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Wavelength (November 1984)
University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 11-1984 Wavelength (November 1984) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (November 1984) 49 https://scholarworks.uno.edu/wavelength/49 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. I I ~N0 . 49 n N<MMBER · 1984 ...) ;.~ ·........ , 'I ~- . '· .... ,, . ----' . ~ ~'.J ··~... ..... 1be First Song • t "•·..· ofRock W, Roll • The Singer .: ~~-4 • The Songwriter The Band ,. · ... r tucp c .once,.ts PROUDLY PR·ESENTS ••••••••• • • • • • • • •• • • • • • • • • • • • • • • ••••••••• • • • • • • • •• • • • • • • • • • • • • • •• • • • • • • • • • • • ••••••••••• • •• • • • • • • • ••• •• • • • • • •• •• • •• • • • •• ••• •• • • •• •••• ••• •• ••••••••••• •••••••••••• • • • •••• • ••••••••••••••• • • • • • ••• • •••••••••••••••• •••••• •••••••• •••••• •• ••••••••••••••• •••••••• •••• .• .••••••••••••••••••:·.···············•·····•••·• ·!'··············:·••• •••••••••••• • • • • • • • ...........• • ••••••••••••• .....•••••••••••••••·.········:· • ·.·········· .....·.·········· ..............••••••••••••••••·.·········· ............ '!.·······•.:..• ... :-=~=···· ····:·:·• • •• • •• • • • •• • • • • • •••••• • • • •• • -
Fats Domino, Early Rock 'N' Roller with a Boogie-Woogie Piano, Is Dead at 89
Fats Domino, Early Rock ’n’ Roller With a Boogie-Woogie Piano, Is Dead at 89 https://www.nytimes.com/2017/10/25/obituaries/fats-domino-89-one-of-rock-n-rolls-first-stars-is-dead.html October 25, 2017 By JON PARELES and WILLIAM GRIMES Fats Domino in 1967. Fats Domino, the New Orleans rhythm-and-blues singer whose two-fisted boogie-woogie piano and nonchalant vocals, heard on dozens of hits, made him one of the biggest stars of the early rock ’n’ roll era, died on Tuesday at his home in Harvey, La., across the Mississippi River from New Orleans. He was 89. His death was confirmed by the Jefferson Parish coroner’s office. Mr. Domino had more than three dozen Top 40 pop hits through the 1950s and early ’60s, among them “Blueberry Hill,” “Ain’t It a Shame” (also known as “Ain’t That a Shame,” which is the actual lyric), “I’m Walkin’,” “Blue !1 Monday” and “Walkin’ to New Orleans.” Throughout he displayed both the buoyant spirit of New Orleans, his hometown, and a droll resilience that reached listeners worldwide. He sold 65 million singles in those years, with 23 gold records, making him second only to Elvis Presley as a commercial force. Presley acknowledged Mr. Domino as a predecessor. “A lot of people seem to think I started this business,” Presley told Jet magazine in 1957. “But rock ’n’ roll was here a long time before I came along. Nobody can sing that music like colored people. Let’s face it: I can’t sing it like Fats Domino can. -
Crossing Over: from Black Rhythm Blues to White Rock 'N' Roll
PART2 RHYTHM& BUSINESS:THE POLITICAL ECONOMY OF BLACKMUSIC Crossing Over: From Black Rhythm Blues . Publishers (ASCAP), a “performance rights” organization that recovers royalty pay- to WhiteRock ‘n’ Roll ments for the performance of copyrighted music. Until 1939,ASCAP was a closed BY REEBEEGAROFALO society with a virtual monopoly on all copyrighted music. As proprietor of the com- positions of its members, ASCAP could regulate the use of any selection in its cata- logue. The organization exercised considerable power in the shaping of public taste. Membership in the society was generally skewed toward writers of show tunes and The history of popular music in this country-at least, in the twentieth century-can semi-serious works such as Richard Rodgers and Lorenz Hart, Cole Porter, George be described in terms of a pattern of black innovation and white popularization, Gershwin, Irving Berlin, and George M. Cohan. Of the society’s 170 charter mem- which 1 have referred to elsewhere as “black roots, white fruits.’” The pattern is built bers, six were black: Harry Burleigh, Will Marion Cook, J. Rosamond and James not only on the wellspring of creativity that black artists bring to popular music but Weldon Johnson, Cecil Mack, and Will Tyers.’ While other “literate” black writers also on the systematic exclusion of black personnel from positions of power within and composers (W. C. Handy, Duke Ellington) would be able to gain entrance to the industry and on the artificial separation of black and white audiences. Because of ASCAP, the vast majority of “untutored” black artists were routinely excluded from industry and audience racism, black music has been relegated to a separate and the society and thereby systematically denied the full benefits of copyright protection. -
2012 Festival Brochure
BOARD OF DIRECTORS Jessica Felix ARTISTIC DIRECTOR Gloria Hersch CHAIR Elizabeth Candelario VICE CHAIR Edward Flesch SECRETARY Dennis Abbe TREASURER Rollie Atkinson Randy Coleman Roy Gattinella Loretta Rosas HONORARY BOARD MEMBERS Frank Carrubba Doug Lipton Circe Sher GENERAL COUNSEL James DeMartini PROGRAM NOTES David Rubien NEA Jazz Masters is a program of the DESIGN National Endowment of the Arts in Ranch7 Creative partnership with Arts Midwest. PRINTING Healdsburg Area Fund Barlow Printing Healdsburg Rotary Club Healdsburg Sunrise Rotary Club Kiwanis Club of Healdsburg Tompkins/Imhoff Family Fund Steinway Pianos provided by Sherman Clay, San Francisco FRIDAY 6/1 TUESDAY 6/5 SATURDAY 6/9 Calvin Keys Organ Quartet Azesu: Latin Rhythms, South Master Vocal Class KRUG EVENT CENTER American Folklorico & Jazz with Sheila Jordan 198 Dry Creek Road HEALDSBURG PLAZA HEALDSBURG HIGH SCHOOL (entrance on Grove Street) 6-8PM | Free 1028 Prince Avenue/Band Room 7-9PM | $20 11AM-2PM Vintage Blues on Vinyl Robb Fisher & Matt Clark Duo $50 participants | $25 to audit with David Katznelson HOTEL HEALDSBURG LOBBY Panel Discussion 7:30-11PM BERGAMOT ALLEY with the Roy-al Family 328a Healdsburg Avenue Moderated by Billy Hart 8-11PM | $10 SATURDAY 6/2 RAVEN THEATER Jazz & Wine Tasting: 115 North Street Benny Barth Trio with Randy WEDNESDAY 6/6 2-4PM | Free Jazz Night at the Movies Vincent & Chris Amberger with Mark Cantor Music, Wine & Food SEASONS OF THE VINEYARD RAVEN THEATER Cocktail Hour: Susan Sutton Trio 113 Plaza Street ACROSS FROM RAVEN THEATER -
BEST SELLER "Magic" Albums and Purveyor of Dee17.)2711.T Te5/9-27114--0161 Little Abner on Disks, I Prepping 2 9 2
40 The Billboard R H YTH M AN D BLUES RECO R D B UYING GUIDE October 14, 1950 Kidiskers Readying Flack Competition (Continued fro m page 19) material. Lavish mechanical displays, racks and framed posters have been prepared for major accounts. Rhythm & Blues Records LINCOLN BID 41 -d Lincoln Is making a strong bid in lami as rel.'. remleM Ml Mme Raw H Week Ending Odober 6 trilul J e the 49-cent field with a new 10-inch line of 30 disks, including some Gil- bert and Sullivan material. Twelve BEST-SELLING RETAIL RHYTHM & BLUES RECORDS numbers are also out on 45 r.p.m., Records listed are rhythm and blues records that sold HA in awes «ending le The Billboard's retailing at 59 cents. Illiskery has special weekly winery among • feinned row, el retail storm, de rsdollll ad edOse OnSOOds, THE SIGN OF THE virtually suspended activity on its delve aid blues records 25-cent Bobolink line. • POSITION Weeks I Last I INN ATLANTIC PATTERN datelWeeklWeet Atlantic, producer of several trick 10 1 1. BLUE LIGHT BOOGIE (Parts I /red III L. Jortlas BEST SELLER "magic" albums and purveyor of Dee17.)2711.t te5/9-27114--0161 Little Abner on disks, i prepping 2 9 2. ANYTIME, ANYPLACE, ANYWHERE J. 1Merts M MUS 914 special disk kits with radio scripts, Come tek. OWN, OHM a 2 3. CLUE SHADOWS t Pa m Serloodem 226 which local distribs are asked to place Loa Society Blues with deejays. Old items in the line 2 - Ilhl YOURS TO KEEP H. -
Artist with Title Writer Label Cat Year Genre
Artist With Title Writer Label Cat Year Genre Notes Album Synopsis_c Anonymous Uncle Tom’s Cabin No Label 0 Comedy Anonymous - Uncle Tom’s Cabin, No Label , 78, ???? Anonymous The Secretary No Label 0 Comedy Anonymous - The Secretary, No Label , 78, ???? Anonymous Mr. Speaker No Label 0 Comedy Anonymous - Mr. Speaker, No Label , 78, ???? Anonymous The Deacon No Label 0 Comedy Anonymous - The Deacon, No Label , 78, ???? Anonymous First Swimming Lesson Good-Humor 10 0 Comedy Anonymous - First Swimming Lesson, Good-Humor 10, 78, ???? Anonymous Auto Ride Good-Humor 4 0 Comedy Anonymous - Auto Ride, Good-Humor 4, 78, ???? Anonymous Pioneer XXX, Part 1 No Label 0 Comedy Anonymous - Pioneer XXX, Part 1, No Label , 78, ???? Anonymous Pioneer XXX, Part 2 No Label 0 Comedy Anonymous - Pioneer XXX, Part 2, No Label , 78, ???? Anonymous Instrumental w/ lots of reverb No Label 0 R&B Anonymous - Instrumental w/ lots of reverb, No Label , 78, ???? Coy and Helen Tolbert There’s A Light Guiding Me Chapel Tone 775 0 Gospel with Guitar Coy and Helen Tolbert - There’s A Light Guiding Me, Chapel Tone 775, 78, ???? Coy and Helen Tolbert Old Camp Meeting Days R. E. Winsett Chapel Tone 775 0 Gospel with Guitar Coy and Helen Tolbert - Old Camp Meeting Days (R. E. Winsett), Chapel Tone 775, 78, ???? Donna Lane and Jack Milton Henry Brandon And His Orchestra Love On A Greyhound Bus Blane - Thompson - Stoll Imperial 1001 0 Vocal Donna Lane and Jack Milton - Love On A Greyhound Bus (Blane - Thompson - Stoll), Imperial 1001, 78, ???? G. M. Farley The Works Of The Lord Rural Rhythm 45-EP-551 0 Country G. -
The R&B Pioneers Series
The Great R&B Files (# 11 of 12) Updated March 1, 2019 The R&B Pioneers Series Compiled by Claus Röhnisch Special Supplement: Top 30 Favorites - featuring the Super Legends’ Ultimate CD compilations, their very first albums, * and ± .. plus their most classic singles. Top Rhythm & Blues Records - The Top R&B Hits from 30 classic years of Rhythm & Blues THE Blues Giants of the 1950s THE Top Ten Vocal Groups of the Golden ‘50s Ten Sepia Super Stars of Rock ‘n’ Roll Transitions from Rhythm to Soul – Twelve Original Soul Icons The True R&B Pioneers – Twelve Hit-Makers of the Early Years Predecessors of the Soul Explosion in the 1960s Clyde McPhatter – The Original Soul Star The John Lee Hooker Session Discography The Clown Princes of Rock and Roll: The Coasters Those Hoodlum Friends – The Coasters Page 1 (94) THE R&B PIONEERS Series - Volume Eleven of twelve Compiled by Claus Röhnisch The R&B Pioneers Series: find them all at The Great R&B-files Created by Claus Röhnisch http://www.rhythm-and-blues.info (try the links her on the next page for youtube) Vol 1. Top Rhythm & Blues Records The Top R&B Hits from 30 classic years of Rhythm & Blues Vol 2. The John Lee Hooker Session Discography Complete discography, year-by-year recap, CD-Guide, and more John Lee Hooker – The World’s Greatest Blues Singer Vol 3. The Clown Princes of Rock and Roll Todd Baptista’s great Essay on The Coasters, completed with Singles Discography, Chart Hits, Session Discography, and much more Vol 4. -
Eddie Stout, Dialtone Records, and the Making of a Blues Scene in Austin1
Eddie Stout, Dialtone Records, and the Making of a Blues Scene in Austin1 Josep Pedro 22 The Dynaflows at Rome Inn, 1982. (L-R) Eddie Stout, Stevie Fulton, Stevie Ray Vaughan, and David Murray. Courtesy Eddie Stout. Austin, Texas, native Eddie Stout’s dedication to the preservation and celebration of the blues over the past four decades has earned him tremendous respect and admiration within the local blues community. A performing bass player since 1972, Stout has been active in the global expansion of blues. He also has been a prolific producer of African-American roots music, including blues, gospel, and jazz, with 23 the creation of labels such as Pee Wee Records (1984), Dialtone Records (1999), and Dynaflow Records (2014). Stout has served as an international representative, distributor, and publisher for several companies, such as Justice Records, Independent Artists, Doolittle, New West, Antone’s Records, and Malaco Records. Because of his broad knowledge and experience in the field of blues, he is frequently invited to serve as a panelist and label representative at music conventions throughout the world, as well as a producer and director of forty episodes of the popular television show Songwriters across Texas (2012-2013). The Dynaflows at Rome Inn, 1982. (L-R) Eddie Stout, Stevie Fulton, Stevie Ray Vaughan, and David Murray. Courtesy Eddie Stout. The artists and recordings that Eddie Stout and Dialtone Records promote are rich in spatio-temporal bonds resonating across different historical periods and geographical regions. On -
The Blues / R&B Time-Line
Page 1 (of 4) THE BLUES / R&B TIME-LINE Page 2 (of 4) THE BLUES / R&B TIME-LINE THE BLUES / R&B TIME-LINE created by Claus Röhnisch with some of the most important, and some special extra selected, recordings. – data selected with inspiration from http://www.rhythm-and-blues.info/ (The Great R&B Files) and ”Blues Music History Timeline” website by Schmoop, ”The History of Rhythm and Blues” website by Nick Duckett, ”The History of the Blues” by Francis Davis (1995), ”The Sound of the City” by Charlie Gillett (1984/1996), the Blues Foundation’s ”Blues Hall of Fame”, ”The History of Rock and Roll” website (timeline) by D.K. Peneny, Big Al Pavlow’s ”The R&B Book” (1983), Joel Whitburn’s ”Hot R&B Songs 1942-2010” (2010), plus ”Jazz – the Golden Era” and ”The Golden Age of the Blues” by Havers and Evans (2009). (records listed appr. chronological in year of issue) – imaged Dinah Washington (”Queen of the Blues”) __________________________________________________________________________________________________ 1619 1923 First slaves to American colony in Virginia. The ”import” Bessie Smith ”Down-Hearted Blues” and Ma Rainey ”Bo-Weavil business ends in January 1808 Blues”. Ralph Peer produces his first regional country field recordings in Atlanta, Georgia 1830 First public minstrel show, soon gaining popularity, later with 1924 the ”Jump Jim Crow” song, and the Al Jolson peak in 1927 in George Gershwin’s ”Rhapsody In Blue”. The first male folk the first sound film ”The Jazz Singer” blues records, featuring singers Papa Charlie Jackson and Daddy Stovepipe, are issued 1866 Formation of Fisk Jubilee Singers 1925 Electrical recording technology introduced. -
Historical Vignettes People & Places of Interest to the Birthplace of Boogie Woogie
Historical Vignettes People & Places of Interest to the Birthplace of Boogie Woogie 1. Alexander, Dave “Black Ivory King.” 18. Nancarrow, Conlon. 2. Beck, Jim. 19. Phil Records. 3. Bowden, Richard. 20. Porter, Roy 4. Buddy Records. 21. Presley, Elvis. 5. Cass County Boys. 22. Ritter, Tex. 6. Coker, Henry 23. Roadmaster. 7. Dalhart, Vernon. 24. Sharriff, Omar. 8. Dixon, Floyd. 25. Sims, Frankie Lee. 9. Dove, Nat. 26. Smith, Bob “Wolfman Jack.” 10. Elam, David Alexander. 27. Swanson’s Landing. 11. Elam, Tom and Susie Hill. 28. Tennison, Dr. John. 12. Henley, Don. 29. Texas Tommy. 13. Houston, Lawyer. 30. Walker, Aaron “T-Bone.” 14. Jonesville Store. 31. Walker, George & Hersal. 15. Joplin, Scott. 32. Wiley Collegians. 16. Ledbetter, Huddie “Lead Belly.” 33. Williams, Henry “Notes.” 17. Milburn, Amos. 34. Williams, Otis, Temptations. Alexander, David “Black Ivory King” Sadly, very little is known about David Alexander, who performed under the name “Black Ivory King.” Only four recordings made by Alexander are known to exist. One of them, “The Flying Crow” is a blues classic that celebrates the rail line from Shreveport to Port Arthur, Texas, that Alexander frequently travelled. His birth date is listed as 1910, and it is presumed he was born in the Shreveport or greater Arklatex area, but there is no definite evidence. Huddie “Lead Belly” Ledbetter cited Black Ivory King as a musician who had influenced him when he heard him in Shreveport, possibly as early as 1906. Alexander’s four recordings were made at a session in Dallas, Texas in 1937. The late Omar Sharriff, who was born David Alexander Elam in Shreveport in 1938, reported that his mother, Susy Hill Elam, told him that he had been named after his father’s good friend, David Alexander, who was a Shreveport piano player – clearly Dave “Black Ivory King” Alexander. -
What Is Blues Dancing? Shaped by the African
Blues Dancing and its African American ROOTS WHAT IS BLUES DANCING? “Blues dance” is a new name describing a family of dances done to blues music and created within African American communites. Writng in the 1970s, African American jazz critc Albert Murray was the frst to categorize these dances as “blues-idiom.” Murray’s descripton of reactons to blues music—spontaneity, improvisaton, and control—applies to blues dance as well. SHAPED BY THE AFRICAN AMERICAN EXPERIENCE Despite enslavers’ atempts to eradicate African Americans’ heritage, African roots persist and are evident in blues music and dance characteristcs such as layering rhythms, emphasis on improvisaton, and a call and response format. Lyrics and music express everyday life experiences, ofen refectng themes of hardship, from racism and poverty to personal relatonships. Learning by watching and copying, as well as valuing innovaton and creaton of an individual’s unique personal style within the given aesthetc, is also part of the cultural traditon. Music and movement for African Americans during enslavement was ofen limited to actvites such as Christan prayer meetngs, work chants, and entertainment for plantaton owners. Afer emancipaton, African Americans gradually had more freedom to gather, play music, and dance on their own. Field hands in the South socialized in juke joints, small shacks where beer and liquor were sold, one or two local musicians played, and people danced. In Northern cites during the Great Migraton of the 1920s, middle-class blues and jazz musicians and dancers gathered in small apartments for occasions like rent partes. African Americans danced—and contnue to dance—on front porches and street corners, and in homes, back rooms of restaurants, community centers, and ballrooms. -
DOMINO Born Antoine Domino May 10Th, 1929 New Orleans, Louisiana
Cochran DOM INO Born Antoine Domino May 10th, 1929 New Orleans, Louisiana The New Orleans style of rhythm and blues that Harrison Verrett, taught Fats to play the piano. By Antoine “Fats” Domino grew up playing instantly be age 10, Fats was following in the illustrious footsteps came part of that brand-new thing called rock and of such New Orleans piano greats as Professor Long roll. So, to reach the burgeoning young music audi hair and Amos Milburn, performing for small change ence, Fats never had to break away from what was for in local honky-tonks. At 14, Fats got serious: he him a family tradition. dropped out of school, took a day job at a bedspring Although he was a Fifties star who could sell more factory and spent his nights in the dubs, often playing records than almost anyone but Ellvis Presley, Fats alongside his musical mentors. It was at the Hideaway was more inspirational than insurrectionary. Never Club that bandleader Bill Diamond dubbed him theless, even he couldn’t help generating som e contro “Fats,” for obvious reasons. It was also at the Hide versy. A 1955 dance at the Ritz Ballroom in Bridge away that Fats met trumpeter, bandleader and Impe port, Connecticut, at which Fats was scheduled to rial Records A&R rep Dave Bartholomew. Their first perform, was canceled by police because “rock and session together in 1949 produced “The Fat Man,” roll dances might be featured” — raising the specter of Fats’ first R&B hit: “They call me the Fat Man/Be- riots to the officers of the law.