| | | | | | | | | | | | | |
|
Series 8: Sound
recordings
(continued) |
|
Subseries 1: Artists,
bands, and interviews
(continued) |
|
Frank Chace - Bob
Wright - Don De Michael - Wild Bill Davidson / Jazz at Storyville,
circa
1950-1970
(continued) |
|
Extent: 1 sound tape reel
(graphite-backed polyester; Side 1: 01:35:10, Side 2: 01:37:27) :
analog, 3 3/4 ips, quarter track, stereo ; 7 in. |
|
Compilation of live and pre-recorded performances. Accompanying set
list.
LC engineer's note: Portions of the tape were recorded out of
relative phase. This was corrected in the transfer. |
|
Side 1
|
Time
|
Content
|
|
|
| Start |
A jazz band plays their first instrumental
selection. The title is unknown |
| 00:03:18 |
The band plays "The Beale Street Blues" |
| 00:09:38 |
Wild Bill Davison (WBD) and the band play "Sweet
Georgia Brown" |
| 00:14:34 |
The band plays the jazz standard "If I Could Be
With You One Hour Tonight" |
| 00:19:39 |
WBD and Dixieland perform an instrumental
selection |
| 00:24:22 |
The next instrumental piece |
| 00:31:31 |
WBD plays "Who's Sorry Now" |
| 00:37:30 |
The band plays their next instrumental
selection |
| 00:45:16 |
WBD and the band perform "Big Butter and Egg
Man" |
| 00:51:57 |
A soloist sings a short song about a con
man |
| 00:53:03 |
An instrumental piece |
| 00:58:51 |
WBD announces Bobby Wright to play a piano solo
[the piano instrumental begins at 59:20] |
| 01:02:50 |
WBD explains the background story behind how "Tin
Roof Blues" was composed. |
| 01:03:32 |
The band and vocalist perform "Tin Roof
Blues" |
| 01:10:23 |
WBD and the band play another instrumental
selection |
| 01:17:55 |
WBD performs "Blue Again" with a cornet
solo |
| 01:21:29 |
The next instrumental piece |
| 01:26:54 |
WBD and the band play their next instrumental
selection |
| 01:32:34 |
Bobby Wright plays a piano piece titled
"Delirium" |
| 01:35:10 |
End |
|
|
Side 2
|
Time
|
Content
|
|
|
| Start |
An unidentified instrumental piece #1 played by
the jazz band. [The audience applauded at the end of
the performance. This is likely the beginning of
part 1 of Side Two, which was performed by Wild Bill
Davison and Frank Chase. ] |
| 00:04:19 |
An unidentified instrumental piece #2 played by
the jazz band. |
| 00:10:56 |
An unidentified instrumental piece #3 played by
the jazz band. |
| 00:11:32 |
An unidentified instrumental piece #4 played by
the jazz band. |
| 00:17:13 |
An unidentified instrumental piece #5 played by
the jazz band. |
| 00:24:12 |
An unidentified instrumental piece #6 played by
the jazz band. |
| 00:29:16 |
An unidentified instrumental piece #7 played by
the jazz band. |
| 00:35:17 |
An unidentified instrumental piece #8 played by
the jazz band. [The white noise in the recording
increased from this point on, suggesting that this
is a different tape. It is likely the start of part
B of side 2, which was performed by Wild Bill
Davison, George Brunis, and others.] |
| 00:39:55 |
An unidentified instrumental piece #9 played by
the jazz band. [Some chatting noise in the
background.] |
| 00:47:25 |
An unidentified instrumental piece #10 played by
the jazz band. |
| 00:53:17 |
An unidentified instrumental piece #11 played by
the jazz band. |
| 00:56:52 |
An unidentified instrumental piece #12 played by
the jazz band. |
| 01:00:30 |
An unidentified instrumental piece #13 played by
the jazz band. |
| 01:04:08 |
An unidentified instrumental piece #14 played by
the jazz band. |
| 01:07:35 |
An unidentified instrumental piece #15 played by
the jazz band. |
| 01:11:21 |
An unidentified instrumental piece #16 played by
the jazz band. |
| 01:14:25 |
An unidentified instrumental piece #17 played by
the jazz band. |
| 01:16:43 |
An unidentified instrumental piece #18 played by
the jazz band. |
| 01:17:51 |
The above piece ends abruptly. |
| 01:18:05 |
An unidentified man announces the piece "Jazz in
Storyville with Wild Bill Davison, At the Jazz Band
Ball." |
| 01:22:38 |
An unidentified man announces the piece "Wild
Bill Davison and Memphis Blues." |
| 01:27:52 |
An unidentified man announces "Wild Bill Davison
plays 'Exactly Like You.'" |
| 01:33:08 |
An unidentified man announces "And it is George
Wein on piano, Johnny Vine on drums, John Field on
bass, Eddie Hubble on trombone, and Frank Chase on
clarinet. And it is A Blues." |
| 01:33:58 |
The above song ends abruptly. |
| 01:37:27 |
End |
|
|
|
|
Item-ID: AFC 2011/053: SR288 |
Roosevelt Charles -
Herman Johnson, undated
|
|
Rack number: RXH 4174 |
|
Extent: 1 sound tape reel (Side
1: 00:32:30, Side 2: 00:32:23) : analog, 7 1/2 ips, mono ; 7
in. |
|
Collector's original ID number: 243.
Vendor's digitization note: The programs are distorted at times. |
|
Side 1
|
Time
|
Content
|
|
|
| Start |
"It's Getting Late in the Evening" |
| 00:03:49 |
"I just Keep On Wanting You" |
| 00:07:04 |
Interview fragment. An unidentified musician
mentions his process of composing. |
| 00:08:31 |
"You Don't Know My Mind" |
| 00:12:30 |
"Motherless Children" |
| 00:16:45 |
"Depression in '61" |
| 00:21:39 |
"I'm Growing Older" |
| 00:26:58 |
"The Bachelor's Blues" |
| 00:32:30 |
End |
|
|
Side 2
|
Time
|
Content
|
|
|
| Start |
"C.C. Rider" |
| 00:03:44 |
"Po' Boy" |
| 00:07:11 |
"She's A-Looking for Me" |
| 00:10:48 |
"Where The Mansion's Prepared For Me" |
| 00:13:26 |
"Piano Blues" |
| 00:17:13 |
"Since Jesus Came Into My Heart" |
| 00:20:47 |
"Mule Blues" |
| 00:25:52 |
An unidentified blues song. Lyrics: "oh boss man
ain't no way to treat me" |
| 00:29:08 |
"It's Getting Late in the Evening" |
| 00:32:23 |
End |
|
|
|
|
Item-ID: AFC 2011/053: SR289 |
Roosevelt Charles -
Otis Webster, undated
|
|
Rack number: RXH 4175 |
|
Extent: 1 sound tape reel (Side:
00:31:52, Side 2: 00:31:54) : analog, 7 1/2 ips, mono ; 7
in. |
|
Collector's original ID number: 242.
Vendor's digitization note: The programs are distorted at times, in
addition to crosstalk on the tape. |
|
Side 1
|
Time
|
Content
|
|
|
| Start |
"If The Lord Wants Somebody" |
| 00:04:08 |
"While I'm on The Christian Journey" |
| 00:06:37 |
"Jesus Is A Rock" |
| 00:08:25 |
"You Better Get Your Ticket" [restart] |
| 00:11:35 |
An unidentified blues song. Lyrics: "Sometimes I
feel like a motherless child, sometimes I feel like
I am almost gone, sometimes I feel the dead sins has
overcome me, then I remember I know Jesus" |
| 00:15:15 |
"Uncle Bird" |
| 00:17:30 |
"How Long Blues" |
| 00:22:10 |
An unidentified blues song. Lyrics: "A bottle of
wine...I got drunk and I shake them all off" |
| 00:24:04 |
"Train Blues" |
| 00:27:58 |
"Shake, Shake Mattie" |
| 00:30:00 |
Interview fragments of an unidentified musician
who mentions that he picks up the music from his
dad. |
| 00:30:22 |
An unidentified blues song. Lyrics: "Baby I
should let go, I can't go by myself"
[incomplete] |
| 00:31:52 |
End |
|
|
Side 2
|
Time
|
Content
|
|
|
| Start |
"Wasn't I lucky when I Got my Time" |
| 00:03:58 |
"Stewball" |
| 00:08:18 |
"Cane Chopping Song" |
| 00:11:56 |
"Hurricane Audrey Blues" |
| 00:14:59 |
"Trouble Following Blues" |
| 00:19:24 |
"It's Getting Late In the Evening" |
| 00:23:00 |
Mule Blues |
| 00:28:14 |
"If The Lord Wants Somebody" (song ends
abruptly) |
| 00:31:54 |
End |
|
|
|
|
Item-ID: AFC 2011/053: SR245 |
Chicago Beau, July 8, 1977
|
|
Rack number: RXH 4127 |
|
Extent: 1 sound tape reel
(backcoated polyester, 00:11:18) : analog, 15 ips, half track,
stereo ; 7 in. |
|
Collector's original ID number: 138.
Archivist's note: The name Chicago Beau was spelled "Chicago Bo" on
the tape box. Recorded at The Raven and The Rose, Sierra Madre,
California. Pete Welding was the recordist. Collector's original
number: 138. See the archivist's notes for SR777.
LC engineer's note: The tape was extremely sticky, with shed starting
at 00:10:04, and started flaking off such large amounts of oxide
during transfer that the tape had to be stopped and could not be
transferred to the end. |
|
|
Time
|
Content
|
|
|
| Start |
"Broke and Hungry" |
| 00:02:58 |
"One Way Out" |
| 00:06:46 |
"Old Horse-Young Horse" |
| 00:11:18 |
End |
|
|
|
|
Item-ID: AFC 2011/053: SR777 |
Chicago Beau and
Blues With A Feeling, recorded at the Raven and Rose, July 8, 1977
|
|
Rack number: RAA 59315 |
|
Extent: 1 sound tape reel :
analog, 2 track ; 10 in. |
|
Archivist's note: The tape box for SR777 lists one more song than the
tape box for SR245. It is unclear which tape is a copy and which is
original. Johnny Turner's band was called Blues With a Feeling. The
Raven and The Rose was a club was located in Sierra Madre,
California. Collector's original ID number: 26. See the archivist's
note for SR245. |
|
|
|
Item-ID: AFC 2011/053: SR164 |
Buck Clayton
All-Stars; Harry Edison; Mel Powell All-Stars; Mel Powell Septet;
B.G. Sextet; B.G. Sextet with Mel Powell, circa 1942-1959
|
|
Rack number: RXH 4047 |
|
Extent: 1 sound tape reel
(backcoated polyester; Side 1: 01:36:30, Side 2: 01:30:00) : analog,
3 3/4 ips, quarter track, stereo ; 7 in. |
|
Archivist's note: Song numbers assigned by the archivist.
Logger's note: Dub recordings of commercial releases, except for
outtakes from the B.G. Sextet session (circa 1942), and the
breakdown with the B.G. Sextet and Mel Powell. |
|
Side 1
Selections 1 through 5 are from Songs for Swingers - Buck Clayton With His All-Stars (Columbia CL 1320;
1959).
Selections 6 through 8 are from Duke Ellington and the Buck Clayton All-Stars at Newport (Columbia CL 933; 1956). Buck Clayton's group performs
these selections.
Selections 9 through 14 are from Henry Edison Swings Buck Clayton (and Vice Versa) (Verve 8293; 1958).
|
Time
|
Content
|
|
|
| Start |
1. "Swingin' Along on Broadway" |
| 00:07:08 |
2. "Night Train" |
| 00:14:26 |
3. "Mean To Me" |
| 00:20:53 |
4. "Buckini" |
| 00:26:25 |
5. "Moonglow" |
| 00:33:40 |
6. "You Can Depend on Me" |
| 00:41:54 |
7. "Newport Jump" |
| 00:48:01 |
8. "In a Mellotone" |
| 00:56:27 |
9. "Memories for the Count" |
| 01:05:32 |
10. "Come With Me" |
| 01:11:34 |
11. "Critic's Delight" |
| 01:18:36 |
12. "Oh, How I Hate to Get Up in the
Afternoon" |
| 01:27:59 |
13. "It All Depends on You/Charmaine/How Long Has
This Been Going On" |
| 01:34:35 |
14. "Makin' Whoopee" |
| 01:36:30 |
End |
|
|
Side 2
Selections 1 through 4 are from Jam Session at Carnegie Hall - Mel Powell's All-Stars (Columbia CL 557; 1956).
Selections 5 through 9 are from Mel Powell Septet (Vanguard 8004; 1953).
Selections 11 through 13 are Benny Goodman outtakes, possibly circa
1942. Musicians: Benny Goodman (clarinet), Mel Powell (piano), Lou
McGarity (trombone), Sid Weiss (bass); possibly Morey Feld
(drums).
|
Time
|
Content
|
|
|
| Start |
1. "I Found a New Baby" |
| 00:17:00 |
2. "When Day is Done" |
| 00:19:20 |
3. "Lighthouse Blues" |
| 00:34:01 |
4. "After You've Gone" |
| 00:48:04 |
5. "'S Wonderful" |
| 00:52:72 |
6. "It's Been So Long" |
| 00:56:19 |
7. "I Must Have That Man" |
| 01:03:32 |
8. "You're Lucky to Me" |
| 01:08:36 |
9. "Sonatina for Piano" |
| 01:20:05 |
10. unidentified song - Benny Goodman, et
al |
| 01:22:56 |
11. unidentified song - Benny Goodman, et
al |
| 01:25:41 |
12. unidentified song - Benny Goodman, et
al |
| 01:29:45 |
End |
|
|
|
|
Item-ID: AFC 2011/053: SR525 |
Buck Clayton
recordings, 1954-1956 , 1959
|
|
Rack number: RXH 5387 |
|
Extent: 1 sound tape reel :
analog (Side 1: 01:35:03, Side 2: 01:36:40) ; 3 3/4 ips, stereo ; 7
in. |
|
Archivist's note: Due to a labeling issue, the digital file
designated "Side 1" is for tape Side 2, and the digital file
designated "Side 2" is for tape Side 1.
Vendor's digitization note: There is crosstalk on the tape. Side 2
has break-up on the tape at the tail; in addition, the program is
distorted at times. There is print-through on the tape. |
|
Side 1 (Side 2 on the source tape)
|
Time
|
Content
|
|
|
| Start |
"Undecided" [continues from the Newman solo;
probably Joe Newman] - Buck Clayton (from Buck Clayton Jams Benny Goodman (Columbia CL 614; 1955) |
| 00:04:49 |
"Rock-A-Bye Basie" - Buck Clayton (from Jumpin' At The Woodside: A Buck Clayton Jam Session (Columbia CL 701; 1955) |
| 00:13:12 |
"Jumpin' At The Woodside" - Buck Clayton (from Jumpin' At The Woodside: A Buck Clayton Jam Session (Columbia CL 701; 1955) |
| 00:24:07 |
"Blue And Sentimental" - Buck Clayton (from Jumpin' At The Woodside: A Buck Clayton Jam Session (Columbia CL 701; 1955) |
| 00:30:51 |
"Broadway" - Buck Clayton (from Jumpin' At The Woodside: A Buck Clayton Jam Session (Columbia CL 701; 1955) |
| 00:40:36 |
"All The Cats Join In" - Buck Clayton (from All The Cats Join In: A Buck Clayton Jam Session (Columbia CL 882; 1956) |
| 00:48:05 |
"Out Of Nowhere" - Buck Clayton (from Jumpin' At The Woodside: A Buck Clayton Jam Session (Columbia CL 701; 1955) |
| 00:55:22 |
"Don't You Miss Your Baby" - Buck Clayton (from Jumpin' At The Woodside: A Buck Clayton Jam Session (Columbia CL 701; 1955) |
| 01:02:10 |
"Lean Baby" - Buck Clayton (from Jumpin' At The Woodside: A Buck Clayton Jam Session (Columbia CL 701; 1955) |
| 01:10:45 |
"Blue Lou" - Buck Clayton (from Jumpin' At The Woodside: A Buck Clayton Jam Session (Columbia CL 701; 1955) |
| 01:21:09 |
"Swinging At The Copper Rail" - Buck Clayton
(from Songs For Swingers - Buck Clayton with his All-Stars (Columbia
CL 1320; 1959) |
| 01:24:43 |
"Outer Drive" - Buck Clayton (from Songs For Swingers - Buck Clayton with his All-Stars (Columbia
CL 1320; 1959) |
| 01:35:03 |
End |
|
|
Side 2 (Side 1 on the source tape)
|
Time
|
Content
|
|
|
| Start |
"How Hi The Fi" - Buck Clayton, featuring Woody
Herman (from How Hi The Fi (Columbia CL 567; 1954) |
| 00:14:17 |
"Blue Moon" - Buck Clayton, featuring Woody
Herman (from How Hi The Fi (Columbia CL 567; 1954) |
| 00:28:43 |
"Sentimental Journey" - Buck Clayton, featuring
Woody Herman (from How Hi The Fi (Columbia CL 567; 1954) |
| 00:42:49 |
"Moten Swing" - Buck Clayton, featuring Woody
Herman (from How Hi The Fi (Columbia CL 567; 1954) |
| 00:55:45 |
"Christopher Columbus" - Buck Clayton (from Buck Clayton Jams Benny Goodman (Columbia CL 614; 1955) |
| 01:21:51 |
"Don't Be That Way" - Buck Clayton (from Buck Clayton Jams Benny Goodman (Columbia CL 614; 1955) |
| 01:31:36 |
"Undecided" [incomplete; cut off at the end] -
Buck Clayton (from Buck Clayton Jams Benny Goodman (Columbia CL 614; 1955) |
| 01:36:40 |
End |
|
|
|
|
Item-ID: AFC 2011/053: SR518 |
Cozy Cole All-Stars
/ G.A. 334 - A, 1956 , June 15, 1977
|
|
Rack number: RXH 5380 |
|
Extent: 1 sound tape reel
(00:23:27) : analog, 7 1/2 ips, mono ; 7 in. |
|
Vendor's digitization note: The program is distorted at times; there
is also a warble during the program, and speed fluctuation issues
throughout.
Logger's note: Rex Steward, trumpet; Tyree Glenn, trombone; Coleman
Hawkins, tenor saxophone; Claude Hopkins, piano; Billy Bauer,
guitar; Arvell Shaw, bass; Cozy Cole, drums. Recorded in New York
City.(from the tape box).
Archivist's note: The album was originally released in 1956; the 1977
date may be work on a reissue. |
|
|
Time
|
Content
|
|
|
| Start |
"Caravan" |
| 00:04:30 |
"Sweethearts On Parade" |
| 00:08:28 |
"My Blue Heaven" |
| 00:11:38 |
"Organ Grinder's Swing" |
| 00:14:54 |
"Honeysuckle Rose" |
| 00:18:38 |
"Perdido" |
| 00:23:27 |
End |
|
|
|
|
Item-ID: AFC 2011/053: SR060 |
Mrs. Ella V.
Coleman, reel #1, June 21, 1961
|
|
Rack number: RXH 3199 |
|
Extent: on one side of 1 sound
tape reel (acetate; 00:34:00) : analog, 7 1/2 ips, full track, mono
; 7 in. |
|
Archivist's note: Unedited tape - comments, et al. Focus on
Philadelphia folk music. The Whisperettes of Joy performed on
several tracks. Coleman accompanies herself on ukelele. Collector's
original number: 161.
Logger's note: Gospel songs performed by Mrs. Ella V. Coleman (EVC).
She sings some songs alone and some with back-up singers. On SR061
we learn that these songs were recorded live by Pete Welding. |
|
|
Time
|
Content
|
|
|
| Start |
This is the way I think when there's trouble in
my home [first line], EVC, ukulele |
| 00:02:26 |
"I said I was gonna tell nobody, but I couldn't
keep it to myself" [first line] - EVC, back-up
singers, guitar |
| 00:05:29 |
"Have you heard about Joshua in the battle of
Jericho?" [first line] - EVC, back-up singers,
guitar |
| 00:07:33 |
"You don't know like I know what's it done for
me" [first line] - EVC, back-up singers, guitar
|
| 00:10:12 |
"I dreamed I went to a city" [first line] - EVC,
back-up singers, guitar |
| 00:13:35 |
"In the land there stands a city" [first line] -
EVC, ukulele |
| 00:16:05 |
"Little black train is coming, coming around the
track" [first line] - EVC, back-up singers,
guitar |
| 00:18:18 |
"It's me, it's me, it's me, it's me Oh Lord
standing in need of prayer" [first line] - EVC,
back-up singers, guitar |
| 00:21:08 |
"Come and go with me till my father comes" [first
line] - EVC, ukulele |
| 00:23:46 |
"Come and go with me to my father's house" [first
line] - EVC, back-up singers, guitar |
| 00:26:04 |
"I may be somewhere sleeping" [first line] - EVC,
ukulele |
| 00:28:47 |
"Holy, holy, holy, holy somebody said to me"
[first line] - EVC, back-up singers, guitar |
| 00:30:54 |
"Come back here Lord, come back here" [first
line] - EVC, back-up singers, guitar |
| 00:34:00 |
End |
|
|
|
|
Item-ID: AFC 2011/053: SR061 |
Mrs. Ella V.
Coleman, reel #2, June 22, 1961
|
|
Rack number: RXH 3200 |
|
Extent: on one side of 1 sound
tape reel (acetate; 00:30:00) : analog, 7 1/2 ips, full track, mono
; 7 in. |
|
See the notes for SR060. |
|
|
Time
|
Content
|
|
|
| Start |
PW and EVC talking. |
| 00:00:40 |
"Soldiers of the Cross" - EVC, ukulele |
| 00:02:40 |
PW and EVC talking about songs she sang last
night. |
| 00:04:08 |
"I Like the Old Time Way" - EVC, ukulele |
| 00:06:10 |
PW and EVC talk about songs. |
| 00:09:05 |
"I'll Be There" - EVC, ukulele |
| 00:11:43 |
PW and EVC talk about songs. They set up for EVC
and the backup singers. |
| 00:14:00 |
"Couldn't Keep It to Myself" [?] - EVC, backup,
guitar |
| 00:16:43 |
PW, EVC and the backup singers talk about the
songs they did last night. |
| 00:18:56 |
[the first line is unintelligible] EVC, backup,
guitar |
| 00:21:27 |
PW, EVC and the backup singers talk. |
| 00:22:39 |
"I have heard the Savior say" [first line] - EVC,
backup singers, guitar [take one] |
| 00:23:15 |
"I have heard the Savior say" [first line] - EVC,
backup singers, guitar [take two] |
| 00:24:32 |
song stops, talking, guitar riffs |
| 00:27:00 |
"Motherless Child" - EVC, backup singers, guitar
|
| 00:30:00 |
End |
|
|
|
|
Item-ID: AFC 2011/053: SR092 |
Albert Collins
interview #1, March
26, 1969
|
|
Rack number: RXH 3230 |
|
Extent: on one side of 1 sound
tape reel (polyester; 01:04:24) : analog, 3 3/4 ips, half track,
mono ; 7 in. |
|
Archivist's note: Interview location: Palo Alto, California.
Continued on SR218. |
|
|
Time
|
Content
|
|
|
| Start |
PW asks AC a number of "obvious questions." AC
says he was born in Leona, Texas, about 125 miles
from Houston, on October 1, 1932. In about 1939 his
family moved to Houston. When he was 11 or 12 years
old, he started to get interested in music. He
started to play piano in High School, then switched
to guitar. |
| 00:04:10 |
AC says that, at age 14 or so, he learned to play
guitar from his cousin. Willow (?) Young. When he
was about 16 years old, he started to play with
bands in clubs. He also learned from T-Bone Walker
and several other musicians. |
| 00:06:28 |
His first guitar was a home-made from a cigar
box. Later he was given a home-made guitar that he
did work for. This guitar was made from an oak tree.
He started playing in clubs on the weekends. |
| 00:08:27 |
PW asks if AC had a "church background." He
answers that his mother was deeply religious so was
not pleased that he was playing blues. He talks
about when he really could play guitar at a
professional level. |
| 00:10:52 |
AC talks about the music he played in the clubs
when he was 16 years old. He says he played a lot of
Lightning Hopkins's music. They talk about Lightnin'
Hopkins records. They discuss the blues style
differences between Lightning Hopkins and T-Bone
Walker, and how AC was influenced by them. |
| 00:14:20 |
They talk about AC playing in a tavern for about
a year. AC added a bass player to the band. AC
started playing electric guitar. |
| 00:16:20 |
PW asks about the music scene in Houston in the
late 1940s. AC responds. He says that he was also
listening to records. |
| 00:17:40 |
PW asks if there were other bands around at that
time which were stating to record. AC replies. He
says he added horns to the band, it was now 7
pieces. He cut his first record around this
time. |
| 00:20:40 |
PW asks about changes to the music in 1950 so. AC
says that he did not hear any of the Chicago
musicians. They talk about Texas bands. |
| 00:24:18 |
They talk about when AC added horns to his band.
They talk about the bands and musicians AC heard and
those that he did not hear. |
| 00:26:24 |
PW asks about the style AC was playing. AC
answers and talks about developing his own style.
|
| 00:27:36 |
They talk about AC returning to Houston in 1954.
AC had day jobs. He played music nights and
weekends. He managed to keep his band together
during this time. |
| 00:29:18 |
They discuss AC cutting a record in 1958. AC
talks, in detail, about the musicians on the
record. |
| 00:34:05 |
PW asks if there was any immediate results from
the recording. AC answers that he got more bookings,
but kept his day job for about 6 more months. He
says he cut another record in 1960. |
| 00:37:00 |
PW asks what AC thinks is the most difficult
things about living the life of a musician. AC
answers. The talk about there being a continuing
interest n the blues. |
| 00:38:50 |
PW asks about the differences between modern
blues and older blues. AC answers. They talk about
blues guitar styles. They segue into discussing
church music, soul music, and modern jazz. |
| 00:44:45 |
They discuss guitar tunings. AC demonstrates on a
guitar. |
| 00:48:47 |
PW asks where AC learned the tune he was playing
(to demonstrate guitar tunings). AC replies. The
continue discussing guitar tunings. |
| 00:51:20 |
PW asks why AC has stuck to the blues since the
mid-1940s. AC answers. PW asks about the (musical)
differences between the blues and rock-and-roll. AC
answers. |
| 00:53:56 |
PW asks which blues musicians have been the most
influential on AC. He responds. They talk about B.B.
King. The talk about "working a crowd." |
| 00:57:29 |
PW asks how AC feels about performing. AC
answers. They talk about getting the band together
(musically). They talk about musical arrangements.
|
| 01:00:22 |
They talk about AC's most recent album. AC talks
about the musicians on the album. |
| 01:04:24 |
End |
|
|
|
|
Item-ID: AFC 2011/053: SR218 |
Albert Collins
interview #2, March
26, 1969
|
|
Rack number: RXH 4101 |
|
Extent: 1 sound tape reel
(acetate, 00:06:15) : analog, 3 3/4 ips, full track, mono ; 7
in. |
|
Continued from SR092. |
|
|
Time
|
Content
|
|
|
| Start |
PW and AK discuss the resurgence of blues |
| 00:02:22 |
PW and AK talk about how AK just plays the blues,
not other genres |
| 00:02:55 |
PW and AK talk about how the sounds of blues have
gotten louder and bigger. AK discusses how he's been
influenced by this. |
| 00:05:30 |
PW and AK talk about the guitar and amplifier AK
uses |
| 00:06:12 |
End |
|
|
|
|
Item-ID: AFC 2011/053: SR044 |
Judy Collins
interview, July 8,
1962
|
|
Rack number: RXH 3183 |
|
Extent: 1 sound tape reel (Side
1: 00:32:20, Side 2: 00:36:09) : analog, 3 3/4 ips, half track, mono
; 7 in. |
|
LC engineer's note: In-depth interview with Judy Collins, focused on
her 1962 LP, Golden Apples of the Sun. She is interviewed by Pete Welding. |
|
Side 1
|
Time
|
Content
|
|
|
| Start |
PW and JC discuss the song "Golden Apples of the
Sun." She learned it from Will Holt. It is based on
a poem by William Butler Years. The melody is by
Richard Dyer Bennet. |
| 00:05:46 |
They discuss "Bonnie Ship the Diamond" which she
first heard on an album by Ewan MacColl and A.L.
Lloyd. She sings a bit of a whaling song. |
| 00:10:33 |
They discuss "Little Brown Dog." She learned it
from Logan English. It is included in a book by Ruth
Crawford Seeger, "Animal Songs." |
| 00:14:12 |
They discuss "Twelve Gates to the City." JCV in
not sure where she learned it, she's heard so many
people perform it. She once played it on to of the
Arch in Washington Square Park, New York City, for a
television program. |
| 00:17:15 |
They discuss "Christ Child Lullaby." She heard it
on an Isla Cameron recording. They talk about the
dearth of Christmas songs in the Afro-American (the
use the term Negro) tradition. PW talks about some
Alan Lomax recordings Alan Lomax collected and two
books he wrote. PW talks about his interest in
collecting Afro-American music. |
| 00:25:11 |
They discuss "Great Selkie of Shule Skerry." JC
says she got this song from the research of Kenny
Goldstein. She tells the story of the song and its
context. She sings a bit of the song. |
| 00:32:20 |
End |
|
|
Side 2
|
Time
|
Content
|
|
|
| Start |
JC speaks about the significance of the songs on
the album, in terms of human uncertainty and
knowledge. |
| 00:01:23 |
JC talks about the Polish song, "Tell Me Who I'll
Marry." |
| 00:04:30 |
JC talks about the song "Fannerio." |
| 00:06:58 |
JC talks about the song "Crow on the
Cradle." |
| 00:09:31 |
JC talks about the song "Lark in the
Morning." |
| 00:11:50 |
JC talks about the song "Sing
Hallelujah." |
| 00:17:08 |
JC talks about the song "Minstrel Boy" (not on
the album). PW talks about a six-part suite called
"Day in the City," by Don Friedman, based on the
theme of "Minstrel Boy." He gives her his own copy
of the record. |
| 00:21:34 |
JC talks about the song "Shule Aroon." PW looks
through (perhaps) books for references to the song,
while JC speaks. He puts on a record that has a
version of the song, sung by an unidentified
woman. |
| 00:26:20 |
JC talks about urban folk music, and the
five-banjo playing in folk music. |
| 00:28:52 |
JC talks about her music background, and lacking
a particular grounding in any culture, though she
had classical music training. She talks about her
family's Irish and Protestant background. She talks
about her interest in the music of other geographic
regions (Israel, France). |
| 00:33:45 |
JC talks about errors in the transmission of her
own story, and other folk musicians who are not
quite honest about their own background. The
recording cuts off abruptly (end of the
tape). |
| 00:36:09 |
End |
|
|
|
|
Item-ID: AFC 2011/053: SR351 |
Glover Compton,
circa
1950s
|
|
Rack number: RXH 4236 |
|
Extent: 1 sound tape reel (Side
1: 00:08:41) : analog, 7 1/2 ips, mono ; 5 in. |
|
Dubbed copies of commercial recordings, possibly with Compton playing
piano. Collector's original ID number: 208.
Archivist's note: Side 2 has not yet been digitized.
Vendor's digitization note: The program on Side 1 is distorted at
times. |
|
Side 1
|
Time
|
Content
|
|
|
| Start |
"Chirping The Blues" - Alberta Hunter |
| 00:03:13 |
"Gee, It's Good To Hold You" - LaVerta
Holt |
| 00:06:22 |
"I'll Have Me Money By Then" |
| 00:08:41 |
End |
|
|
|
|
Item-ID: AFC 2011/053: SR352 |
Glover Compton,
June 18,
1955
|
|
Rack number: RXH 4237 |
|
Extent: 1 sound tape reel (Side
1: 00:08:19, Side 2: 00:07:40): analog, 7 1/2 ips, mono ; 5
in. |
|
Recorded live. Collector's original ID number: 209.
Vendor's digitization note: The programs are distorted at times.
Logger's note: From the tape box - Cy Friedheim (clarinet), Jim
Sullivan (trombone), Ted Butterman (trombone). |
|
Side 1
|
Time
|
Content
|
|
|
| Start |
"Please Don't Talk About Me When You're Gone"
(Erwin Helfer, piano) |
| 00:06:28 |
"Saints" (Erwin Helfer, piano) |
| 00:08:19 |
End |
|
|
Side 2
|
Time
|
Content
|
|
|
| Start |
"Alabama Jubilee" (Compton only; piano) |
| 00:01:31 |
"Sister Kate" (Erwin Helfer, piano) |
| 00:05:14 |
"Junk Man Rag" (Compton, piano) |
| 00:07:40 |
End |
|
|
|
|
Item-ID: AFC 2011/053: SR166 |
Contraband: first
session, March 22,
1971
|
|
Rack number: RXH 4049 |
|
Extent: 1 sound tape reel
(polyester, 00:36:30) : analog, 7 1/2 ips, half track, stereo ; 7
in. |
|
Archivist's note: Pete Robinson was the pianist for Contraband (the
name of the band), which released one album, in 1971. |
|
|
Time
|
Content
|
|
|
| Start |
Contraband (CB) play their first instrumental
work titled "Interlock" |
| 00:11:42 |
Next instrumental work |
| 00:16:20 |
CB plays their next piece "Crimson
Sunset" |
| 00:18:42 |
Second take of "Crimson Sunset" |
| 00:19:15 |
Third take of "Crimson Sunset" |
| 00:20:18 |
Fourth take of "Crimson Sunset" |
| 00:25:36 |
CB plays a piece by Eddie Harris |
| 00:36:22 |
End |
|
|
|
|
Item-ID: AFC 2011/053: SR816 |
Contraband, March 24, 1971
|
|
Rack number: RAA 59353 |
|
Extent: 1 sound tape reel
(00:52:41) : analog, 7 1/2 ips, half track, stereo ; 10
in. |
|
The archivist supplied the title for this tape.
Vendor's digitization note: The program has hiss and print-through
from the tape. |
|
|
Time
|
Content
|
|
|
| Start |
"Shadow on the Mountain" |
| n/a |
Untitled - improv #1 |
| n/a |
End |
|
|
|
|
Item-ID: AFC 2011/053: SR167 |
Contraband - "The
One Who Knows," April 13, 1971
|
|
Rack number: RXH 4050 |
|
Extent: 1 sound tape reel
(polyester, 00:11:04) : analog, 7 1/2 ips, half track, stereo ; 7
in. |
|
See the note for SR166. |
|
|
Time
|
Content
|
|
|
| Start |
Contraband (CB) plays their first instrumental
piece titled "The One Who Knows" |
| 00:05:47 |
CB plays their second piece called
"Improvisations" |
| 00:08:22 |
The final piece by CB called "Intune" |
| 00:11:01 |
End |
|
|
|
|
Item-ID: AFC 2011/053: SR168 |
Contraband - Pete
Robinson: "The One Who Knows," "Improvisations 1/2/3," "Intune,"
April 15,
1971
|
|
Rack number: RXH 4051 |
|
Extent: 1 sound tape reel
(polyester, 00:28:00) : analog, 7 1/2 ips, half track, stereo ; 7
in. |
|
See the archivist's note for SR166. |
|
|
Time
|
Content
|
|
|
| Start |
Contraband (CB) plays their first instrumental
piece |
| 00:04:55 |
The second piece by CB |
| 00:10:20 |
The next selection |
| 00:15:13 |
CB plays their next instrumental work |
| 00:21:38 |
The next piece by CB |
| 00:25:59 |
The final instrumental work by CB |
| 00:28:00 |
End |
|
|
|
|
Item-ID: AFC 2011/053: SR170 |
Contraband / Pete
Robinson, circa
1971
|
|
Rack number: RXH 4053 |
|
Extent: 1 sound tape reel
(polyester, 00:35:15) : analog, 7 1/2 ips, half track, stereo ; 7
in. |
|
Archivist's note: This may be an unedited master recording for
Contraband's album Time and Space See the archivist's note for SR166.
LC engineer's note: Tone at the head of the tape; levels set to this
tone. |
|
According to accompanying documentation, the titles here may include:
"Shadow on the Mountain," "Crimson Sunset," "Interlock," "Intune,"
and "The One Who Knows" (fourth section).
|
Time
|
Content
|
|
|
| Start |
Contraband (CB) plays their first piece |
| 00:06:01 |
CB plays their next instrumental piece |
| 00:08:00 |
Until 9:05 there is no sound |
| 00:09:06 |
The next instrumental piece |
| 00:09:39 |
Until 11:22 there is no sound except for a piano
playing lasting less than three seconds |
| 00:11:22 |
The next piece |
| 00:16:27 |
CB plays their next song |
| 00:21:51 |
The next instrumental piece |
| 00:23:27 |
The next piece |
| 00:24:43 |
CB plays their next piece |
| 00:26:09 |
The next piece |
| 00:31:12 |
The final instrumental piece |
| 00:34:27 |
End |
|
|
|
|
Item-ID: AFC 2011/053: SR171 |
Contraband side II -
Pete Robinson, circa
1971
|
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