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Airwaves (1979-11)

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- AIRW\VES A Service of Continuing Education and Extension - l5il University of Minnesota, Duluth MARATHON SUCCESSFULI WDTH STAFF DISCUSS REASONS FOR PLEDGING 'O::r 0 r-t- 0 en "MA y I TAKE YOUR PLEDGE? TT O' 0 O' 0 'j 0, Ill ::r t-' $15,000! novembep . zz ;, records. Does anything stand this •••• I never thought any- that's what I did. I went out, I mean, I don't even body would ever do anything I home and studied, And when know what to ask you because ever done. You don't remember I got to where I figured I the list would be too long ·a Blues artist. Whose going could compete with him, he and it might begin to bore to do what I do? They give died, and they chose me to you, I don't know. Is there me this 700 pounds and I was write "The Death of Blind anything that stands out as walkin' around •.•• I didn't Boy Fuller". Interview: far as records or playing know what to do with it, JZ: But that gave you your with people? 'cause it was money that I never even dreamed of making introduction to Sonny and BM: Well, making my first 'cause it was a whole lot of you two •••• record with Pop Foster who's money. 700 pounds in England an old bass player who used at that time, 158, that's a BM: Well, I met Sonny after to be in Duke Ellington's lot of money, man, and they that. Fuller didn't die wth Brownie McGhee band •••. and I did a song come out with the sheet money right away. I drove the car called "Sportin' Life," and up from North Carolina to ·iike •••• and that's what your teeth, you got to stand and these guys sued me. The JZ: You used to sing at I did it because I wanted lawsuit is still pending. Chicago and New York, and I strike rallies and .•.••• the blues was. The blues is in line to pee. But we'd to preserve it because of a used to take him up, but I .double entendre speakin', all eat at the table and we letter I got from my mother. never was in a recording BM: Oh yeah everythin', I talkin' about one thing and shared the money that we And I wrote a song and I JZ: Let me ask you one more studio with him. And Sonny didn't care what it was. I meaning something else. But made and paid the rent and called it "A Letter From My thing, and I ••• If you don't didn't make any records with appreciated doing them. I , now you can come out and whatnot. Leadbelly came Mother", and somehow I didn't want to answer it you don't me behind •• ,first record we didn't ask people what it was tell it like it is. over and saw us one time and like the title. And I re- have to answer it, but I'd ever made was "Workin' Man's about, I'd just do it. said, "You all comin' to corded for a company there like to know exactly what's Blues", and we didn't start ) ' JZ: At that time there were live with me and Baby." He which opened up and I re- going on between Brownie :recording together until we JZ: Really? 'Guz I remember other cats around the scene calls his wife "Baby", corded for them, and I did McGhee and Sonny Terry. moved to New York. But the :readi?lfi that you sang out. who are the Woody Guthries, ,Martha. He says, "You all "Sportin' Life Blues" with thing that's wropg is we against, you know, fascism Pete Seegers, Josh White can come over and live with Pop Foster. It turned out BM: Me an' Sonny's never don't communicate. We never and oppression; and was it Junior's dad, and those kind us. I know you ain't gettin' to be a masterpiece. I've been partners. We've backed could communicate. This is more just the doin' the of people. the right food!" You know, got about 7 artists in Eng- up one another for the last what people don't understand, singin' or was it .•.•.•• pumpernickel bread and eggs land did that. What stands 4o years. It's not much to It's very hard when you're BM: Yeah we were all to- wasn't my bag but I was doin' out is I really thought I talk about. We' re both are an artist. You can't take a BM: Well, I wrote songs to gether. the best I could. He says created the music but it was individuals. He's not in my man out of his bag. Sonny that against the war and you don't have to pay any Duke Ellington's melody. bag and I'm not in his bag, plays what he wants to, and everything else, you know, I JZ: And you were living rent, but you can come over (big luagh) and we've just that •••• We if he don't play what he wants wrote songs. We didn't have with another cat who's a and live with me and when started playin' on the to play, he can't play, see. to write songs, we had songs. guy we play at the radio you make a little. money, give JZ: You haven't got a better streets together after Fuller And I'm the same way too, see. All blues is a protest. station all the time, and it to Baby and she'll cook man you could have stolen a died, A talent scout asked I'm not a ••• I'm not a That's why it's true. People you lived with him. His for us. melody from. could I, would I see if I musician, I'm an entertainer. think blues is •.•••• name was Huddie Ledbetter. could do something for Sonny. It's a hell of a thing to get JZ: Put it in the pot? BM: I got .••• well, the It wasn't me: I'm goin' in a musician. Difference be- JZ: Lookin' at your shirt BM: Oh, yeah I lived with thing about it was, I really another direction now, tween a nusician and an enter- right there man, what does Leadbelly for about 2 years BM: And I enjoyed it. He didn't know it, see I heaM 'cause ..... tainer is the musician plays it say? in N.Y. I met him in Wash- was a real nice man. I it in 1929 during the Depres- behind anybody who gives him ington. He was on the can't say anything about sion. It was called the JZ: You were fillin' in for a sheet, and tell you you're BM: "Blues is Truth" That's same concert as Paul Robe- Lead. He was underestimated "House Rent Party Blues", Blind Boy Fuller, right? wrong. all it is. See what I mean? son. by a lot of people, by peo- but there was no lyrics to But me, I feel what I play In every blues you can find ple that didn't know him. A it but it was a beautiful BM: I wasn't ••• hell no, and play what I feel, and so a touch of resentment; JZ: What did you get or lot of fictitious things tune. It lingered with me cuz he didn't do nothin' but does Sonny. I'm· an entertainer. you're talking about things, what happened during the wrote about him, and that I until 1 43 or somewhere along just blow the harp behind When we'd get off the stage, · how you've been treated ••••• time you lived with Lead- didn't like. If you know a there. I really thought I Fuller. I made records under you go your way and I'd go whiskey, women and money is, belly? man, you won't say things wrote that, man; that was my for my benefit; they called mine, See, I drink and you know, blues is based on. and if you don't know him, song. That was my music and me Blind Boy Fuller No. 2, smoke. I'm a party man, But that's not the only BM: He was absolutely •••. you'll do anything for a I wrote some lyrics to it which my daddy resented. But see. And he doesn't do thing they mean; that's He knew that we were, ••• gimmick. He was really good. called "Sportin' Life", And it wasn't a liability; it that. So I'm not gonna let crutches. We use them as We needed a little more He loved children and he soon as these records come was an asset, But people . my life go down the drain- -. ~,• crutches. Now you can say than we were getting there loved people, but he didn't out of these 5 artists in looked down there and found anything you want to. You 'cause we were living in a take no BULLSHIT from nobody. recorded I got a lawsuit Brownie McGhee in little JZ: I hope you keep on don't have to use them; you loft with all the folk And they talk about him against me. (laughs) I went bitty small letters (laughs~ going. can say THE THING. It's singers they called 'em, bein' .... "It's better to over there and they give me But I lived there because I come out to where you can such as Pete Seeger, and kill than to die." They al- 700 pounds.
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  • GIVING a JAZZ RECORD AS a GIFT by Eric Myers National Times, December 7, 1980 ______

    GIVING a JAZZ RECORD AS a GIFT by Eric Myers National Times, December 7, 1980 ______

    GIVING A JAZZ RECORD AS A GIFT by Eric Myers National Times, December 7, 1980 ______________________________________________________________ The National Times opera critic JOHN CARMODY, Sydney Morning Herald jazz critic ERIC MYERS and rock writer SHANE NICHOLS prepared this guide to records most likely to be gratefully received. They cover a range of tastes and should be available. ______________________________________________________________ f you are buying a jazz record as a gift, you should determine the style preferred. There are so many different, although related, idioms I congregating under the banner of "jazz" that it is rarely possible, these days, to buy a "jazz" album that suits all tastes. Duke Ellington At Fargo 1940 Live (Book Of The Month Records 305622). If the recipient likes big band jazz, you could do no better than the three-record set Duke Ellington At Fargo 1940 Live (Book Of The Month Records 305622). This was a performance at the Crystal Ballroom, Fargo, North Dakota, on 1 November 7, 1940. Many critics believe, with some justice, that this particular line-up of musicians was the greatest that Ellington ever assembled. This was a special performance - the first night Ray Nance played in the trumpet section, having just replaced Cootie Williams, who had left to join Benny Goodman. Rex Stewart is also in the section. The saxophones include Barney Bigard (clarinet), Johnny Hodges (alto) and Ben Webster (tenor) among others; Tricky Sam Nanton and Lawrence Brown are among the trombones; and the great Jimmy Blanton is on bass. It is a distinguished line-up, and the band roars through the Ellington repertoire with all the qualities that made it the greatest big band in jazz.