| | | | | | | | | | | | | |
|
Series 8: Sound
recordings
(continued) |
|
Subseries 2:
Events
(continued) |
|
Sub-subseries 5:
International Blues-and-Boogie Woogie Festival
(continued) |
|
Item-ID: AFC 2011/053: SR131 |
First
International Blues-and-Boogie Woogie Festival, #1, September 14-15, 1974
|
|
Rack number: RXH 3680 |
|
Extent: 1 sound tape reel
(polyester) : analog, mono ; 7 in. |
|
Archivist's note: The festival was organized by Hans W. Ewert
for Radio WDR and held in Cologne, West Germany. While the date
on the tape box is September 8, the festival was held on
September 14-15. Three digital files were created from this
recording: their durations are 00:43:59, 00:47:20, and 01:35:42.
See the notes for SR133
|
|
Side 1 (half-track format; 00:43:59)
LC engineer's note: The tape appears to have been initially
recorded on a quarter-track stereo machine at 3.75 ips on one
side only and later reused on a half track mono machine recorded
on both sides and running at 7.5 ips. This file is Side 1 of the
half-track format recording on the tape.
|
Time
|
Content
|
|
|
| Start |
unidentified piano solo |
| 00:05:02 |
unidentified piano solo |
| 00:07:00 |
unidentified piano solo |
| 00:09:11 |
unidentified piano solo |
| 00:12:49 |
unidentified piano solo |
| 00:16:09 |
unidentified piano solo |
| 00:18:23 |
unidentified piano solo |
| 00:21:18 |
unidentified piano solo |
| 00:24:22 |
unidentified piano solo |
| 00:28:27 |
applause - unidentified piano solo |
| 00:32:35 |
unidentified piano solo |
| 00:35:10 |
applause, the rhythmic applause, some talking
in German |
| 00:37:08 |
first line: "How long how long, how long
mama, how long" - blues song, female vocal and
piano |
| 00:41:28 |
unidentified blues song - female vocal and
piano |
| 00:44:00 |
End |
|
|
Side 2 (half-track format; 00:47:20)
LC engineer's note: The tape appears to have been initially
recorded on a quarter-track stereo machine at 3.75 ips on one
side only and later reused on a half-track mono machine recorded
on both sides and running at 7.5 ips. This file is Side 2 of the
half-track format recording on the tape.
|
Time
|
Content
|
|
|
| Start |
unidentified piano solo |
| 00:02:57 |
unidentified piano solo |
| 00:06:47 |
unidentified piano solo |
| 00:09:48 |
unidentified piano solo |
| 00:14:00 |
unidentified piano solo |
| 00:17:32 |
unidentified piano solo |
| 00:19:46 |
unidentified piano solo |
| 00:23:15 |
unidentified piano solo |
| 00:30:11 |
talking in German, the unidentified piano
solo |
| 00:32:51 |
unidentified piano solo |
| 00:34:43 |
unidentified piano solo |
| 00:40:04 |
unidentified piano solo |
| 00:43:38 |
unidentified piano solo |
| 00:47:20 |
End |
|
|
Side 1 (right channel in the quarter-track stereo format;
01:35:42)
LC engineer's note: The tape appears to have been initially
recorded on a quarter track stereo machine at 3.75 ips on one
side only and later reused on a half-track mono machine recorded
on both sides and running at 7.5 ips. The audio in this file
corresponds to what would be the right channel of Side 1 in the
quarter track stereo format. Because of the incomplete erasure,
one can hear backwards audio of what would be Side Two of the
half-track mono rerecording bleeding over the audio as the file
progresses. This makes the file very hard to listen to, but it
was transferred for completeness sake, as well as historical
interest as the audio is an air check of Boston radio stations
WBCN-FM for the first 3:45, then WJIB-FM when it was a beautiful
music station.
|
Time
|
Content
|
|
|
| Start |
unidentified, classical music with orchestra
|
| 00:00:54 |
very distorted vocal, unintelligible |
| 00:01:32 |
unidentified, classical music with orchestra,
then male voice doing a station break for WBCN,
Boston |
| 00:03:46 |
mix of musical fragments |
| 01:35:42 |
End |
|
|
|
|
Item-ID: AFC 2011/053: SR132 |
First
International Blues-and-Boogie Woogie Festival, #2, September 14-15, 1974
|
|
Rack number: RXH 3681 |
|
Extent: 1 sound tape reel
(polyester; Side 1: 00:46:47, Side 2: 00:48:05) : analog, 7 1/2
ips, half track, mono ; 7 in. |
|
See the notes for SR131. |
|
Side 1
|
Time
|
Content
|
|
|
| Start |
talking in German; first line: "When I heard
my baby boogie, makes you climb the walls" - piano
and male vocal |
| 00:04:38 |
first line: "I've got a good mind to give up
living" - piano and male vocal |
| 00:10:22 |
unidentified song - piano solo |
| 00:13:35 |
first line: "I've got a girl and she like me
whole night and day" - piano and male vocal
|
| 00:18:55 |
talking in German, introduces the next band -
unidentified song - piano solo |
| 00:21:45 |
unidentified song - piano solo |
| 00:25:10 |
unidentified song - piano solo |
| 00:28:25 |
unidentified song - piano solo |
| 00:31:51 |
unidentified song - piano solo |
| 00:39:31 |
unidentified song - piano solo |
| 00:42:46 |
unidentified song - piano solo |
| 00:46:47 |
End |
|
|
Side 2
|
Time
|
Content
|
|
|
| Start |
unidentified blues song - piano solo |
| 00:03:01 |
unidentified song - piano solo |
| 00:08:16 |
unidentified song - piano solo |
| 00:12:53 |
unidentified song - piano solo |
| 00:15:16 |
unidentified song - piano solo |
| 00:18:19 |
unidentified song - piano solo |
| 00:21:43 |
unidentified song - piano solo |
| 00:25:31 |
unidentified song - piano solo |
| 00:29:12 |
unidentified song - piano solo |
| 00:34:18 |
applause, introduction to the song "Sanity" -
piano solo |
| 00:37:52 |
introduction to a blues song, first line:
"Did you ever go down on the Mobile and KC line? I
want to ask you, have you seen that girl of mine?"
- piano and vocal |
| 00:42:13 |
unidentified song - piano solo |
| 00:43:57 |
"We don't care what Mama don't allow, we
gonna boogie woogie anyhow" |
| 00:48:05 |
End |
|
|
|
|
Item-ID: AFC 2011/053: SR133 |
First
International Blues-and-Boogie Woogie Festival, September 14-15, 1974
|
|
Rack number: RXH 3682 |
|
Extent: 1 sound tape reel
(polyester; Side 1: 00:32:36, Side 2: 00:32:05) : analog, 7 1/2
ips, half track, mono ; 7 in. |
|
See the notes for SR131. |
|
Side 1
|
Time
|
Content
|
|
|
| Start |
applause, unidentified blues song, female
vocal and piano |
| 00:02:59 |
talking in German, introduction of next
performers, - unidentified song - piano
solo |
| 00:07:22 |
unidentified song - piano solo |
| 00:11:01 |
"Texas Stomp" - piano solo |
| 00:13:50 |
introduction to the next song, unidentified
song, piano and male vocal |
| 00:18:15 |
unidentified song - piano solo |
| 00:22:49 |
unidentified song - piano solo |
| 00:25:56 |
talking in German, unidentified song - band
and male vocal |
| 00:31:37 |
"I Just Can't Be Satisfied" - band |
| 00:32:26 |
End |
|
|
Side 2
|
Time
|
Content
|
|
|
| Start |
"I Just Can't Be Satisfied" - band and male
vocal |
| 00:06:16 |
first line: "A gypsy woman told my mother ...
I was born. You got a boy (scout) comin' and he'll
be a son of a gun." - band and male vocal |
| 00:14:53 |
first line: "Sugar Mama, Sugar Mama well
Sugar Mama please come back to me" - band and male
vocal |
| 00:23:00 |
unidentified song - piano solo |
| 00:26:25 |
unidentified song - piano solo |
| 00:29:02 |
unidentified blues song - piano solo |
| 00:32:05 |
End |
|
|
|
Sub-subseries 6:
Japan Jazz Festival
|
|
|
|
Item-ID: AFC 2011/053: SR141 |
First Japan Jazz
Festival, September 13, 1963
|
|
Rack number: RXH 3690 |
|
Extent: on one side of 1
sound tape reel (polyester, 00:20:04) : analog, 7 1/2 ips, half
track, stereo ; 7 in. |
|
Archivist's note: Part of the program series, "Ambassadors of
Jazz." September 13, 1963 is the broadcast date. Recorded at
Hibiya Outdoor Hall, Tokyo. Mitsuko Miyake recorded from the
1970s under the name Martha Miyake. |
|
|
Time
|
Content
|
|
|
| Start |
An announcer introduces the program with
"Tokyo Japan. The first Japan Jazz Festival. This
is Ambassadors of Jazz." (more) |
| 00:00:55 |
"Daahoud" (Clifford Brown) - Kazuo Yashiro
Trio and Mitsuko Miyake |
| 00:07:25 |
The announcer introduces the members of the
Kazuo Yashiro Trio. |
| 00:07:45 |
"The Man I Love" - Kazuo Yashiro Trio and
Mitsuko Miyake |
| 00:10:36 |
"Blues for Mitsuko" - Kazuo Yashiro Trio and
Mitsuko Miyake |
| 00:14:23 |
Next song is introduced by the
announcer. |
| 00:14:34 |
"Glory Hallelujah" - Kazuo Yashiro
Trio |
| 00:18:15 |
Announcer speaks over the music, closes the
program. |
| 00:18:52 |
Music resumes, no announcer. |
| 00:20:04 |
End |
|
|
|
Sub-subseries 7:
Library concert
|
|
|
|
Item-ID: AFC 2011/053: SR134 |
Library concert,
#1 of 3, May 4,
1963
|
|
Rack number: RXH 3683 |
|
Extent: on one side of 1
sound tape reel (polyester, 00:38:12): analog, 7 1/2 ips, half
track, mono ; 7 in. |
|
Personnel: Frank Chace, clarinet; Johnny Mandel, trumpet; Marty
Grosz, guitar; Joe Levinson, bass; Wayne Jones, drums. According
to the tape box, the recording starts with a "rehearsal of
tunes, then [the] Bunky Green Quintet rehearsal." |
|
|
Time
|
Content
|
|
|
| Start |
several false starts, then unidentified
song |
| 00:02:00 |
unidentified song |
| 00:02:30 |
false start, then unidentified song |
| 00:06:47 |
unidentified song |
| 00:08:11 |
unidentified song |
| 00:10:49 |
unidentified song (fragment) |
| 00:11:05 |
unidentified song |
| 00:11:58 |
unidentified song (fragment) |
| 00:12:20 |
unidentified song |
| 00:14:31 |
unidentified song |
| 00:20:02 |
blank, except for a piano fragment |
| 00:20:41 |
talking, the unidentified song |
| 00:24:53 |
unidentified song |
| 00:27:45 |
unidentified song |
| 00:31:18 |
unidentified song |
| 00:35:07 |
unidentified song |
| 00:38:12 |
End |
|
|
|
|
Item-ID: AFC 2011/053: SR135 |
Library concert,
#2 of 3 - Bunky Green Quintet, Joe Daley Trio, May 4, 1963
|
|
Rack number: RXH 3684 |
|
Extent: on one side of 1
sound tape reel (polyester, 00:48:40): analog, 7 1/2 ips, half
track, mono ; 7 in. |
|
|
Time
|
Content
|
|
|
| Start |
blank |
| 00:00:34 |
unidentified jazz tune |
| 00:07:40 |
unidentified jazz tune |
| 00:13:28 |
unidentified jazz tune |
| 00:24:40 |
unidentified jazz tune |
| 00:36:10 |
blank |
| 00:36:43 |
unidentified jazz tune |
| 00:46:39 |
unidentified jazz tune |
| 00:48:40 |
End |
|
|
|
|
Item-ID: AFC 2011/053: SR136 |
Library concert,
#3 of 3 - Joe Daley Trio (conclusion), May 4, 1963
|
|
Rack number: RXH 3685 |
|
Extent: on one side of 1
sound tape reel (polyester, 00:08:12): analog, 7 1/2 ips, half
track, mono ; 7 in. |
|
|
Time
|
Content
|
|
|
| Start |
blank |
| 00:00:21 |
unidentified jazz tune |
| 00:08:12 |
End |
|
|
|
Subseries 3: TV and radio
broadcasts
|
|
These recordings are organized by the name of the broadcast. |
|
|
|
Item-ID: AFC 2011/053: SR713 |
Air check from
WBAI-FM, New York, during a pledge drive, June 1977
|
|
Rack number: RXH 5590 |
|
Extent: 1 sound tape reel
(polyester; Side 1: 01:00:50, Side 2: 00:58:00) : analog, 3 3/4 ips,
quarter track, stereo ; 7 in. |
|
LC engineer's note: Undated aircheck from WBAI-FM, New York during a
pledge drive. The presence of the Bob Marley tune "So Much Things to
Say" on the tape mentioned as being a brand new release (June 3,
1977) places the aircheck from early June 1977. |
|
Side 1
Logger's note: The first part of the recording is Brazilian music.
The second part has reggae music.
|
Time
|
Content
|
|
|
| Start |
An unidentified woman DJ, called only Mildred,
introduces a song written by the Brazilian composer
Benito Repala, "Charlie Brown." |
| 00:05:01 |
The DJ introduces a second song by Benito Repala,
"Maria Baina Maria." |
| 00:08:50 |
An unidentified man makes a pitch for donations
to the radio station. |
| 00:11:30 |
The DJ introduces a song by Vondoo, "Mega
Obaluway [Obaluaye?]." |
| 00:15:50 |
An unidentified man makes a pitch for donations
to the radio station. The DJ introduces a song by
Marcus Vanesius [?], "Et cetera and Other Things."
|
| 00:17:45 |
"Et cetera and Other Things" |
| 00:21:06 |
An unidentified man, and the DJ, make a pitch for
donations to the radio station. |
| 00:21:50 |
"Conta Conta" |
| 00:24:30 |
The DJ asks for pledges. She announces a
Brazilian band playing in Soho. The unidentified man
asks for pledges. |
| 00:26:00 |
Unidentified Brazilian song. |
| 00:28:28 |
Start of reggae portion of the sound
recording. |
| 00:28:28 |
"So Much Things to Say" - Bob Marley and the
Wailers |
| 00:31:35 |
Roger Chilling, the DJ, introduces the Reggae
program. An unidentified song plays in the
background. He discusses the original makeup of the
Wailers, the breakup of that group, and the
formation of Bob Marley, Peter Tosh and Bunny
Wailer. |
| 00:34:35 |
"Get Up, Stand Up" by Tosh and Marley |
| 00:38:16 |
"Downpresser Man" - from a new album by Peter
Tosh |
| 00:44:43 |
Chilling talks about reggae, Buddhism and the
Bible. He talks about the Wailers. |
| 00:46:19 |
Chilling introduces the nest two songs from the
Bunny Wailer album Blackheart Man. |
| 00:47:12 |
"Fight Against Conviction" - Bunny Wailer |
| 00:53:02 |
"The Oppressed Song" - Bunny Wailer |
| 00:56:20 |
Chilling introduces the next song. |
| 00:56:57 |
"Equal Rights" - Peter Tosh |
| 01:00:50 |
End |
|
|
Side 2
Logger's note: The DJ is Mildred Norman. All of the music is
Brazilian.
|
Time
|
Content
|
|
|
| Start |
Getting ready. |
| 00:00:21 |
The announcer introduces WBAI 99.5 FM in New York
City. He says that coming up is Mildred Norman
(MN). |
| 00:00:30 |
MN introduces the song playing in the background.
It is a carnival samba "Tanyo Tanyo" She introduces
the next song. It is a samba, but not a carnival
samba. |
| 00:02:00 |
"Musai Abruzzo" |
| 00:05:40 |
MN talks about Brazilian composers recoding their
own songs. She plays 'Musai Abruzzo" again. |
| 00:10:04 |
MN introduces the next song, a samba, "Apesar de
Voce" by Chico Buarque. She says that when the song
came out there a problem with censorship. |
| 00:15:38 |
MN introduces the next song, "Mas Que Nada" [More
than Anything] by Jorge Ben. |
| 00:19:28 |
"Piestro Pical" by Jorge Ben. |
| 00:23:55 |
"Africa Brazil" by Jorge Ben, from the album of
the same name. |
| 00:28:16 |
"Chico do Silva" [Xica da Silva] by Jorge Ben,
from the "Africa Brazil." |
| 00:32:30 |
MN tells a story about Jorge Ben. She then asks
for donations to the radio station. |
| 00:33:55 |
MN talks about Milton Nascimento. She introduces
the next song which Nascimento recorded with Wayne
shorter on the "Native Dancer" album. The song is
"Ponta de Areia." |
| 00:35:27 |
The same song, "Ponta de Areia." This version was
recorded in Brazil. |
| 00:41:40 |
A third version of "Ponta de Areia." |
| 00:45:17 |
MN discusses the two previous songs. She asks for
donations to the radio station. |
| 00:46:40 |
"O Que Sara" by Chico Toquinho. |
| 00:50:47 |
MN gives the correct information about the
previous song. |
| 00:51:50 |
"Canta Canta Minha Gente" a samba by Martinho da
Vila. |
| 00:55:26 |
"Disritmia" [rhythm that is not rhythm] by
Martinho da Vila. |
| 00:57:42 |
End |
|
|
|
|
Item-ID: AFC 2011/053: SR496 |
"Blue Monday Blues,"
parts 1 and 2, undated
|
|
Rack number: RXH 4736 |
|
Extent: 1 sound tape reel :
analog, 7 1/2 ips, stereo ; 7 in. |
|
Collector's original ID number: 226.
Logger's note: Notes on the tape box indicate the following: Band 1 -
introduction. Play Side A of enclosed LP. Band 2 - Play at
conclusion of Side A (Starting identification, etc.). Band 3 -
Introduction to part 2 of show. Play side B of enclosed LP. Band 4 -
Conclusion.
Archivist's note 1: Pete Welding's radio show "Blue Monday Blues" was
a one-hour show on WXFM, Chicago, Illinois. The show featured blues
recordings as well as live interviews and performances.
Archivist's note 2: Pete Welding may have made this tape to reflect
introductions to the LP, and not recorded the LP itself. |
|
|
Time
|
Content
|
|
|
| Start |
An unidentified man speaks: "And I walked right
in and I sat right down...and I put the ticket in
the brim of my hat, the wind blew it on the
ground..." |
| 00:00:21 |
An unidentified fragment piece of instrumental
music performed by the banjo and the harmonica.
|
| 00:00:42 |
An unidentified man speaks: "Had no chicken and
she has an wooden leg. That old hen can really lay
an egg..." |
| 00:00:56 |
End |
|
|
|
|
Item-ID: AFC 2011/053: SR495 |
"Blue Monday Blues,"
#1 (part 1 of 2), undated
|
|
Rack number: RXH 4735 |
|
Extent: 1 sound tape reel
(00:27:54) : analog, 7 1/2 ips, mono ; 7 in. |
|
Vendor's digitization note: The program is distorted at times, and
there is significant hum.
Logger's note: Johnny Young is the featured guest. |
|
|
Time
|
Content
|
|
|
| Start |
PW made an introduction: Tonight's program is an
extensive interview and excerpts of Johnny Young,
one of the finest guitarists, singers and
mandolinists in the modern blues in Chicago. |
| 00:02:24 |
"Keep Your Nose Out of My Business" by Johnny
Young and his band |
| 00:05:35 |
PW asks: How do you got started with playing
mandolin? |
| 00:05:50 |
JY answers that he was born on Vicksburg,
Mississippi. In his childhood, he was influenced by
his uncle who was a musician. At around nine years
old, he was experimenting making a mandolin out of a
cigar box. |
| 00:07:07 |
"Stealin'" |
| 00:09:45 |
JY mentions his uncle would play with his band
members in the suburbs. |
| 00:10:56 |
An unidentified blues song. Lyrics: "I am
leaving, Baby I ain't gonna be around no
more..." |
| 00:14:08 |
JY mentions that the band plays more blues than
waltz around 1926. He then talks about playing on
his home-made mandolin about a year before he plays
on a real one. He particularly remembers the songs
played by the group "Mississippi Sheiks" in Rolling
Fork, Mississippi. JY mostly plays songs composed by
other people. He also talks about the musician
Walter Vincent who plays country blues with the
group. |
| 00:20:58 |
"My Black Mare" |
| 00:23:55 |
JY talks about the musician Charlie [inaudible]
who plays instruments like a clown. |
| 00:26:42 |
PW makes closing remarks. |
| 00:27:54 |
End |
|
|
|
|
Item-ID: AFC 2011/053: SR497 |
"Blue Monday Blues,"
#2 (part 2 of 2), circa
1966
|
|
Rack number: RXH 4737 |
|
Extent: 1 sound tape reel
(00:33:04) : analog, 7 1/2 ips, mono ; 7 in. |
|
Logger's note: Johnny Young is the featured guest. |
|
|
Time
|
Content
|
|
|
| Start |
Pete Welding (PW) makes an opening remark and
advertises Big John's club in Old Town Chicago where
featured bands perform live on the stage. |
| 00:01:09 |
PW: The interview with Johnny Young, guitarist,
singer, and mandolinist, continues. The first part
of the show is about his Mississippi years. The
second half is about his life in Chicago. Johnny
Young (JY) mentions that he moved back from Chicago
to Vicksburg, Mississippi, at the age of 21, in 1941
when the war began. While he stayed in Chicago
Heights area, he met many musicians such as Big
Bill, who played electric guitar. In those years, JY
and Muddy used to follow Sonny Boy around. JY
mentions that Muddy played the blues with his
trademark bottle-neck style. Later JY played in the
Maxwell Street market in 1946, along with Moody
Jones and Snooky Pryor. After playing on the street
for some time, finally JY recorded a record under
his name. |
| 00:07:11 |
"Money Taking Woman" composed and performed by
Johnny Young, on the Ora Nelle label |
| 00:09:43 |
PW asks about JY's cousin, Johnny Williams, who
was featured on the same record. JY says they
started playing at the age 10. |
| 00:10:24 |
"Worried Man Blues" composed and performed by
Johnny Williams. |
| 00:13:00 |
PW asks about JY's other record after 1948: "Let
Me Ride Your Mule" and "My Baby Walked Out On Me."
After that JY stopped making records until he met
Pete Welding, who produced Modern Chicago Blues. The record features one of JY's songs "My
Baby Walked Out In 1954." |
| 00:15:03 |
"My Baby Walked Out In 1954" |
| 00:17:20 |
PW asks about JY's collaboration with the
harmonica player John Wrencher. |
| 00:18:14 |
"I'm Going to Detroit," guitar by John Lee
Granderson, mandolin by Johnny Young, vocals and
harmonica by John Wrencher. |
| 00:21:08 |
PW ask about JY's recent participation in
several recording sessions for various labels. One
of them is a Vanguard label record Chicago/The Blues/Today!, in which Samuel Charters asked nine
different blues artists to record songs. JY mentions
that Samuel Charters loved his performance. |
| 00:21:45 |
"Tighten Up on It" by Johnny Young's South Side
Blues Band |
| 00:24:55 |
JY talks about his recording for Arhoolie
Records. |
| 00:25:02 |
"Wild, Wild Woman" by Johnny Young and his
Chicago Blues Band |
| 00:27:43 |
PW ask JY what he thinks the blues are. JY
answers blues are songs of low down when people feel
low down way back from the slavery time. Blues are
something that would hit you, make you sorrow, and
make you think of things. |
| 00:28:50 |
PW made a closing remark for the program. |
| 00:30:07 |
"I'm Having A Ball" by Johnny Young and his
Chicago Blues Band. |
| 00:33:04 |
End |
|
|
|
|
Item-ID: AFC 2011/053: SR498 |
"Blue Monday Blues,"
#3 (part 2 of 2), circa 1964-1966
|
|
Rack number: RXH 4738 |
|
Extent: 1 sound tape reel
(00:28:56) : analog, 7 1/2 ips, mono ; 7 in. |
|
Vendor's digitization note: The program is distored at times and has
significant hum. |
|
|
Time
|
Content
|
|
|
| Start |
Pete Welding (PW) makes an opening remark and
advertises the Big John's club in Old Town Chicago
where featured bands perform live on the
stage. |
| 00:02:06 |
"Red Headed Woman" by "Baby Face" Leroy Foster.
Performers: Leroy Foster, vocal and guitar; Muddy
Water, lead guitar; Harmonica solo by Little Walter.
|
| 00:04:52 |
PW presents another song from the same record as
above - "Moonshine Baby" by "Baby Face" Leroy
Foster. Performers: Muddy Waters, lead guitar; Leroy
Foster, 2nd guitar. |
| 00:08:06 |
PW mentions Muddy Waters' recorded several
novelty blues such as "Tiger in Your Tank" and "Got
My Mojo Working." The following selection doesn't go
farther, which features a superb chromatic harmonica
solo by Little Walter. |
| 00:08:25 |
"Don't Go No Farther" by Muddy Waters. |
| 00:11:18 |
PW introduces another blues artist from Chicago,
Kokomo Arnold. |
| 00:11:46 |
"Midnight Blues" by Kokomo Arnold |
| 00:14:32 |
PW mentions that Georgia Tom (Thomas A. Dorsey)
is a noted gospel song performer, and introduces his
"Levee Bound Blues" on a 1930 Decca label. |
| 00:15:04 |
"Levee Bound Blues" by Thomas A. Dorsey |
| 00:17:41 |
PW introduces a post-war recording by Jesse
Thomas: "Gonna Write You A Letter" (1949). |
| 00:17:58 |
"Gonna Write You A Letter" by Jesse Thomas
(vocal, guitar) |
| 00:20:50 |
PW talks about a later Mississippi blues singer
and guitarist: Johnny Temple, who is well known for
the song "Louise Louise Blues." |
| 00:21:43 |
"Louise Louise Blues" by Johnny Temple. |
| 00:24:15 |
PW introduces "Traveling Man Blues": very fine
vocal and guitar playing by Tony Hollins, recorded
in Chicago in 1941. |
| 00:24:45 |
"Traveling Man Blues" by Tony Hollins |
| 00:27:36 |
PW makes a closing remark for the
program. |
| 00:28:56 |
End |
|
|
|
|
Item-ID: AFC 2011/053: SR499 |
"Blue Monday Blues,"
#4 (part 1 of 2), circa 1964-1966
|
|
Rack number: RXH 4739 |
|
Extent: 1 sound tape reel
(00:30:54) : analog, 7 1/2 ips, mono ; 7 in. |
|
Vendor's digitization note: The program is distored at times and has
significant hum.
Logger's note: This show features discussion of the development of
the blues style in Chicago. |
|
|
Time
|
Content
|
|
|
| Start |
Pete Welding (PW) makes an opening remark and
advertises the Big John's club in Old Town Chicago
where featured bands perform live on the stage. In
this episode he will introduces several blues works
developed out of the Muddy Waters' band. |
| 00:02:06 |
PW introduces the song "Last Night I Lost The
Best Friend" by Little Walter, which features a
magnificent harmonica solo. |
| 00:02:58 |
"Last Night I Lost The Best Friend" by Little
Walter |
| 00:05:40 |
PW talks about Little Walter successful
recordings that features his fine harmonica
performance. The blues song "Off The Wall" was
included in one of his best records called The Best of Little Walter.
|
| 00:06:10 |
"Off The Wall" by Little Walter |
| 00:08:58 |
PW introduces another harmonica player Walter
Horton, known as Big Walter (Horton) or Walter
"Shakey" Horton. He was a very fine harmonica player
from the Memphis, Tennessee are. He succeeded Little
Walter in the Muddy Water's band. |
| 00:09:53 |
"Hard Hearted Woman" by Big Walter Horton |
| 00:12:52 |
PW talks about harmonica player Junior Wells, who
recorded a beautiful blues song "Hoodoo Man Blues"
with Junior Wells on vocal, Big Walter on guitar,
David Miles on 2nd guitar, Henry Gray on piano, and
Fred Below on drums. |
| 00:13:43 |
"Hoodoo Man Blues" by Junior Wells |
| 00:16:43 |
PW introduces a great harmonica piece performed
by Junior Wells. |
| 00:17:05 |
An unidentified instrumental harmonica piece by
Junior Wells. |
| 00:19:58 |
PW mentions about another great blues artist in
Chicago, though born in Mississippi - Johnny
Shines. |
| 00:21:05 |
"Ramblin' Blues" by Johnny Shines |
| 00:23:35 |
PW introduces a blues piece composed by Johnny
Shines - "Brutal Hearted Woman," featured Johnny
Shines and Big Walter's magnificent performance on
the harmonica. |
| 00:24:13 |
"Brutal Hearted Woman" by Johnny Shines |
| 00:27:06 |
PW introduces a final selection by Johnny Shines,
also featuring Big Walter's harmonica playing.
|
| 00:27:20 |
"Evening Sun" by Johnny Shines |
| 00:29:47 |
PW makes a closing remark for the program.
|
| 00:30:54 |
End |
|
|
|
|
Item-ID: AFC 2011/053: SR500 |
"Blue Monday Blues,"
#5 (part 1 of 2), circa 1964-1966
|
|
Rack number: RXH 4740 |
|
Extent: 1 sound tape reel
(00:27:31) : analog, 7 1/2 ips, mono ; 7 in. |
|
Vendor's digitization note: The program is distored at times and has
significant hum.
Logger's note: This show features discussion of the development of
the blues style in Chicago. |
|
|
Time
|
Content
|
|
|
| Start |
Pete Welding (PW) makes an opening remark and
advertises the Big John's club in Old Town Chicago
where featured bands perform live on the stage. PW:
The evolution of the modern blues style can be
suggested by comparison of three Muddy Water's
recordings from different periods of his recording
career. This number - "Walking Blues" - is from his
early onset of his recording activities. |
| 00:03:01 |
"Walking Blues" by Muddy Waters, accompanied by
the bassist Big Crawford. |
| 00:04:30 |
PW introduces the mature style of Muddy Waters -
an exciting ensemble style in which all the
instruments were amplified. |
| 00:05:10 |
"Just to be With You" (excerpt) |
| 00:06:36 |
PW talks about Muddy Water's later development of
blues. "Walkin' Through the Park" has a brisk
exciting momentum of the rhythm that is much more
important than the lyric content of the
song. |
| 00:07:02 |
"Walkin' Through the Park" (excerpt) |
| 00:08:34 |
PW mentions that the leaders of the new blues
style came from the Muddy Water's bands such as
"Baby Face" Leroy Foster. Foster's "Boll Weevil"
dealt with country theme, with which the audience
was familiar. |
| 00:09:47 |
"Boll Weevil" (excerpt) |
| 00:12:20 |
PW talks about Little Walter Jacobs, a harmonica
player, started from Muddy Water's band and set out
on his own. |
| 00:12:20 |
"Muskadine Blues" by Little Walter Jacobs,
accompanied by Muddy Walter on guitar |
| 00:16:02 |
PW talks about how in early 1950 Little Walter
Jacobs formed his own band and recorded a few
records. |
| 00:16:20 |
"Blues with a Feeling" by Little Walter
Jacobs |
| 00:19:25 |
PW: The biggest success of Little Walter Jacobs
is the remake an old spiritual which was called
"This Train." Little Walter gave it a more secular
lyrics and called his version "My Babe." |
| 00:19:50 |
"My Babe" by Little Walter Jacobs |
| 00:22:25 |
PW: Little Walter Jacobs is best known in the
modern blues for his brilliant playing on the
amplifier harmonica. Perhaps one of his finest
harmonica solo is the instrumental song "Juke" from
"The Best of Little Walter" album. |
| 00:23:24 |
"Juke" by Little Walter Jacobs |
| 00:26:08 |
PW makes a closing remark of the program. |
| 00:27:31 |
End |
|
|
|
|
Item-ID: AFC 2011/053: SR501 |
"Blue Monday Blues,"
#6 (part 1 of 2), circa 1964-1966
|
|
Rack number: RXH 4741 |
|
Extent: 1 sound tape reel
(00:29:46) : analog, 7 1/2 ips, mono ; 7 in. |
|
Vendor's digitization note: The program is distored at times and has
significant hum.
Logger's note: This show features discussion of the development of
the blues style in Chicago. |
|
|
Time
|
Content
|
|
|
| Start |
Pete Welding (PW) makes an opening remark and
advertises the Big John's club in Old Town Chicago
where featured bands perform live on the stage. PW:
The modern style of blues was developed in a small
Chicago club in the year following World War II. But
to understand the genesis of the style, one must go
back to 1941. McKinley Morganfield [Leadbelly] was
recorded on Stovall plantation near Rolling Fork,
Mississippi, by a mobile recording team from the
Library of Congress, led by Alan Lomax. |
| 00:03:33 |
"Country Blues" by McKinley Morganfield
[Leadbelly] |
| 00:06:55 |
PW: "Country Blues" is country style performance
of old Mississippi Delta style, and was patented on
an album called The Walking Blues, recorded by a Delta bluesman, Robert
Johnson, a gifted poet and musician of blues.
|
| 00:07:55 |
"Country Blues" by Robert Johnson |
| 00:10:25 |
PW compares the modern urban style of blues and
the original southern style. |
| 00:12:52 |
"I Can't Be Satisfied" by Muddy Waters. |
| 00:15:35 |
PW talks about a new form begins to emerge, in
which the 2nd guitar line of Little Walter Jacobs
was added to Muddy's lead guitar and Big Crawford's
bass. |
| 00:16:36 |
"Honey Bee" by Muddy Waters. |
| 00:19:56 |
PW discusses Sonny Boy Williamson's influence on
Little Walter for his harmonica solo voice
style. |
| 00:21:40 |
"Louisiana Blues," harmonica by Little Walter,
lead guitar by Muddy Waters, and bass by Big
Crawford |
| 00:24:30 |
PW presents an example that represents the sound
of the modern blues. In the band numbers, the roles
of the instruments - guitar, second guitar,
harmonica, piano, bass and drums, have been
simplified individually so the totality of produced
would be strong and brilliant as a whole. The
electronic sound of the instruments further demands
its simplification. |
| 00:25:28 |
"I Just Want To Make Love To You" by Muddy
Waters |
| 00:28:16 |
PW makes a closing remark for the
program. |
| 00:29:46 |
End |
|
|
|
|
Item-ID: AFC 2011/053: SR502 |
"Blue Monday Blues,"
#7 (part 1 of 2), circa
1965
|
|
Rack number: RXH 4742 |
|
Extent: 1 sound tape reel
(00:28:35) : analog, 7 1/2 ips, mono ; 7 in. |
|
Vendor's digitization note: The program is distored at times and has
significant hum.
Logger's note: This show features discussion of the development of
the blues style in Chicago. |
|
|
Time
|
Content
|
|
|
| Start |
Pete Welding (PW) makes an opening remark and
advertises the Big John's club in Old Town Chicago
where featured bands perform live on the stage. PW:
Today's program will focus on Rice Miller (Sonny Boy
Williamson II), an influential post-war artist. Here
is one of his early influential songs, "Nine Below
Zero," recorded in 1950. |
| 00:02:50 |
"Nine Below Zero" by Rice Miller (Sonny Boy
Williamson II) |
| 00:05:35 |
PW: Considerable confusion exists about Rice
Miller. He claimed to be the original "Sonny Boy
Williamson." This is to distinguish him from the
performer John Lee Williamson, who recorded
extensively in the late 30s and 40s as Sonny Boy
Williamson. Here is a moody and introspective
performance recorded in Rice Miller's early
years. |
| 00:07:52 |
"Mighty Long Time" by Rice Miller (Sonny Boy
Williamson II), guitar and harmonica |
| 00:10:42 |
PW mentions that Sonny Boy Williamson II is such
a unique performer and quotes a description of style
written by a British Blues critic Paul Oliver.
|
| 00:12:54 |
"Eyesight to the Blind" by Sonny Boy Williamson
II |
| 00:15:55 |
PW talks about Sonny Boy Williamson II's
excellent ability as a blues poet. |
| 00:16:26 |
"Don't Start Me to Talkin'" by Sonny Boy
Williamson II |
| 00:18:55 |
PW introduce another Sonny Boy Williamson II's
song notable for the lyric content. |
| 00:19:10 |
"Fattening Frogs for Snakes" - Sonny Boy
Williamson II |
| 00:21:20 |
PW: This next piece has a good rocking
background. It is very much in the modern style of
instrumental work developed in the Chicago area in
the post-war years. |
| 00:21:40 |
"Checkin' Up On My Baby" by Sonny Boy Williamson
II |
| 00:23:35 |
PW introduces one of his most sensitive
performances. |
| 00:23:47 |
"Sad To Be Alone" by Sonny Boy Williamson
II |
| 00:26:40 |
PW makes a closing remark for the
program. |
| 00:28:35 |
End |
|
|
|
|
Item-ID: AFC 2011/053: SR503 |
"Blue Monday Blues,"
#8 (part 1 of 2), undated
|
|
Rack number: RXH 5365 |
|
Extent: 1 sound tape reel
(00:29:41) : analog, 7 1/2 ips, mono ; 7 in. |
|
Vendor's digitization note: The program is distored at times and has
significant hum.
Logger's note: This show features discussion of the development of
the blues style in Chicago. |
|
|
Time
|
Content
|
|
|
| Start |
Pete Welding (PW) makes an opening remark and
advertises the Big John's club in Old Town Chicago
where featured bands perform live on the stage. PW:
This evening we will focus on the recorded music of
Elmore James and his cousin Homesick James
Williamson. |
| 00:03:56 |
"Dust My Broom" by Elmore James; Sonny Boy
Williamson II on harmonica. |
| 00:06:42 |
PW: In "Sunnyland," Elmore James's electric
guitar is more of a Chicago style, a more modern
approach. The riff pattern and very heavy, explicit
rhythm are much more in keeping with the Chicago
modern styles of blues that became quite prevalent
in the middle 50s. |
| 00:08:04 |
"Sunnyland" by Elmore James |
| 00:11:20 |
PW: In "Blues Before Sunrise," the guitar
accompaniment pattern on this number is almost
exclusively on Robert Johnson. |
| 00:12:04 |
"Blues Before Sunrise" by Elmore James |
| 00:14:45 |
PW: Now another number by Elmore James, in the
more modern style of the Chicago blues. The guitar
playing is much more in line with the jazz
approaches. |
| 00:15:20 |
"I Was A Fool" by Elmore James |
| 00:18:05 |
PW: Tonight's final selection is Elmore's remake
of Robert Johnson's "Standing At The Crossroads."
Several horns have been added to the rhythm section.
The band picks up the phrases following Elmore's
guitar, echoing in a call and response pattern. This
format becomes the trademarks of Elmore's blues in
the 50s. |
| 00:18:58 |
"Standing At The Crossroads" |
| 00:21:45 |
PW: Let's hear Robert Johnson's original
"Crossroad Blues" recorded in November 1936. We will
see how much Elmore got from it, and how much he
parted from it. |
| 00:22:07 |
"Cross Road Blues" by Robert Johnson |
| 00:24:35 |
PW: Homesick James Williamson was also a man who
was influenced by Robert Johnson and his powerful
music. We hear a recording titled "Homesick" made by
Homesick James in 1952. |
| 00:25:42 |
"Homesick" by Homesick James Williamson |
| 00:28:28 |
PW makes a closing remark for the
program. |
| 00:29:41 |
End |
|
|
|
|
Item-ID: AFC 2011/053: SR504 |
"Blue Monday Blues,"
#9 (1 of 2), undated
|
|
Rack number: RXH 5366 |
|
Extent: 1 sound tape reel
(00:33:23) : analog, 7 1/2 ips, mono ; 7 in. |
|
Vendor's digitization note: The program is distored at times and has
significant hum.
Logger's note: This show features discussion of the development of
the blues style in Chicago. |
|
|
Time
|
Content
|
|
|
| Start |
Pete Welding (PW) makes an opening remark and
advertises the Big John's club in Old Town Chicago
where featured bands perform live on the stage.
Tonight's program continues the discussion of the
modern blues style with selections by Chester Arthur
Burnett, better known by his stage name Howlin'
Wolf. This selection, "Crying At Daylight," is
notable as much for his powerful singing as it is
for his interesting harmonica playing. |
| 00:04:20 |
"Crying At Daylight" by Howlin' Wolf |
| 00:08:10 |
PW: This next number is influenced more by jazz
guitar. It is much more in line with the kind of
blues that were being recorded during the mid-40s
and right after the war years. |
| 00:08:44 |
"Worried About My Baby" |
| 00:11:40 |
PW: In early 1950 Howlin' Wolf left Memphis and
moved to Chicago. Here is a segment of his recording
before the move. |
| 00:12:24 |
"House Rockin' Boogie" by Howlin' Wolf, with
comments by Howlin' Wolf |
| 00:14:26 |
PW: Before moving to Chicago in 1952, Howlin'
Wolf recorded a few numbers in Memphis. Here is one
example. |
| 00:14:48 |
"Moanin' at Midnight" by Howlin' Wolf |
| 00:17:40 |
PW: Wolf continues to record a number of
traditional tunes, one of most interesting is "Forty
Four," recorded after he moved to Chicago. |
| 00:18:58 |
"Forty Four" by Howlin' Wolf |
| 00:21:45 |
PW: Howlin' Wolf's singing of "Forty Four" was
very similar to Charley Patton, the great Delta
Mississippi blues man. The phrasing is remarkably
alike. The next number is recorded in Howlin' Wolf's
Chicago era. |
| 00:22:17 |
"Evil (Is Going On)" by Howlin' Wolf |
| 00:25:08 |
PW: Now we hear another example of Howlin' Wolf's
use of traditional Mississippi materials and modern
blues context. "Spoonful" was originally recorded by
Charley Patton. |
| 00:25:22 |
"Spoonful" by Howlin' Wolf |
| 00:28:07 |
PW: "Spoonful" by Howlin' Wolf was recorded in
1960. Since that time Wolf's music has gone to a
decline as he is concentrated on the performance of
rather cheap material that have been manufactured
for him by professional blues writers. However
Howlin' Wolf was still one of the most powerful and
strongest of all Chicago blues man. |
| 00:29:02 |
"Three Hundred Pounds of Joy" by Howlin'
Wolf |
| 00:32:05 |
PW makes a closing remark for the
program. |
| 00:33:23 |
End |
|
|
|
|
Item-ID: AFC 2011/053: SR505 |
"Blue Monday Blues,"
#10 (part 1 of 2), undated
|
|
Rack number: RXH 5367 |
|
Extent: 1 sound tape reel
(00:29:26) : analog, 7 1/2 ips, mono ; 7 in. |
|
Vendor's digitization note: The program is distored at times and has
significant hum.
Logger's note: This show features discussion of the development of
the blues style in Chicago. |
|
|
Time
|
Content
|
|
|
| Start |
Pete Welding (PW) makes an opening remark and
advertises the Big John's club in Old Town Chicago
where featured bands perform live on the stage.
Tonight's program will be about a few numbers about
78's music from PW's collection. Junior Wells
achieved a great deal of success, commercially and
artistically, after leaving the Muddy Water's band.
|
| 00:02:21 |
"'Bout The Break Of Day" by Junior Wells |
| 00:04:55 |
PW: We will hear artists who achieved great fame
before the pre-war years, but who happened to record
after World War II. Their style changed in order to
accommodate the prevalent Chicago sound. The first
selection is music by Walter Davis, who is an
expressive singer and pianist. |
| 00:06:35 |
"So Long Baby" by Walter Davis |
| 00:09:10 |
PW: Another artist who tried to make the switch
from the pre-war style to the modern post-war style
was Big Bill Broonzy. He was a prolific recording
artist, and was identified as the "Chicago sound"
before World War II. |
| 00:09:50 |
"Southbound Train" by Big Bill Broonzy |
| 00:12:45 |
PW: Now, another artist who scored success in the
pre-war years, Hudson Whittaker (Tampa Red), a very
fine singer and guitarist. He also recorded a few
successful numbers in the post-war years. |
| 00:13:40 |
"But I Forgive You" by Tampa Red, with vocalist
and pianist Johnny Jones |
| 00:16:30 |
PW: The final pre-war artist we hear with
post-war transformation is Roosevelt Sykes from
Louisiana. He is artistically the most successful of
the four artists we hear this evening. |
| 00:17:10 |
"Walking the Boogie" by Roosevelt Sykes |
| 00:19:35 |
PW: Now we will hear one of the best zydeco
players, Clifton Chenier, a singer and accordionist.
Zydeco is a combination of French music and Negro
blues, and it's associated with the Gulf coast
region around Louisiana and Texas. |
| 00:20:20 |
"Where Can My Baby Be" by Clifton Chenier |
| 00:23:00 |
"The Big Wheel" by Clifton Chenier |
| 00:25:45 |
PW: Andrew "Smokey" Hogg is one of the finest of
the Texas bluesman. |
| 00:26:05 |
"Gone Gone Gone" by Andrew "Smokey" Hogg |
| 00:28:25 |
PW makes a closing remark for the
program. |
| 00:29:26 |
End |
|
|
|
|
Item-ID: AFC 2011/053: SR068 |
"Blue Monday Blues"
(unnumbered), circa
1966-1967
|
|
Rack number: RXH 3207 |
|
Extent: on one side of 1 sound
tape reel (00:17:50) : analog, 7 1/2 ips, full track, mono ; 7
in. |
|
Collector's original ID number: 79. |
| Next Page » |
