| | | | | | | | | | | | | |
|
Series 8: Sound
recordings
(continued) |
|
Subseries 1: Artists,
bands, and interviews
(continued) |
|
Item-ID: AFC 2011/053: SR073 |
Babies In The Mill: Carolina Traditional, Industrial, Sacred Songs - Dorsey Dixon, Nancy Dixon, Howard Dixon, November 24,
1963
|
|
Rack number: RXH 3212 |
|
Extent: on one side of 1 sound
tape reel (polyester; 00:23:16) : analog, 7 1/2 ips, half track,
mono ; 7 in. |
|
Collector's original ID number: 18.
Archivist's note: Master recording, Side 2. Testament Records
T-3301-B, commercially released in 1964. See SR072 for Side 1. |
|
|
Time
|
Content
|
|
|
| Start |
"Wreck of the Old '97" |
| 00:03:43 |
"Factory Girl" [Nancy Dixon] |
| 00:04:52 |
"Factory Girl" [Dorsey Dixon] |
| 00:07:08 |
"Weaver's Life" |
| 00:10:34 |
"Burglar Man" |
| 00:12:35 |
"Wreck on the Highway" |
| 00:15:45 |
"Somebody Touched Me" |
| 00:17:56 |
"Our Johnny" |
| 00:20:19 |
"Girl I Left in Danville" |
| 00:23:15 |
End |
|
|
|
|
Item-ID: AFC 2011/053: SR078 |
Nelson "Smitty"
Dixon, March 1,
1964
|
|
Rack number: RXH 3217 |
|
Extent: on one side of 1 sound
tape reel (acetate; 00:15:15) : analog, 7 1/2 full track, mono ; 7
in. |
|
Piano solos. Collector's original ID number: 177. |
|
|
Time
|
Content
|
|
|
| Start |
piano solo |
| 00:03:53 |
piano solo |
| 00:06:08 |
piano solo |
| 00:09:00 |
piano solo |
| 00:12:34 |
piano solo |
| 00:15:15 |
End |
|
|
|
|
Item-ID: AFC 2011/053: SR588 |
It's A Sad Situation - Prince Dixon and the Jackson Southernaires, circa 1975
|
|
Rack number: RXH 5449 |
|
Extent: 1 sound tape reel
(00:39:38) : analog ; 7 in. |
|
Archivist's note: The LP was commercially released in 1975. |
|
|
|
Item-ID: AFC 2011/053: SR176 |
Dolenz, Jones, Boyce
& Hart, 1st show, April 17, 1976
|
|
Rack number: RXH 4059 |
|
Extent: 1 sound tape reel
(graphite-backcoated polyester, 00:37:45) : analog, 7 1/2 ips and 3
3/4 ips, quarter track, stereo ; 7 in. |
|
Archivist's note: Dolenz and Jones were members of the Monkees. Tommy
Boyce and Bobby Hart wrote songs for the Monkees, among others.
Recorded at Six Flags Over Texas, Arlington, Texas. |
|
|
Time
|
Content
|
|
|
| Start |
An unidentified announcer greets the
crowd |
| 00:00:53 |
The band members are introduced, then they
perform "Last Train to Clarksville" |
| 00:03:42 |
Medley: "Valleri"/"Daydream Believer" (at
05:02)/"A Little Bit Me, A Little Bit You"
(06:10) |
| 00:09:14 |
"I Wonder What She's Doing Tonight" |
| 00:12:02 |
"(I'm Not Your) Stepping Stone" |
| 00:15:11 |
"I Wanna Be Free" |
| 00:18:11 |
Medley: "Come a Little Bit Closer"/"Pretty Little
Angel Eyes" (19:22)/"Hurts So Bad" (20:07)/"Peaches
'N' Cream" (21:09)/"Something's Wrong with Me"
(21:33)/"Keep on Singing" (22:07) |
| 00:23:22 |
"Pleasant Valley Sunday" |
| 00:27:06 |
"Teenager in Love" |
| 00:29:49 |
Introduction of the members of the band (Micky
introduces Davy, who makes the
introductions) |
| 00:31:16 |
"Where the Action Is" |
| 00:32:56 |
"Where the Action Is" (encore) |
| 00:33:41 |
"I'm a Believer" |
| 00:36:02 |
"(Theme from) The Monkees" |
| 00:37:44 |
End |
|
|
|
|
Item-ID: AFC 2011/053: SR177 |
Dolenz, Jones, Boyce
& Hart, 2nd show, April 17, 1976
|
|
Rack number: RXH 4060 |
|
Extent: 1 sound tape reel
(graphite-backcoated polyester, 00:35:10) : analog, 7 1/2 ips,
quarter track, stereo ; 7 in. |
|
Archivist's note: 411 / 7625 / Dolenz 2nd show (from tape box). See
notes for SR176. |
|
|
Time
|
Content
|
|
|
| Start |
An unidentified announcer introduces the
band |
| 00:00:46 |
"Last Train to Clarksville" |
| 00:03:30 |
Medley: "Valleri"/"Daydream Believer" (at
04:48)/"A Little Bit Me, A Little Bit You"
(05:55) |
| 00:08:59 |
"I Wonder What She's Doing Tonight" |
| 00:11:47 |
"I'm Not Your Stepping Stone" |
| 00:15:10 |
"I Want to Be Free" |
| 00:17:45 |
Medley: "Come a Little Bit Closer"/"Pretty Little
Angel Eyes" (18:54)/"Hurts So Bad" (19:40)/"Peaches
'N' Cream" (20:43)/"Something's Wrong with Me"
(21:07)/"Keep on Singing" (21:42) |
| 00:22:59 |
"Pleasant Valley Sunday" |
| 00:26:21 |
Davy Jones introduces the members of the
band |
| 00:27:20 |
"Honky Tonk Woman" (lead vocal: Keith "Guitar"
Allison) |
| 00:30:27 |
"I'm a Believer" |
| 00:33:33 |
"(Theme from) The Monkees" |
| 00:35:09 |
End |
|
|
|
|
Item-ID: AFC 2011/053: SR030 |
Thomas A. Dorsey
interview, #1, June
30, 1962
|
|
Rack number: RXH 3169 |
|
Extent: on one side of 1 sound
tape reel (00:42:30) : analog, 7 1/2 ips; half track, mono ; 7
in. |
|
|
Time
|
Content
|
|
|
| Start |
"Tight Like That" (several versions) |
| 00:05:05 |
"Rainin' on the Ocean" (a Ma Rainey song) |
| 00:07:08 |
TD talks about his early days. He learned to play
the organ. He is the son of a minister. |
| 00:12:20 |
TD and his family lived in a suburb of Atlanta.
He got most of his training at the Chicago Music
College. He talks about playing the organ and the
piano. |
| 00:16:35 |
TD says he saw Bessie Smith perform in about
1912. He also saw Bud Lamee (?) [a bluesman] and Ma
Rainey. The theater bug bit him. HE talks about "hip
shake" parties. He talks about "song plugging" to
sell sheet music. |
| 00:20:45 |
PW asks how TD heard songs aimed at the "colored
market." TD responds. They talk about ragtime music.
They talk about church music and performance music.
TD talks about two performers named Blind Broom and
Blind Tom. |
| 00:26:44 |
"Nearer My God to Thee" (the first song that TD
played. |
| 00:28:00 |
TD says that music was "a gift." He loves all
kinds of music. |
| 00:29:52 |
"Chattanooga Fallin'" |
| 00:31:32 |
"Don't You Leave Me Here" |
| 00:33:25 |
"See Me Runnin'" (Ma Rainey song) |
| 00:35:00 |
An unidentified rag. |
| 00:36:34 |
"Walkin' the Dog" (a Sheldon Brooks song) |
| 00:37:04 |
PW and TD talk about other songs. They talk about
getting music written down on paper so that it is
not lost. They talk about ragtime and ragtime
composers. They talk about Negro spirituals.
|
| 00:42:30 |
End |
|
|
|
|
Item-ID: AFC 2011/053: SR031 |
Thomas A. Dorsey
interview, #2, June
30, 1962 , July 7, 1962
|
|
Rack number: RXH 3170 |
|
Extent: on one side of 1 sound
tape reel (00:45:25) : analog, 7 1/2 ips; half track, mono ; 7
in. |
|
|
Time
|
Content
|
|
|
| Start |
PW asks about the music being played at parties
when TD was getting started, about 1912. TD replies
and plays pieces of several songs. |
| 00:03:10 |
Woodman, Woodman Spare That Tree |
| 00:03:45 |
They continue the conversation about old songs.
PW asks about musicians, in the early days, who TD
admired. TD responds. He learned the walking bass
from Ed Butler. He plays a sample. |
| 00:06:30 |
PW asks when boogie woogie style music came in.
TD says he first noticed it in about 1912. He plays
sample. |
| 00:09:10 |
TD says he was about 12 or 13 when he started
playing at parties and in public. In 1914 Ed Haywood
Sr. started playing in the Atlanta area. |
| 00:13:05 |
PW asks if TD knows any simple folk songs, not
blues or church songs. TD replies and plays
"Sawdust." |
| 00:15:46 |
They discuss this song. They talk about when TD
raveled and played in the lumber camps, about 1923.
TD talks about a show he played in the hills of
Kentucky. |
| 00:21:15 |
They talk about a book TD wrote and another that
he is writing. |
| 00:22:33 |
They talk about a piano called "long boy" that
was owned by TD's aunt. She sold it in 1928. She ran
a fish stand in Atlanta. |
| 00:27:35 |
The Rollin' Mill is Done Gone (1) |
| 00:29:17 |
The Rollin' Mill is Done Gone (2) |
| 00:31:17 |
TD says he wrote this song. They discuss
it. |
| 00:31:45 |
PW asks if TD wrote or knew any other songs about
local events. TD plays part of a song and the
spiritual that uses the same melody. They talk about
work songs. TD plays part of a "water boy song."
After talking with PW he plays several more
verses. |
| 00:41:20 |
TD says he left for Chicago when he was 16. His
mother came to live with him in 1935. He talks about
"buffet flats" and house parties. |
| 00:44:20 |
A Good Man is Hard to Find |
| 00:45:25 |
End |
|
|
|
|
Item-ID: AFC 2011/053: SR033 |
Thomas A. Dorsey
interview, #4, July
7, 1962
|
|
Rack number: RXH 3172 |
|
Extent: on one side of 1 sound
tape reel (00:36:00) : analog, 7 1/2 ips, half track, mono ; 7
in. |
|
|
Time
|
Content
|
|
|
| Start |
TD talks about the opening of a Ma Rainey show at
the Grand Theater in 1921. (The city is not
identified.) |
| 00:02:20 |
TD talks about Ma Rainey's band. He identifies,
and talks about, members of the band and other
musicians. |
| 00:07:28 |
TD talks about a venue called The Weekend
Lifesaver, where he and the band played on Sundays.
He talks about a singer called William
Franklin. |
| 00:08:17 |
PW asks if TD was the musical director of MR's
band. TD responds. |
| 00:09:17 |
TD talks about playing piano in movie theaters
for silent films, in 1913 or 1914. He says that
people who wanted to be around music, or learn
music, or learn the latest songs hung around the
movie theater. Some of these people went onto become
great artists. |
| 00:12:05 |
TD says that after a week at the Grand Theater,
Ma Rainey and the band went to Kansas City. That's
where he met Teetna (sic) Palm. Pa Rainey was
diseased by then. MR and the band were on a
six-month tour. He names some of the cities where
they played. |
| 00:14:46 |
PW asks what MR did with all of her money. TD
responds "That's what the world wants to know." In
1961 TD visited MR's brother in Columbus, Georgia.
He was told the "Ma made a lot of money, but her
weakness was young men." TD expands on this. |
| 00:17:03 |
PW asks how MR worked up her material. TD
responds. |
| 00:17:52 |
PW asks how MR paid her musicians. TD responds.
He says he earned enough money to get married.
|
| 00:19:50 |
The following season, TD "took ill" after 2
shows, so he left the tour and he band. The last
time TD talked with MR about her show was 1929.
|
| 00:22:46 |
TD talks about the experience and musical
education he got from working and touring with MR.
|
| 00:26:21 |
TD describes a "typical" MR show. It was during
vaudeville days. The show ran for about an hour and
fifteen minutes. |
| 00:30:35 |
TD talks about MR being "the mother of the
blues." |
| 00:32:30 |
TD talks about being on MR's recording dates. He
was with MR for about 3 ½ seasons. |
| 00:36:00 |
End |
|
|
|
|
Item-ID: AFC 2011/053: SR034 |
Thomas A. Dorsey
interview, #5, January 5, 1963
|
|
Rack number: RXH 3173 |
|
Extent: on one side of 1 sound
tape reel (00:46:11) : analog, 7 1/2 ips, half track, mono ; 7
in. |
|
|
Time
|
Content
|
|
|
| Start |
PW asks TD to talk about his recording during the
1920s and 1930s after he let Ma Rainey. TD
responds. |
| 00:02:30 |
TD talks about recording with Tampa Red. He did
not have an exclusive recording contract, so he
recorded for several recording companies. |
| 00:03:46 |
PW asks how TD prepared new material for
recording. TD responds at length. |
| 00:05:47 |
PW asks if TD and Tampa Red worked together
outside of the recording studio. TD responds.
|
| 00:08:02 |
TD says that in about 1930 "the blues began to
start on the wane." He talks about a group called
The Hokum Boys. |
| 00:10:55 |
TS says "deep down in me I had these gospel
songs..." ..."When the blues left town, I
concentrated on the gospel songs." |
| 00:12:06 |
TD talks about gospel singing groups and blues
singing groups. |
| 00:13:08 |
PW asks about the condition of Negro religious
music around 1930. TD responds. |
| 00:17:36 |
PW asks about hymn style music transitioning to
gospel music. TD responds. He says that he "coined
the words gospel songs" and "gospel
singers." |
| 00:20:50 |
TD says that he wrote one of the first gospel
songs which became popular. He sings it, then talks
about it. |
| 00:22:22 |
TD says that gospel singers have become big
business. He talks about publishing gospel music. He
talks about "1 sheet" music and selling copies for
10 cents each. |
| 00:25:43 |
PW asks what makes a gospel song and how does it
differ from other forms of Negro music? TD answers
and gives several examples. He mentions the Fisk
Jubilee Singers. |
| 00:29:50 |
TD says this music is a "great American
heritage." The music totally evolved in America. He
talks about minstrel shows. |
| 00:32:17 |
TD talks about where and when gospel music has
become. |
| 00:33:50 |
PW asks to go back to what differentiates gospel
songs from the others. TD says he came along at a
time when America needed gospel music. He discusses
this at length and gives (e.g., sings) examples. He
mentions W.C. Handy. |
| 00:39:29 |
TD says that right now gospel singing is at its
height. |
| 00:40:06 |
PW asks how gospel music differs musically from
its predecessor. TSD responds. He mentions the
blues. |
| 00:43:20 |
PW talks about gospel music and folk music of the
Negro. TD responds. |
| 00:46:11 |
End |
|
|
|
|
Item-ID: AFC 2011/053: SR035 |
Thomas A. Dorsey
interview, #6, January 5, 1963
|
|
Rack number: RXH 3174 |
|
Extent: on one side of 1 sound
tape reel (00:21:47) : analog, 7 1/2 ips, half track, mono ; 7
in. |
|
|
Time
|
Content
|
|
|
| Start |
PW and TD discuss gospel music as folk music.
They also talk about folk singers |
| 00:03:20 |
TD talks about the place of music in the world.
He calls it one of the "heavenly things." They talk
about composed songs and how they are changed by the
"folk process." They talk about music written down
on paper. |
| 00:07:05 |
They talk about influential, individual
performers and groups doing gospel music. |
| 00:09:32 |
PW asks TD what or whom he considers to be the
first legitimate singer or group of gospel singers.
TD responds. The first person he mentions is
(Sister) Rosetta Tharpe. |
| 00:12:27 |
PW asks about the Universal Singers and what
other gospel groups TD might have heard. TD
responds. |
| 00:16:14 |
They talk about gospel singers and gospel choirs
in church. |
| 00:20:15 |
PW asks what dozen songs, of all the songs TD has
written, would be a representative collection of his
work. TD responds. |
|
|
|
|
Item-ID: AFC 2011/053: SR290 |
Dorsey Dixon, Howard
Dixon, and Nancy Dixon, August 1962
|
|
Rack number: RXH 4176 |
|
Extent: 1 sound tape reel (Side
1: 00:38:56) : analog, 3 3/4 ips, mono ; 7 in. |
|
Archivist's note: This is a proposed tape for a Dorsey Dixon LP,
collected by Gene Earle and Archie Green in Rockingham, North
Carolina. Side 2 has not yet been digitized. Collector's original ID
number: 176.
Vendor's digitization note: The program is distorted at times. |
|
Side 1
|
Time
|
Content
|
|
|
| Start |
"Babies in the Mill" |
| 00:03:17 |
"Weave Room Blues" [Dorsey and Howard
Dixon] |
| 00:05:43 |
"I saw the Wood" |
| 00:07:40 |
"Across the Shining River" |
| 00:09:38 |
"Factory Girl" |
| 00:11:55 |
"Hard Times In Here" |
| 00:14:05 |
"Will The Circle Be Unbroken" |
| 00:16:28 |
"Pinball Machine" |
| 00:19:22 |
"Wreck of the Old '97" |
| 00:23:02 |
"Factory Girl" [Nancy Dixon] |
| 00:24:10 |
"Weaver's Life" [Dorsey and Howard Dixon] |
| 00:27:35 |
"Burglar Man" |
| 00:29:38 |
"Wreck On The Highway" |
| 00:32:48 |
"Somebody Touched Me" |
| 00:35:00 |
"Our Johnny" |
| 00:37:24 |
"Christmas Cake" |
| 00:38:56 |
End |
|
|
|
|
Item-ID: AFC 2011/053: SR291 |
Geraldine Van Moses
(vocal), Thomas A. Dorsey (piano), April 6, 1963
|
|
Rack number: RXH 4177 |
|
Extent: 1 sound tape reel (Side
1: 00:33:26) : analog, 7 1/2 ips, mono ; 7 in. |
|
Side 2 has not yet been digitized. Collector's original ID number:
143.
Vendor's digitization note: The program is distorted at times. |
|
Side 1
|
Time
|
Content
|
|
|
| Start |
"Take Me Safely Home" |
| 00:03:51 |
"Consideration (Consider Me)" |
| 00:07:43 |
"I Want to Go There" |
| 00:10:32 |
"Take Me To That Blessed Home Above" |
| 00:14:40 |
"Take Me To That Blessed Home Above" |
| 00:18:35 |
"I Can't Understand Why You Treat Me Like You
Do" |
| 00:22:28 |
"Realizing" |
| 00:25:10 |
"Realizing" (Baby screams in the
beginning) |
| 00:28:48 |
"Somewhere" |
| 00:33:26 |
End |
|
|
|
|
Item-ID: AFC 2011/053: SR292 |
Phil Edwards -
Piano, November 15,
1961
|
|
Rack number: RXH 4178 |
|
Extent: 1 sound tape reel (Side
1: 00:38:47) : analog, 7 1/2 ips, mono ; 7 in. |
|
Archivist's note: The interview follows the music. Side 2 has not yet
been digitized. Collector's original number: 107.
Vendor's digitization note: The program is distorted at times, and
the speed ramps up near the end of the recording. |
|
Side 1
|
Time
|
Content
|
|
|
| Start |
"Walking The Dog" |
| 00:01:20 |
"The Monkey Rag" |
| 00:02:21 |
"The Scronch" (Sam Stewart) |
| 00:03:50 |
"Boogie Woogie (Western)" [fragment] |
| 00:05:25 |
"Shim-Me-Sha-Wabble" |
| 00:07:12 |
"Sugar" |
| 00:09:20 |
"Twelfth Street Rag" |
| 00:11:22 |
"Sweet Lorraine" |
| 00:13:52 |
"Boogie Woogie" [fragment] |
| 00:15:00 |
"Ain't Misbehavin'" |
| 00:17:20 |
Medley of piano blues songs. |
| 00:21:38 |
Medley of piano blues songs. |
| 00:25:35 |
Medley of piano blues songs. |
| 00:28:07 |
Interview of Phil Edwards (PE). PE talks about he
was born in 1990 and moves to Virginia in an early
age. He also talks about famous bands and band
players of the time. Musicians mentioned include Fat
Waller, Russell Smith, Joe Smith, John Kirby, Eddie
Cole, Benny Carter, Eubie Blake, Noble Lee Sissle,
Willie The Lion Smith, Buster Bailey, Johnny Green,
Louis Armstrong, Don Raymond and more. |
| 00:38:47 |
End (the interview ends abruptly) |
|
|
|
|
Item-ID: AFC 2011/053: SR086 |
Don Ellis interview,
January 31,
1967
|
|
Rack number: RXH 3224 |
|
Extent: on one side of 1 sound
tape reel (acetate; 01:00:15) : analog, 3 3/4 ips, half track, mono
; 7 in. |
|
|
Time
|
Content
|
|
|
| Start |
Static and comments about songs being good and
condenser mic quality. |
| 00:00:18 |
DE discusses coming out to Los Angeles and
starting a band. DE mentions an earlier band, The
Hindustani Jazz Sextet, and exploring rhythms and
gospel sounds with a big band. |
| 00:02:00 |
DE talks about the quality of the Musicians Union
practice space in L.A., the accomplishment of
getting band members to practice at 10 am on
Wednesdays, and adding multiple basses to the group.
|
| 00:02:45 |
DE mentions going back to New York and working
with Lucas Foss in a big band, as well as forming a
smaller group to play around Buffalo (New York).
This smaller group had two drummers and to basses.
Upon returning to L.A. DE wanted to form a big band
with a large rhythm section: five drummers and four
basses. |
| 00:04:36 |
PW asks what brought DE to this "rhythmic
investigation." DE gives background on his previous
experimentations with rhythms, and then discusses
studying Indian music with Harihar Rao and
discovering new rhythms. |
| 00:06:37 |
DE's "all-consuming passion" to develop himself
rhythmically. |
| 00:07:18 |
DE's background as a composition grad student at
UCLA, and where he first met Harihar Rao. |
| 00:08:15 |
DE mentions the rising prominence of the sitar in
rock music and jazz, and Ravi Shankar's upcoming
visit to the United States. DE states that the rock
groups "take the easy way out" by just using the
sitar drone sound and not the more complex Indian
rhythms. |
| 00:09:34 |
PW introduces the subject of semi-tones in Indian
music, and different scale systems, suggesting that
the difference between Indian and Western music is
greater than just rhythms. DE gives a somewhat
ambiguous reply, asserting that equal temperament
rhythms are abominable, and eventually coming around
to the power of intonation in blues music. |
| 00:11:24 |
PW restates the subject, asking if "tonal
ambiguity" isn't just as "excitement inducing" as
the rhythms. PW brings up bottle neck slide playing
in blues guitar as an example. DE reasserts that,
compared to the Indian scale system, Western music
is only just scratching the surface. DE goes on to
mention his development of a quarter tone trumpet,
and how it enables him to explore different sounds
and pitches. |
| 00:13:55 |
PW and DE discuss exploring tonality in the
"massed sound of the orchestra." |
| 00:15:56 |
PW asks when DE reorganized or actually formed
his current band, if there are any issues with
keeping the band working, and how often they
play. |
| 00:18:00 |
DE discusses the makeup of the band, that not all
of the players are professional musicians, and
auditioning his rhythm section. DE gives names and
background information about the bass players and
drummers in his band. |
| 00:23:38 |
PW and DE discuss the public interest in the
Indian/Western music crossover via jazz and the
Beatles. |
| 00:26:40 |
PW mentions The Byrds coining "raga rock" and the
Beatles' "Norwegian Wood." |
| 00:29:08 |
DE talks about Harihar Rao coming to the States
to work with jazz musicians, and whether or not
American jazz musicians were interested in Indian
music at that time. DE asserts that, like jazz, you
have to study Indian music to fully appreciate
it. |
| 00:32:34 |
DE discusses audience reactions and PW circles
back to DE's assertion that the rhythms were the
crucial part of the music. PW asks how DE maintains
the synthesis of Western and Indian music. This
leads into a discussion of the differences between
the two types of music and their
development. |
| 00:39:20 |
DE discusses how he goes about combining Eastern
and Western music. |
| 00:44:27 |
PW asks how long it took the other musicians to
play DE's compositions with ease and
proficiency. |
| 00:46:18 |
PW asks who else in the band is contributing
musical arrangements. |
| 00:48:25 |
PW and DE talk about an upcoming release on
Liberty Records, recorded live at Monterey, and
another recorded at the Pacific Jazz
festival. |
| 00:49:24 |
PW asks about recordings done for Irving
Mills/Mills Music. DE explains that Mills was a
financial backer that fell through and tried to stop
DE from releasing his own recordings. |
| 00:53:58 |
PW asks what jobs are available for a big band
these days. |
| 00:55:43 |
PW asks about Ellis Music Enterprises. |
| 00:57:00 |
PW lays out how DE could reach a more specific
audience by advertising in the MENC journal and
self-publishing a method book. |
| 01:00:15 |
End |
|
|
|
|
Item-ID: AFC 2011/053: SR791 |
Dave Evans [David
Evans], undated
|
|
Rack number: RAA 59329 |
|
Extent: 1 sound tape reel
(00:26:34) : analog, 15 ips, half track, stereo ; 10 in. |
|
Archivist's note: Dr. David Evans is a musicologist.
Vendor's digitization note: The program has distortion and hiss. |
|
|
Time
|
Content
|
|
|
| Start |
"John Henry" |
| 00:04:09 |
"Working on the Building" |
| 00:07:30 |
"Jim Steam Shot Lula" |
| 00:11:49 |
"Louisiana Blues" |
| 00:16:19 |
"Long Haired Doney" |
| 00:19:21 |
"Rollin' and Tumblin'" |
| 00:25:16 |
unidentified tune #1 |
| 00:26:34 |
End |
|
|
|
|
Item-ID: AFC 2011/053: SR818 |
Dave Evans [David
Evans], undated
|
|
Rack number: RAA 59355 |
|
Extent: 1 sound tape reel
(00:48:22) : analog, 15 ips, four track ; 10 in., 1/2 in.
wide |
|
Archivist's note: It sounds like more than one vocalist may be heard
on the recording. It is possible that the male speaker before
unidentified tune #5 is Pete Welding. The recording date is possibly
1972, but this is unconfirmed by accompanying documentation.
LC engineer's note: The tape is identified in the documentation as a
session tape for the Pete Robinson LP, Dialogues for Piano and Reeds, but actually contains a session for Dave Evans. Some song
titles are slated. Same artist and (probably) session as SR825. |
|
|
Time
|
Content
|
|
|
| Start |
snippets from prior tape content |
| 00:00:11 |
"Nothing But the Devil" |
| 00:05:05 |
unidentified tune #1 [false start] |
| 00:05:43 |
unidentified tune #1 [false] |
| 00:05:53 |
unidentified tune #1 |
| 00:09:56 |
unidentified tune #2 [fragment] |
| 00:10:48 |
unidentified tune #3 |
| 00:18:10 |
unidentified tune #4 [fragment] |
| 00:18:59 |
unidentified tune #5 |
| 00:22:07 |
unidentified tune #6 |
| 00:30:01 |
unidentified tune #7 |
| 00:35:01 |
unidentified tune #8 [fragment] |
| 00:37:02 |
unidentified tune #8 [fragment] |
| 00:37:53 |
unidentified tune #8 |
| 00:44:03 |
unidentified tune #9 [breaks off where end of
recording tapes over the previous tape
content] |
| 00:45:22 |
unidentified tune #10 [different guitar] |
| 00:46:32 |
unidentified tune #11 [cut off at the end of the
tape] |
| 00:48:22 |
End |
|
|
|
|
Item-ID: AFC 2011/053: SR825 |
Dave Evans [David
Evans], August 31, 1972, September 4, 1972
|
|
Rack number: RAA 59362 |
|
Extent: 1 sound tape reel
(00:33:33) : analog, 15 ips, four track ; 10 in., 1/2 in.
wide |
|
Archivist's note: "Maggie Campbell" and "Mellow Peaches" were
recorded on September 4, 1972; all other songs were recorded on
August 31, 1972. see SR818.
LC engineer's note: The tape only uses three of the four available
tracks. The tape was erased and reused at some point. The box is
marked as a 1972 session tape for Pete Robinson and Alan Praskin,
but actually contains a session for Dave Evans. Song titles are
slated. Tape ends abruptly in midsong. |
|
|
Time
|
Content
|
|
|
| Start |
"John Henry" [take 1; preceded by studio talk and
false starts] |
| 00:04:40 |
"Working on the Building" [take 1; false
start] |
| 00:04:50 |
"Working on the Building" [take 2] |
| 00:08:19 |
"Jim Steam Shot Lula" [take 1; preceded by a very
brief snippet of content covered by the current
recording] |
| 00:08:49 |
"Jim Steam Shot Lula" [unnumbered take] |
| 00:13:08 |
"Louisiana Blues" [take 1] |
| 00:17:39 |
"Long Haired Doney" [take 1; preceded by a very
brief snippet of content covered by the current
recording] |
| 00:20:50 |
"Rollin' and Tumblin'" [take 1; preceded by a
brief snippet of content covered by the current
recording and a false start for the current
song] |
| 00:26:45 |
"Maggie Campbell" [take 1; possible includes part
of the song "Future Blues"] |
| 00:30:23 |
"Mellow Peaches" [cut off at the end of the
tape] |
| 00:33:33 |
End |
|
|
|
|
Item-ID: AFC 2011/053: SR576 |
Dave Evans [David
Evans] - dubs of recordings made in Bentonia, Mississippi, September 6,
1967
|
|
Rack number: RXH 5437 |
|
Extent: 1 sound tape reel
(00:31:14) : analog ; 7 in. |
|
Collector's original ID number: 108. |
|
|
Time
|
Content
|
|
|
| Start |
"Hard Times" by Jacob Owens, vocal,
guitar |
| 00:02:55 |
"Catfish Blues" (#2) by Jacob Owens, vocal,
guitar |
| 00:05:53 |
"Blues in Spanish" by Jacob Owens, vocal,
guitar |
| 00:09:08 |
"Three O'Clock in the Morning" by Jacob Owens,
vocal, guitar |
| 00:13:18 |
"See See Rider" by Jacob Owens, vocal,
guitar |
| 00:16:23 |
"Devil Blues (E major)" by Jacob Owens, vocal,
guitar |
| 00:19:00 |
"Devil Blues (E minor)" by Jacob Owens, vocal,
guitar |
| 00:22:20 |
"Cherry Ball Blues" by Jacob Owens, vocal,
guitar |
| 00:25:32 |
"Pearline" by Jacob Owens, vocal, guitar (with
knife) |
| 00:27:50 |
"See See Blues" by Jacob Owens, vocal, guitar
(with knife) |
| 00:31:14 |
End |
|
|
|
|
Item-ID: AFC 2011/053: SR589 |
Dave Evans [David
Evans] - dubs of Mississippi blues music, September 6,
1967
|
|
Rack number: RXH 5450 |
|
Extent: 1 sound tape reel
(00:31:42) : analog, 7 1/2 ips, full track, stereo ; 7
in. |
|
Collector's original ID number: 109.
Archivist's note: Dr. David Evans is a musicologist. This tape is a
dub of part of his fieldwork. The date 9/6/1967 is written on the
tape box spine.
Vendor's digitization note: The program is distorted at times. |
|
|
Time
|
Content
|
|
|
| Start |
"Mean Mistreater" (Woodrow Adams, vocal,
harmonica; Curtis Allen, guitar; Fiddlin' Joe
Martin, drums). Recorded in Robinsonville,
Mississippi on August 28, 1967. |
| 00:05:53 |
"Sitting on Top of the World" (same personnel and
date as "Mean Mistreater") |
| 00:09:36 |
"Bye and Bye Blues" (Houston Stackhouse, vocal,
guitar; Carey Mason, guitar). Recorded in Crystal
Springs, Mississippi on September 3, 1967. |
| 00:12:20 |
"Mean Black Spider" (same personnel and date as
"Bye and Bye Blues") |
| 00:15:22 |
"Mercy Blues" (Carey Mason, vocal and slide
guitar; Houston Stackhouse, guitar) |
| 00:18:09 |
"I Hate to Hear My Good Girl Call My Name" (same
personnel as "Mercy Blues") |
| 00:20:44 |
"Return Mail" (Houston Stackhouse, vocal and
slide guitar; Carey Mason, guitar) |
| 00:23:56 |
"Traveling Blues" (Mager Johnson, vocal and
guitar; Carey Mason, guitar). Recorded in Crystal
Springs, Mississippi on September 3, 1967. Abrupt
beginning to the song, with one false start. |
| 00:26:23 |
"Doodlesville Blues" (Carey Lee Simmons, vocal
and guitar). Recorded in Jackson, Mississippi on
September 4, 1967. |
| 00:28:42 |
"B. and O. Blues" (Jack Owens, vocal and guitar).
Recorded in Bentonia, Mississippi on September 6,
1967. |
| 00:31:42 |
End |
|
|
|
|
Item-ID: AFC 2011/053: SR690 |
Clare Fischer
Orchestra (dubs), undated
|
|
Rack number: RXH 5567 |
|
Extent: 1 sound tape reel :
analog ; 7 in. |
|
|
|
Item-ID: AFC 2011/053: SR634 |
Gary Foster Quartet
(dub) - Chet Baker Quartet, 1953
|
|
Rack number: RXH 5511 |
|
Extent: 1 sound tape reel :
analog ; 7 in. |
|
The Chet Baker Quartet was recorded live at Carleton Theater, in Los
Angeles. |
|
|
|
Item-ID: AFC 2011/053: SR365 |
Bud Freeman #1,
June
30-July 1, 1958
|
|
Rack number: RXH 4607 |
|
Extent: 1 sound tape reel (Side
1: 00:42:11) : analog, 7 1/2 ips, stereo ; 7 in. |
|
Performances by Bud Freeman, Bob Hammer, and Mousey (Mousie)
Alexander.
Archivist's note: Side 2 has not yet been digitized.
Vendor's digitization note: There is a gap in the sound on Side 1,
from 00:20:11 to 00:21:07 |
|
|
Time
|
Content
|
|
|
| Start |
"California Here I Come" |
| 00:03:00 |
"I Can't Give You Anything But Love" |
| 00:06:20 |
"'S Wonderful" |
| 00:09:56 |
"Who Cares" |
| 00:13:25 |
"Chicago" |
| 00:16:37 |
"Satin Doll" |
| 00:20:10 |
Side 1 ends |
| 00:21:06 |
"St. Louis Blues" |
| 00:24:36 |
"Limehouse Blues" |
| 00:27:43 |
"Newport News Blues" |
| 00:31:08 |
"Just One of Those Things" |
| 00:34:48 |
"Gone with the Wind" |
| 00:38:44 |
"A Viking To My Liking" |
| 00:42:11 |
End |
|
|
|
|
Item-ID: AFC 2011/053: SR366 |
Bud Freeman #2,
February 16-17, 1959
|
|
Rack number: RXH 4608 |
|
Extent: 1 sound tape reel (Side
1: 00:27:54) : analog, 7 1/2 ips, stereo ; 7 in. |
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