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Liner Notes, No. 10

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Liner Notes, No. 10 transnationalism, religious music, popular From the Desk music, women in music, music criticism, musical aesthetics, and regional studies. aaamc mission: of the Director The AAAMC is devoted to the col- The series will also promote the publica- lection, preservation, and dissemina- On July 1, 2005, the world lost another tion of biographies and autobiographies of tion of materials for the purpose African American musical legend—Luther African American musicians in an effort to of research and study of African Vandross, who began his professional career document more fully the contributions of American music and culture. in the 1970s as a background singer for individual artists to the development and www.indiana.edu/~aaamc many renowned artists and as a vocalist proliferation of African American music. on commercial jingles. In the 1980s he Two books are currently in production quickly advanced to superstar status as a for the series: New Perspectives on the Blues, No. 10, Fall 2005 soloist and balladeer. Even when hip-hop edited by David Evans; and Black Women and dominated the American soundscape in the Music: More than the Blues, edited by Eileen 1990s, Vandross remained popular among M. Hayes and Linda F. Williams. These are IN THIS ISSUE: the masses, a testimony of the power and scheduled for release in 2006. influence of his songs. A gifted songwriter- Since the mid-1990s, the AAAMC has Letter performer, he is best known for his smooth collaborated with the African American • From the Desk of vocal timbre and passionate delivery of love Arts Institute and the School of Music to the Director .......................... 1 songs, as well as his spectacular live per- "Even when hip-hop sponsor “Extensions of the Tradition,” a formances that featured an array of stage dominated the concert series initiated by former Research In the Vault props. The tropical scenery (inclusive of American soundscape Associate Dr. William Banfield that show- • Donations ............................ 1 palm trees); living room, bedroom, and din- in the 1990s, Vandross cases the works of African American ing room furniture; and the elegant formal remained popular among composers. Our 2006 concert is slated for • Featured Collections ............. 2 gowns worn by his background singers gave the masses, a testimony February 26, 2006, at 4:00 p.m. in the IU Otis-Griffith Videos each song its own personal touch. Vandross of the power and School of Music’s Auer Hall. The program simply was a classic act. Similar to other influence of his songs." will be announced at a later date. A corre- Collaborative Projects musical legends such as Ray Charles, who sponding exhibit is also planned for display • AAAMC Goes Online .......... 2 died in 2004, Vandross’s live performances, in the Cook Music Library. original compositions, and distinctive vocal Over the past year, the staff of the AAAMC style will remain central to the American participated in several publication proj- soundscape through his recordings, vid- ects and professional conferences. Head of eos, radio and television commercials, and Collections Brenda Nelson-Strauss attend- movie soundtracks (see tribute inside). ed the Music Library Association annual As the AAAMC continues to document conference in Vancouver, B.C. (February the contributions of nationally renowned 2005) and the Association for Recorded African American musicians, we also recog- Sound Collections conference (in her nize the need to acknowledge Indiana art- cians who specialized in religious and con- capacity as president of ARSC) in Austin, ists. While some of the musicians from our temporary popular forms. Texas (March 2005). At the spring meet- state have received national and interna- In our ongoing acquisition of materi- ing of the Midwest Archives Conference tional acclaim—such as David Baker, Wes als, the AAAMC targets traditions that held in Chicago in May 2005, she assisted Montgomery, Freddy Hubbard, J. Johnson, are underrepresented in the scholarship on in organizing a session on “Spreading the • Documenting Techno ............. 3 Ketra “Keke” Wyatt, Kenneth “Babyface” African American music. A form in particu- Gospel: Documenting African American Edmonds, After 7, The Jackson 5 (also lar need of further study is electronic dance Religious Music” and presented a paper • Unearthing Indianapolis known as The Jacksons), LaMar Campbell, music. Although the early styles of this during this session on “Arizona Dranes and Funk & Soul ......................... 4 Rodney Bryant, and Al Hobbs—there are music were created primarily by African Early Gospel Music Recordings.” Other many other locally-acclaimed artists that Americans, the role of these pioneers is speakers included Suzanne Flandreau of are not well known outside of Indiana. The rarely acknowledged. The AAAMC is the Center for Black Music Research and goal of the AAAMC is to document the now engaged in developing a collection of John Russick, Curator of the Chicago lives and careers of these unsung legends electronic dance music—including disco, Historical Society. who contributed to the development of a house, and techno—as part of a project continued on page 2. vibrant musical scene in Indiana (including spearheaded by graduate assistant Denise popular, religious, and concert forms of Dalphond, who is currently writing a mas- musical expression) since the 1940s. To this ters thesis on the topic (see story inside). end, the AAAMC has launched an oral his- Beginning in 2006, patrons will be able tory project in partnership with the Indiana to identify the commercial recordings, vid- Historical Society (IHS) that focuses on eos, and books housed in our collection Indianapolis soul and funk musicians. This by searching IUCAT, Indiana University’s project is an extension of our collaboration online library catalog. This initiative is under • Naptown Sound Exhibit ........ 4 with IHS on the exhibition Soul and Funk: the the direction of Brenda Nelson-Strauss, Naptown Sound, which highlights the role of Head of Collections (see inside story). The Indianapolis musicians and their supporters AAAMC is also pleased to announce the Tribute in the production of the local “Naptown” launching of a book series in conjunc- • Luther Vandross sound of the 1960s and 1970s. The exhibit tion with the University of Illinois Press. 1951–2005 ....................... 5 opened on March 12, 2005, and will be on Co-edited by Research Associate Mellonee display through December 31, 2005 (see story Burnim and myself, Black Music in Cultural People inside). As a second phase of this project, the Perspective is designed to generate increased • National Advisory Board AAAMC will also collect the personal nar- attention on such underrepresented topics Portia K. Maultsby Member: Debbie May .... 6-7 ratives of Indiana musi in African American music scholarship as Director In the Vault Recent Kevin “The Moose” Carl Tancredi Donations Anderson Copies of his published articles, inter- Original radio series Lessons in Jazz, a views, and selected record collector Jason Housley mix of hip-hop and jazz combined magazines Soul and R&B 45 rpm records and with original interviews selected periodicals Batesmeyer, Inc. Suzan Jenkins Sony Legacy Press materials, CDs, and video fea- R&B Foundation oral history tapes • Welcome to Compact discs from the Rhythm & turing blues musician and Indiana and CD compilations Soul series native Mighty Mo Rodgers Carol Bennett ....................... 7 Featured Collections the program as “a happy, unpretentious show Oldies But that harks back to the halcyon days of R&B” while a San Francisco Chronicle critic Goodies: exclaimed, “if you would like an instant his- The Otis-Griffith tory of one large segment of popular music, The Johnny Otis Show must be one of the VideosVi greatest blues/R&B/rock & roll shows ever In the 1970s an interesting collaboration put together as one act!” began in Los Angeles between two enter- The Johnny Otis’s Oldies but Goodies musi- tainment industry pioneers: Johnny Otis, the cal revue was a live show in L.A., similar legendary R&B songwriter and bandleader, in nature to the popular television pro- and Bill Griffith, one of the original pro- grams American Bandstand and Soul Train, moters of roller derby and former owner of where popular artists lip-synched to their hit the L.A. Thunderbirds franchise. Otis’s suc- recordings while members of the audience cess as a recording artist and radio deejay led danced along. Otis’s revue featured R&B to an opportunity to host a weekly television artists that had been popular during the variety show for KTTV in L.A., which aired early days of the rock & roll era, hence the for eight years beginning in the mid-1950s “oldies” designation. Griffith taped many as The Johnny Otis Show. Griffith, who at of these performances between 1975 and that time ran an ad agency, assisted by find- 1977, resulting in approximately five hours ing sponsors for the show and a friendship of footage and including nearly 100 hit formed between the two men. By the 1970s songs. Between segments Otis casually chat- Griffith had his own TV truck, primar- ted with guests before introducing their ily used for filming roller derby events, and songs. Of particular interest are numerous offered to shoot some of Otis’s live shows. performances by Etta James, who was origi- The resulting video footage was recently nally discovered by Otis, and who teams up donated to the AAAMC by Otis and Griffith with Richard Berry on her hit song “Roll and consists of two distinct series. With Me Henry.” Other performers include The Johnny Otis Show collection is com- the Penguins, the Coasters, Richard Berry, prised of original video masters for 13 Ted Taylor, Richard Berry, Shirley & Lee, half-hour television programs taped in a Bobby Day, the Medallions, Joe Houston, Los Angeles studio between 1974 and 1975. the Robins, Gene & Eunice, and many Billed as “America’s only rhythm and blues more.
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