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Series 8: Sound recordings (continued)
Subseries 2: Events (continued)
Sub-subseries 2: A Night in New Orleans (continued)
A Night in New Orleans (3rd annual), held at Caltech (reel #3 of 3), October 20, 1975 (continued)
Item-ID: AFC 2011/053: SR758 A Night in New Orleans (3rd annual), held at Caltech (reel #3 of 3), October 20, 1975
Rack number: RAA 59296
Extent: 1 sound tape reel : analog, 15 ips, 4 track ; 10 in.
Archivist's note: Other recordings from this event are included on SR137 , SR749 , SR756 , SR757 , and SR817 , with further details noted for SR817 relevant to all recordings from the event.
Sub-subseries 3: Big Horn Jazz Festival
Item-ID: AFC 2011/053: SR214 Big Horn Jazz Festival: Soprano Summit, first set, May 30, 1976 (Side 1), Bud Freeman and Vic Dickenson, May 27, 1974 (Side 2), May 27, 1974 , May 30, 1976
Rack number: RXH 4097
Extent: 1 sound tape reel (graphite-backed polyester Side 1: 01:37:08, Side 2: 01:37:11) : analog, 3 3/4 ips, quarter track, stereo ; 7 in.
Archivist's note: See SR213 for performances from the 1975 festival.
LC engineer's note: The tape side were recorded out of relative phase. This was corrected in the transfer.
Logger's note: Performers include Marty Grosz on guitar, [unintelligible name on the recording] on drums, Milt Hinton on bass, Kenny Davern on clarinet, and Bob Wilber on clarinet. This audio log includes some of the band members' banter with each other in between songs, and jokes they make about Marty Grosz.
Side 1
Time Content
Start People are chatting and clapping.
00:00:23 Sydney Bechet's "Swing Parade" begins to play. Song from Soprano Summit's first album.
00:03:41 Bob Wilber announces the musicians and which instruments they are playing. He announces that next they will play an original song from their upcoming Chiaroscuro album called, "Grenadilla Stomp." He explains that his clarinet is made from grenadilla wood, and jokes that Kenny Davern's clarinet is made of hard rubber. The audience laughs. He says, "Everyone to their own tastes." You can hear Davern in the background say, "I'll get you for that, Wilber."
00:05:14 "Grenadilla Stomp"
00:13:48 Bob Wilber (presumably) announces next song - "Black and Tan Fantasy" by Duke Ellington
00:14:21 "Black and Tan Fantasy"
00:22:19 "Ole Miss" by W. C. Fields
00:28:26 Bob Wilber [presumably] says, "The reason we stand up after each number is not to acknowledge your applause as so much as to air off certain areas of the body which happen to be sticking to the seat due to incredible humidity here in Chicago." Someone from the audience asks when Marty will sing. Wilber responds, "Marty sings soon. He has a couple of numbers where we turn him loose."
00:29:16 Bob Wilber [presumably] says that the next piece called "Song of Songs" is probably the most requested piece they have in their library.
00:30:12 "Song of Songs"
00:36:03 Song ends and Wilber says, "And now we'd like to present our lovely vocalist, Chicago's own, Marty Grosz ... otherwise known as 'send in the clowns.'"
00:36:38 Wilber announces that the next song is one from Thomas Fats Waller called "How Can You Face Me Now?" sung by Marty Grosz. Song begins to play.
00:41:00 Wilber announces that they will be playing "Milneburg Joys" next. He makes some jokes about the song and their concerts.
00:41:48 "Milneburg Joys"
00:49:05 Wilber announces the name of the drummer again - Freddie Stohl. He also goes through the names and musicians in the band again.
00:49:33 Wilber announces the next song is "Chalumeau Blue" (as well as the title of their next album). "Chalumeau Blue" begins to play.
00:58:08 "Oh! Sister, Ain't That Hot"
01:06:11 "Egyptian Fantasy"
01:11:24 "Oriental Strut"
01:16:11 Wilber says, "Now it's time once again ladies and gentlemen for our lovely vocalist, Miss Grosz ... wending her way to the bandstand into the hearts of hundreds."
01:18:11 "A Porter's Love Song to His Chambermaid"
01:25:40 "I Wish That I Were Twins" begins to play. (Before they start to play this song, Marty Grosz [I think] tells a joke story about how Paul Newman is his famous movie star twin.)
01:31:20 "Meet Me Tonight in Dreamland" [tapes were changed at about this point in the recording]
01:36:57 Announces that they are going to do a song that they don't have an arrangement of - they just sort of do it off the tops of their heads, but the recording cuts out.
01:37:05 End
Side 2
Time Content
Start "Deed I Do" begins. People talk and laugh throughout the track.
00:10:42 "Things Ain't What They Used to Be" begins. People talk and laugh throughout the track.
00:23:14 Some unintelligible talking. Sounds like the recording got cut off.
00:23:20 "Don't Blame Me'
00:28:19 "Somebody Stole My Gal"
00:39:07 Someone announces that they will play a song composed by Bud Freeman - "The D-Minor Thing."
00:39:46 "The D-Minor Thing"
00:47:45 "Chicago"
00:53:07 "Viper's Drag"
00:57:57 "I Can't Believe That You're in Love With Me"
01:07:25 An unidentified instrumental song
01:14:41 Someone announces that Vic Dickenson has a request to do "In A Sentimental Mood."
01:15:10 Someone announces, "This piece is in reverence to The Duke, who is buried today and we [unintelligible] would like to give something to Duke."
01:15:28 "In A Sentimental Mood"
01:20:16 "Squeeze Me'
01:25:41 "Lady, Be Good"
01:37:10 End
Sub-subseries 4: Drum Talk Coast To Coast
Item-ID: AFC 2011/053: SR714 Drum Talk Coast To Coast, 1964
Rack number: RXH 5591
Extent: 1 sound tape reel (acetate; Side 1: 00:41:14, Side 2: 00:16:35) : analog, 3 3/4 ips, quarter track, mono ; 7 in.
Archivist's note: In 1964 Down Beat magazine held three discussions with drummers, at three locations. This recordings seems to be the third discussion, held in Down Beat 's Chicago office. Elvin Jones and Joe Morello are interviewed by Don (no last name given). The event was covered in the magazine's March 26, 1964 issue.
LC engineer's note: This file contains audio from the left track of the tape, which was in reverse (highly unusual). This was corrected in both preservation and access files. This suggests the tape was recorded in the half-track mono format and later altered on a quarter-track stereo machine. The audio is almost completely inaudible from 00:24:50 to the end of the file but there is audio. It sounds like poor erasure.
Side 1
Time Content
Start Getting ready.
00:01:05 Start of interview.
00:07:05 The interviewer asks about a what a young drummer: what studies should he seek and should he study another instrument. The drummers reply.
00:10:14 [office noise, including a typewriter, and contruction noise, including hammering, makes the interview even more difficult to understand.]
00:14:25 One of the drummers says that it would be good for the young drummer to study mathematics.
00:15:04 The interviewer asks: "What is the most important thing for a drummer to know or for a drummer to do? The drummers reply.
00:18:29 The interviewer asks: "How much do you practice and how?" The drummers reply.
00:24:50 Blank until the end of recording.
00:41:14 End
Side 2
Time Content
Start The interviewer asks: "Some drummers swing and some drummers don't. What is swinging and what is not swinging?"
00:02:49 Discussion of various time signatures, like 3/4, 4/4, 5/4 etc.
00:07:20 Discussion of other rhythms, such as African and Indian.
00:10:18 The interviewer asks. "How does big band experience help a drummer?" The drummers respond.
00:13:56 Wrapping up the interview with social talk.
00:16:35 End
Sub-subseries 5: International Blues-and-Boogie Woogie Festival
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
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