint and how he taught him to be a more open and less busy player 27:33 Porter reflects on how recording sessions varied in terms of control 30:40 Porter muses on warm-up exercises and demonstrates an example 32:20 Porter reflects on his dynamic – musical and personal – with Zigaboo Modaliste, and reflects on how drummers seem to be changing, offering the contrast of Terrence Houston, his drummer in Runnin’ Partners; describes the change of bringing Cyril Neville into the band, and transitioning toward more vocals with Art Neville 37:34 Porter discusses the diversity of his musical knowledge, which he attributes partly to the New Orleans radio stations of his childhood, which focused on New Orleans music and allowed him to familiarize himself with it. He relates an anecdote of being musically hazed at the Dew Drop, and recovering 41:53 Demonstrates “Tune Up,” the song he was hazed with 44:16 Porter admits to having missed the fact that a song of his was used on The Sopranos, and explains why and how he formed the Joy Ride band, in the wake of the Meters, including his motivations for leaving the Meters, who had become stultifying to him 50:19 Porter explains some of the reasoning behind his diversity of gigs, beyond needing to pay the bills 54:35 Interview ends
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- 2019 Germaine Bazzle
- Interviewer - Jason Patterson, 01:06 Jason Patterson introduces Germaine Bazzle 03:10 Bazzle explains how she got into music, citing the prevalence of pianos in her neighborhood, which were a popular alternative to radios for entertainment. She considers herself lucky to come from a piano-playing family, and credits her mother with the decision to send her to Xavier’s Junior School of Music as one of the most important facets of her childhood, partly for being where she met Ellis Marsalis. She expresses gratitude for having been exposed to a variety of styles early on 07:42 Bazzle proclaims attraction to Ella Fitzgerald’s early hits, which were considered children’s songs and came out when she was a child 08:25 Demonstration: “A-Tisket, A-Tasket” 09:47 Bazzle discusses her influences, citing her enthusiasm for big bands and her reigning interest in instruments, which captivated her more than vocals or vocalists 12:22 Bazzle speaks of Sister Mary Letitita, the director and one of her teachers at the Junior School, who introduced her to the bass; describes how Sister Mary would imitate different instruments when teaching them their parts 17:07 Bazzle explains that she’s focused simply on sound variety when scatting, not trying specifically to sound like specific instruments 18:57 Recording: the “They Can’t Take That Away From Me” 21:45 Patterson discusses Bazzle’s discography, which is fairly limited for a musician of her stature, and celebrates her producer and pianist Larry Sieberth for making albums happen 25:57 Bazzle attempts to reflect on her first-ever Jazz Fest performance, which happened its inaugural year, in 1970 28:52 Bazzle describes her reticence toward touring, derived partly from her experiences during segregation 31:38 Bazzle dispenses advice to her younger self, intended as inspiration for young female artists; describes having been star struck by Ella Fitzgerald and Sarah Vaughan, both of whom she met in New Orleans 37:23 Bazzle relates a story of a particularly memorable student, the experience with whom made her decide to commit to teaching, based on her effect on his self-respect. She describes the feeling of helping a child walk tall as far superior to any award 42:17 A former student describes some of Bazzle’s teaching methods 43:07 Larry Sieberth describes how he became known as an accompanist early into his tenure in New Orleans, and how the jazz community has drastically expanded 46:18 Interview ends
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- 2019 Gregory Porter
- Interviewer - Karen Celestan, 01:04 Gregory Porter reveals that he identifies as a jazz singer, considering various genres cousins under one roof 02:14 Porter explains that his music is personal, and that he came to it originally as a method of self-protection, and putting people at ease, which was sadly necessary as a large person of color 05:07 Porter describes how he passively pursued Lalah Hathaway, a collaborator, for years. He explains that collaborations can be logistically tricky 06:14 Porter cites “Ain’t Nothing But The Blues” as the first important show he was involved with on the theater circuit, citing how important it was for him to gain some musical historical insights. He elaborates, explaining that he had gotten a lot of history through his upbringing and the various musical styles he encountered at church, but hadn’t been aware of it as such 09:57 Porter discusses what drew him to the work of Nat King Cole, explaining how he served as a sort of father figure who he was drawn to initially, before knowing who he was, by his mother telling him they sounded alike. He describes himself as having “self-medicated” with his music 12:53 Porter explains how he feels his mother’s encouragement and enthusiasms partly landed him at the likes of Royal Albert Hall, where he did indeed play for royalty, after years of predictions 14:55 Porter describes his thinking behind the lyrics to “Brown Grass” 16:06 Porter disabuses the notion that he’s a Leo, and explains that “Be Good” discusses masculine vulnerability, which he considers crucial, if difficult to attain and maintain 17:40 Porter clarifies the meaning of “Hey Laura,” which isn’t quite as literal as it may sound 18:41 Porter explains how a drummer helped clarify for him that he’s allowed to play his songs as he wants, which sometimes leads to multiple versions, as with “Water Under Bridges,” which he cites as the song he’s most proud of 20:47 Porter describes the motivation behind “1960 What?,” which he intended to draw attention to the fact of tragic history repeating itself. He explains that his motivation with music is always expressing love and healing, even if discussing difficult issues 22:27 Porter tells the story behind “Take Me To The Alley,” how his mother arranged his first performances to happen for people who were down and out in Bakersfield, where he grew up 23:33 Porter explains that he’s open to a wide variety of collaborators, primarily being interested in keeping to what he considers his lane, of conveying positive messages 25:50 Porter describes his musical motivation, explaining that he’s aware of music’s power through what Nat King Cole’s music did to him as a child, and that that feeling is what he hopes to provide to his audience 26:49 Porter explains how he does see his music as a message, containing his Christian principles, but consistently sees it translate widely, as they’re common principles 29:00 Porter explores his habit of moving his hands while singing, explaining that he needs them expressively, a habit he may have picked up from his mother 30:27 Porter relates having beaten the members of what would become Korn at a high school talent show, ‘by default,’ due to their flipping off the audience 32:30 Porter attributes his tendency to deviate from the melody to having learned from jazz singers and instrumentalists, and his desire to be an instrument 34:24 Porter explains how the way he wears his hat was influenced by a fan at the Apollo Theater 35:51 Porter says he’s considering putting a recorded version of “Probably Me” on his next album, and explains how Sting kindly cursed him out after his performance of it 37:21 Porter describes how the Laws family has been crucial to his career, citing Hubert’s interest in him as a major boost he required 39:54 Porter reveals that he has a new album of original music in the works 40:25 Recording: “L-O-V-E” 41:33 Porter discusses the motivation and challenges of recording songs iconic to another artist, such as Nat King Cole’s “L-O-V-E”; describes how record label employees try to influence albums as they’re being made, and the possible benefits of remixes 45:01 Porter explains that record labels have a release schedule, and his plan to ignore the label’s advice and record and release a back catalogue. He laments that recording artists don’t always have time to hold onto recordings long enough to woo people with them, and emphasizes the importance of the world market 47:45 Recording: “Miss Otis Regrets” 47:54 Interview ends
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- 2019 Indigo Girls
- Interviewer - Alison Fensterstock, 01:24 Emily Saliers explains how she and Amy Ray got together, beginning to bond over and play music together in high school; Ray describes how excited she was by realizing Saliers excelled at harmony when they first got together, and reflects on the importance of having something that feels special and allows for self-expression in high school 03:26 Saliers reflects on the scene in Georgia in the ’80’s, a fertile, vibrant and supportive period, including at the bar where they came up; Ray explains how the radio landscape has changed, and the difficulties of genre and pigeonholing 08:06 Saliers praises the merits of great college radio stations, like WTUL, and laments the decline of regional radio 10:35 Saliers introduces her song “Elizabeth”; Demonstration, “Elizabeth” 17:24 Saliers describes the surreal experience of getting signed by a major label and having a tremendously successful debut, revealing that touring strained her and Ray’s relationship, leading them to cut back. Ray reflects on her ability to forget even major moments, such as playing Madison Square Garden and singing with Emmylou Harris. After mutually reassuring each other they have not yet played with Joni Mitchell, Ray tells her story of meeting her. 22:57 Ray explains how she conscious she was of the state of female musicians and feminism during the moment when the Indigo Girls got signed 24:19 Saliers ruminates on the limits of genre and type, and emphasizes Ray’s reflections on the backlash common against women gaining power, using Lilith Fair as an example. Ray explains the differences between highlighting female lead singers versus trying to gain parity across the board, using Michigan Womyn’s Fest as an example 26:42 Ray describes some of the backlash against Lilith Fair, citing how radio stations would refuse to play Lilith Fair bands; Saliers follows up with the example of country music stations believing and perpetrating the myth that country fans are not interested in female musicians, with very few famous contemporary exceptions. Ray argues against the popular thinking that it must be one or the other, advocating the notion that there’s room for everyone and everything 28:40 Saliers explains how compatible music is with social activism, and describes benefit concerts as her favorites, explaining the work of El Refugio, subject of an upcoming benefit. She attributes her and Ray’s family values to their interest in activism 31:05 Ray describes getting a letter from Herman Wallace, a victim of solitary confinement, which inspired her to write a song 32:57 Demonstration, “The Rise of the Black Messiah” 38:24 Ray thanks an audience member expressing gratitude, explaining that participating in strangers’ lives is a privilege, and that the band considers their loyal fans a community; Saliers and Ray describe their songwriting processes 40:27 Interview ends
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- 2019 James Carter
- Interviewer - T.R. Johnson, 01:20 James Carter discusses his childhood in Detroit, and his musical siblings, as well as his theory that he was drawn to music because of its effect on his mother 04:09 Carter describes his history with the saxophone, which he began playing at age eleven, after starting on the recorder; He was invited onto a Lester Bowie gig as a special guest at nineteen, which led to his first trip to New York 07:24 Carter discusses his collection of saxophones, and how his first saxophone impacted him and got him started on repairing horns, part of what has motivated his collecting; Owning Don Byas’ second-to-last tenor; Recording Gold Sounds, an album of Pavement covers; skratiology 18:32 Carter acknowledges and introduces his band, and two of their “better halves”. Carter acknowledges it having been music that brought he and his wife together 21:45 Carter explains how he got into playing in an organ trio, inspired by his cousins’ church and those who came before him, many of whom he names; His gig will consist of him playing soprano, alto and tenor sax, as he is “traveling light” 29:04 Carter describes what pulled him toward electric music; collaborations with his cousin, Regina Carter ; classical music performance history 33:40 Carter responds to an inaudible question about “the dude with the foot”; answers another inaudible question about P.Mauriat saxophones 36:51 Carter speaks to one of his current projects, giving Django Reinhardt’s music “a hood pass”; his sartorial choices and lineage 40:04 Interview ends
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- 2019 James Rivers
- Interviewer - Matt Sakakeeny, 00:23 Introductions; James Rivers addresses the variety of genres and instruments he engages; explains what makes the bagpipes the most difficult instrument he plays; describes getting his start on the clarinet, explaining how he was seduced by the school band 06:07 Rivers gets into what his neighborhood, the Sixth Ward, was like when he was growing up, including the stretch of Claiborne Avenue that’s now occupied by the overpass; explains going to high school out of his neighborhood for the sake of its band, and discusses the legendary marching band directors of the time; describes refusing scholarships to forgo college for a music career 09:38 Rivers explains his switch from clarinet to saxophone, celebrating saxophonists of the time; his discography 11:47 Rivers plays the melodic riff of “Sea Cruise”; Rivers explains Huey Smith replacing the singer on “Sea Cruise,” and its capitalist and racial implications; getting hurt touring with Huey Smith 14:55 Rivers explains how New Orleans was a hit factory in the ‘50’s, and details working with Dave Bartholomew and Allen Toussaint, two of the heralded producers; his evolving choice between jazz and R&B, and how economics impacted it; Jimmy Reed turned him onto playing harmonica, and his innovation to mount it on the flute 20:34 Rivers explains the diversity of performance he puts on, including a satirical rap; his act is the same, regardless of audience; describes his popular rise in the 1960’s, and how he caught Clint Eastwood’s attention, due to a popular club gig, in the early ‘80’s, leading to multiple collaborations on film soundtracks and a concert at Carnegie Hall 28:48 Demonstration: “Do You Know What It Means To Miss New Orleans?” 31:08 Rivers enumerates his regular gigs in and out of town; Q&A, audience members inquires about where to get albums 33:41 Interview ends
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- 2019 Jazz Fest at 50
- With the Founder George Wein. Interviewer - Quint Davis, 01:41 Quint Davis introduces George Wein as the founder of the Newport Jazz and Folk Festivals, as well as the New Orleans Jazz and Heritage Festival; George Wein describes the origins of Jazz Fest 04:18 Davis explains how he was hooked up with Wein through Dick Allen; describes the experience at his first Newport Jazz Festival, and his first tour, with Duke Ellington, celebrating more generally the impact a long collaboration with George Wein has had on his life 09:08 Wein describes how he came to conceptualize Jazz Fest, and what made him think it would be a success, explaining his technique of building local staff wherever he goes 12:09 Davis describes an incredible encounter at the Louisiana Heritage Fair between Duke Ellington, Mahalia Jackson, and the Eureka Brass Band, and reflects on Wein’s ideas about longevity and the economics of creativity 15:57 Wein describes how production and organization can, and sometimes must, impact a place 20:40 Rachel Lyons asks about moving a Duke Ellington concert from a cathedral to an auditorium in 1970, which Wein doesn’t seem to recollect 22:22 Davis explains that he was technically at Tulane when he paired up with Wein 23:34 An audience members asks about the importance of Allison Miner, and what compromises have been made economically in keeping the festival alive – Davis explains that they were a couple early on, and she was tantamount to the festival, foregrounding the importance of musicians as individuals. He reflects on how the festival has remained the same, just scaling up, becoming more of itself, which he attributes to the culture having expanded and grown 32:59 Wein speaks to keeping the “guts and body” of a festival in tact to keep it alive; Davis reflects on the natural diversity of Jazz Fest; An audience member thanks them, having come to Fest for thirty-two years 36:07 An audience member fact checks some of her memories from 1970 and 1971; Dodie Simmons, joining Davis and Wein on stage, reflects on her origins with the Fest, and early memories, including being awed by Joyce Wein 46:30 Davis reflects on the fact of how many Festival Productions employees have long tenures 49:20 Interview Ends
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- 2019 Jerry Douglas
- Interviewer - Steve Hockman, 00:56 Demonstration, “A Peaceful Return” 04:49 Jerry Douglas gives some history on dobros, explaining that ‘dobro’ is a generic term and provides information on the specific instrument he has on stage 08:06 Douglas describes his first instrument; he recalls the first song he was able to get through, and how inspiring he found it and explains how he is self-taught 11:07 Douglas examines the perils of being self-taught, and shares his own shock at having succeeded; he describes meeting Josh Graves 13:03 Douglas speaks to the Earls of Leicester, the band with which he’s playing at Jazz Fest; he details why the Earls only play music from a certain time period within Flatt and Scruggs’ career 17:37 Douglas admits he can spot Josh Graves’ playing from a single note 18:09 Demonstration, a Josh Graves solo with discussion 19:10 Demonstration, Graves’ style with discussion 20:45 Douglas demonstrates his style with discussion 23:41 Douglas speaks to common threads between musicians 24:03 Douglas demonstrates Ali Akbar Khan’s style with discussion 24:23 Douglas clarifies his own style; he reports on his trio’s gig the night prior; he speaks to his big band and discusses Béla Fleck 28:03 Douglas speaks to the contemporary bluegrass scene and gives some information on the tune he opened with 31:07 Demonstration 35:44 Douglas discusses the Seldom Scene, Australia, and his Transatlantic Sessions 40:34 Douglas addresses his sense of humor vis-à-vis the industry and plugs his instrument builder, and gives advice on how to learn to play; he explains his tuning 44:39 Demonstration 47:18 Interview ends
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- 2019 Johnnie Allan and Terry Huval
- Cajun Music Legends. Interviewer - Ben Sandmel, 00:44 Demonstration 03:56 Johnnie Allan gets into his musical background and lineage 06:02 Recording, “Allons a Lafayette” 07:48 Recording, “Ma Blonde est Partie” 08:59 Allan emphasizes that his great-aunt and uncle’s recordings were done with only guitar and accordion, though it could sound like more due to the volume of the accordion 10:09 Allan annotates Ben Sandmel’s commentary on his musical history, having started out with Lawrence Walker and Walter Mouton. He was floored by performers like Gatemouth Brown and Earl King, and headed toward what was later dubbed swamp pop, away from Cajun music 12:41 Allan says he doesn’t mind the term swamp pop, believing it’s brought some clarity; he testifies to the influence of Fats Domino, citing the importance of his piano triplets; he explains his decision to get a day job in the name of supporting his expanding family; he reveals his suspicion that his swamp pop radio show on KRVS was the first of its kind 14:50 Allan describes how the Chuck Berry song “Promised Land,” recorded on a lark as a B-side, went on to make him a hit in Europe 18:30 Demonstration, “Promised Land” 21:12 Terry Huval gives some background on the Jambalaya Cajun Band; Reggie Matte and Ken David reveal when they joined the band; Huval reflects on D.L. Menard, for whom he was a bandleader; Allan explains that his immersion in swamp pop has not meant he turned his back on Cajun music 24:43 Allan introduces a song, which he wrote for Aldus Roger, who he credits with getting him back into writing Cajun songs 25:30 Demonstration 27:10 Allan explains the lag in the popularity of Cajun music as swamp pop developed, and expresses relief and gratitude toward the current revival 28:59 Demonstration 30:41 Allan explains that he didn’t have much of a relationship or history with Huey Meaux; Allan describes the young people playing swamp pop as small in number compared to those into Cajun music, but expresses a similar gratitude, giving the aging demographic of its pioneers 33:23 Allan describes himself as semi-retired, admitting that seven or eight annual gigs is all he’s interested in, describing the “running around” of touring as having “caught up with” him; Huval affirms having heard a lot of Allan’s music when he was young, and attests to Cajun music’s danceability as a major factor in its popularity 36:06 David speaks to the popularity of swamp pop, illustrated in its requests at dances he played with Reggie Matte before hooking up with Allan. Matte reflects on the contemporaneous popularity of swamp pop and English bands, on which Lawrence Walker capitalized 38:17 Allan laments the loss of big dancehalls, attributing part of it to things like fires, while Huval mulls over how the business model has changed, accommodating things like casinos, restaurants with bandstands and large festivals. Matte adds the increased enforcement of DWI’s as a factor in the downfall of local nightclubs 41:29 Demonstration 42:52 Interview ends
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- 2019 Johnny Vidacovich
- Interviewer - Bruce Raeburn, 00:05 Bruce Raeburn reflects on Allison’s Miner; speaks to his long-term friendship with Johnny Vidacovich, and cites publications on the musician 04:04 Vidacovich relates his hometown and birthplace as New Orleans, and reflects on his birthdate, as he is approaching seventy 04:04 Vidacovich speaks to his uncle, Pinky Vidacovich, who had a radio variety show, “The Dawn Breakers,” in New Orleans which featured a number of prominent musicians in their youth 05:39 Vidacovich explains how he gained his chops, through watching musicians play at bars by peeking through side windows when he was underage, and eventually scoring music lessons paid for by his mother 09:48 Vidacovich discusses David Lee, a drummer who was a major influence, largely for having taught him not to fear or feel compelled to feel silence, and the merits of linear or melodic rhythm 14:03 Vidacovich recalls Warren Luening, with whom he played in the Ronnie Dupont Quartet; reminisces over his first professional gig, which included a mishap; reflects on Lu and Charlie’s, a seminal venue for him, through which he met Julius Farmer, a bassist with whom he collaborated frequently 21:58 Vidacovich ruminates over Julius Farmer, explaining how their two beats formed a more powerful groove than can be generated by one individual 26:34 Vidacovich explains how he’s never understood categories and doesn’t abide by them 29:22 Demonstration, “Margie” 33:53 Demonstration 40:16 Vidacovich explains how his trio is really his wife’s baby, who’s also invested in his records that he owns 42:40 Vidacovich describes the origins of his group Nolatet 44:47 Vidacovich cites Smokey Johnson and Zigaboo [Modeliste, of the Meters] as exceptional musicians capable of magnificent grooves, and explains that the funkiest, nastiest groove he’s heard is likely in his future 46:57 Interview ends
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- 2019 Jonathan Butler and Gerald Albright
- Interviewer - Ashley Kahn, 01:02 Ashley Kahn introduces Jonathan Butler and Gerald Albright; they discuss their last appearances at Jazz Fest, touring history, and friendship, including a shared love of golf 08:08 Butler explains their song choices 08:32 Demonstration, “Lovely Day” 12:38 Demonstration, “Knocks Me off My Feet” 16:44 Butler discusses his latest album, a selection of Burt Bacharach and Hal David songs; he discusses his early hit “Please Stay” and what it meant to be famous and black under apartheid 22:50 Albright speaks to his experience at Locke High School, in LA and describes the advantages of having pursued a non-musical track in college 28:41 Butler discusses Hugh Masekela 31:02 Albright ponders a return to New Orleans and considers the potential of working smooth jazz into Jazz Fest 34:02 Butler discusses the importance of his song “Seventh Avenue” and both dispense their best advice for young musicians 44:54 Butler speaks to Abdullah Ibrahim 45:41 Interview ends