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Home , Esther Phillips, Johnny Ace, Johnny Otis, Pee Wee Crayton, The Robins, Willie and the Hand Jive

s o u A Quarterly of the

Volume XVII, Numbers 1/2 JanuarylApril 1998 live "on the air" interviews and performances by The Collection major figures of African-American music and those influenced by this tradition. Musicians such as Joe by Andrew Funke and Peter Knapczyk Liggins, Albert Collins, Eddie Beale, Johnny Shines, , Ruth Brown, , Freddy King, Buddy Guy, , and I find it impossible to separate a discussion ofrhythmarul Frank Zappa talk freely about their lives, their music, bluesfrom thesocialandpolitical factors that bear on the their experiences on the road, and their work with A/rican-Americanpeoplewhoinventedthemusic. other musicians, among many topics. Otis's personal -Johnny Otis relationship with the artists and his easy going manner inspire candid and relaxed conversations. The Johnny Otis Collection consists of radio The live improvised performances are a programs on African-American that unique feature of the show. They allow artists the spans the rhythm and era-an era defined by freedom to create without the restrictions of a back­ new and diverse urban styles of musical expression up band and determined arrangements. The informal created during World War II (1939-1945) and the "jam sessions," which often included Otis's sons two decades that followed. The war years stimulated Shuggie and Nicky with growth in the American economy which resulted in legendary musicians such the migration of almost two million African­ as Pee Wee Crayton, Americans from rural southern areas to urban centers Lowell Fulsom, Joe throughout the . In the city, they found Liggins, Phillip Walker, higher-paying jobs, opportunities for a better life, and Freddie King and Frank a lively club and bar scene. These venues featured Zappa, provide valuable blues, , and former gospel musicians, who joined insight into individual forces to create a new musical tradition known as performance styles, . musician interactions, The Johnny Otis Collection, held jointly by and the creative process. the Archives of African-American Music and Culture Throughout and the Archives of Traditional Music, consists of each show, Otis provides approximately seven hundred reel-to-reel audio listeners with insightful tapes of The Johnny Otis Show. This radio commentarIes, program, broadcast in from the 1970s to anecdotes, and personal the present in its current format, features rhythm and recollections about the Johnny Otis in the blues, blues and jazz recordings, interspersed with music and his career as a successful jazz, blues, and rhythm and blues Otis stated that "there is nothing so unique, I musician, , talent scout, and producer. He suppose, about a white child being raised among also voices his opinions about controversial issues black folk in America. The difference in my case was and engages his audience via "call-ins" in lively that during my pre-teens and adolescence I didn't discussions on current events such as the state of veer off in the white world. As a kid, I decided that affairs related to black music, social and civil rights if our society dictated that one had to be either black issues. The Johnny Otis Show is a milestone in or white, I would be black." African-American musical history. The public has During his childhood, Otis was exposed to the rare opportunity to learn about African­ various African-American musical styles. At an early American music and culture through the accounts of age, he began sneaking into clubs and parties with his the musicians. friends to hear blues and jazz music. He began The Johnny Otis collection is an invaluable playing drums in his school's marching band and later source for anyone interested in African-American moved to the drum set. In ninth grade, Otis was music and culture. Otis's wealth of knowledge on pressured by a school counselor to quit hanging this topic combined with biographical and historical around with his black friends. Instead, Otis decided information given by his guests and the live musical to leave school and pursue his interests in becoming performances, provide first hand accounts of an era a professional musician-a black musician. One of of musical activity that redefined the post-W orId the first experiences that inspired him to become a War IT American musical landscape. This collection professional musician was seeing the Count Basie also provides rare insight into the fascinating and band at the World's Fair in 1939. multifaceted life and career ofJohnny Otis. Despite his strong love of black music, Otis stresses that "I did not become black because I was Early Musical Development attracted to Negro music. My attitude was formed long before I moved into the music field. Nor did I Over the course of his life, Johnny Otis has become a member ofthe Negro community because been a successful songwriter, recording artist, I married a Negro girl. The eventualities were nightclub and record store owner, talent scout, outgrowths of my life among black people. I just , disc jockey, radio and television happened to identify with the culture .. .I like the host, author, visual artist, political activist, minister, texture, the color, the flavor. I like the special Afro­ chicken farmer, and owner/grower for an organic American something that manifests itself in humor, apple juice company. This is just a partial list of his professional activities, which is truly incredible Resound considering that many people spend their entire lives A Quarterly of the working in just one ofthe numerous careers that Otis Archives of Traditional Music has juggled simultaneously. Perhaps the most Jonathan Cargill, Editor significant shaping force of Johnny Otis's life experiences and career as a professional musician We are pleased to accept comments, letters, and submissions. was his early exposure to African-American culture. Please address your correspondence to RESOUND at: Johnny Otis was born in 1921 to Greek Archives of Taditional Music immigrants in Vallejo, California. When Otis was Morrison Hall 117 Indiana University one year old, the family moved to a predominantly Bloomington, IN 47405 black neighborhood in Berkeley, California, where his father opened a grocery store. In this Gloria J. Gibson, Director Mary Russell Bucknum, Associate Director environment, Otis experienced and internalized Marilyn B. Graf, Archivist black culture from early childhood. . During his Suzanne Mudge, Librarian school years, most of his friends were black children ISSN 0749-2472 from the neighborhood, though white children also attended his school. Reflecting on his childhood, 2 food, the way people dress and walk, sing and play." traveling throughout the United States and Canada. Otis landed a gig with his first serious band, Unfortunately, big bands were becoming less popular Count Otis Matthew' s West Oakland House due to a number of social and economic Rockers, in 1940. The big band era was in full stride circumstances and all but the top groups were forced and he quickly gained musical experience from the to disband. In 1948, Otis decided to settle again in thriving scene. In 1941, Otis married his high school and trimmed his band down to eight classmate, Phyllis Walker, an African-American pIeces. woman, and began playing with territory big bands led by musicians such as George Morrison and Lloyd Johnny Otis and the Rhythm and Blues Era Hunter. These territory bands traveled within a region ofthe country, constantly touring around to Paralleling the demise of big jazz bands was the gigs in cities like Reno, Denver, and Omaha. evolution of new African-American forms, which According to were gaInlng Otis, "I was popularity never viewed across the as a white kid. country. One It was style was unheard of. A rhythm and white kid blues, a wouldn't be synthesis of playing with jazz and black bands." blues. These Otis became rhythm and anaromplishro blues bands and respected had a pared drummer down, but during these similar. . years. lINIllInerlI:cn When to the big these territory bands with gigs ended, piano, bass, Otis moved to drums, , Los Angeles. and a few Johnny Otis and his band His reputation horns. The as a drummer landed him several recording sessions repertoire of these groups was vocally based with a with some of the major figures of iazz. He played bluesy musical vocabulary heard in instrumental drums on Lester Young's "After You're Gone," styles and vocal inflections. Los Angeles was one of . "Paper Moon," and "Jammin' with Lester," four sides the central regions for rhythm and blues and Otis with illinois Jacquest including "Flyin' Home," and played an important part in developing the style from four sides with Dexter Gordon. In Los Angeles, Otis its beginnings. Looking back on his role in rhythm also joined Harlan Leonard's house band at the Club and blues, Otis comments, "Through the early 40s Alabam in 1943 and Bardu Ali's band at the Lincoln when I had a big band, our dance hall and nightclub Theater in 1944. audiences, while they enjoyed jazz, really liked boogie Otis formed his first big band when a spot woogie and the blues. It's not polite to blow your opened for a house band at the Club Alabam. This own horn, but as the years go by, I realize that our group secured a spot at the club from 1945-46. After band was early and influential. It was a revolutionary recording their first hit record titled "Harlem kind of band." Nocturne" in 1946, Otis took on the road, In 1948, Otis opened the Barrelhouse Club in 3 Watts with his rhythm and blues combo serving as off lead vocals over the course of the performance. the house band. Otis's band attracted talented Otis, who was performing mainly on the piano and musicians from the West Coast region hoping to vibes, served as the master of ceremonies and band break into professional music. Otis discovered and leader. The Johnny Otis Caravan toured the country nurtured numerous legendary rhythm and blues with its exciting new format and produced a string of musicians in this band such as Little , eight hit records in 1950, seven of which reached the Qater known as ), Mel top ten. The influence of the revue format was felt Walker, , and Pete Lewis. Through across the country and became the standard for working with Otis's band, these musicians rhythm and blues shows in the first half of the 1950s. developed their talents and became successful Although the Johnny Otis Caravan became performers. Along with the success as a band leader one of the most popular rhythm and blues bands and performer, Otis served as a talent scout for throughout the first half ofthe 1950s, finances forced various record companies, discovering artists that Otis into "involuntary retirement" in 1955. Ashort became rhythm and blues superstars such as Etta return to music in the late 1950s produced a number James, , , Little of hits for the band. In 1957, "Ma, He's Making Eyes Willie John, and Hank Ballard. Explaining his unique at Me," became a hit in England. Otis went back into intuition for spotting talent, Otis commented, "I musical retirement in the mid-1960s when the so­ know when I hear it, that's all. I know that I can hear called "British Invasion" and changing tastes turned the raw talent before it develops." Otis also popular interest away from traditional rhythm and displayed his gift for song writing by composing blues. several rhythm and blues hit recordings such as Although Otis frequently came out of "Double Cross Blues," "Every Beat of My Heart," retirement to perform, his musical career was on hold "So Fine," "Wallflower (Dance with me Henry)," throughout much of the 1960s and 1970s. The and "." In addition, he classic rhythm and blues sound that Otis-had produced many major records of this era, including nurtured during its development had fallen out of hits like "Hound Dog" by Big Mama Thornton, and favor with the general audience who preferred soul, "" byJohnny Ace. , and to the classic sounds. During these In 1950, Otis decided to take his band on the years, the demand for the rhythm and blues show that road and created the first traveling rhythm and blues Otis helped to pioneer and popularize simple did not revue called the Johnny Otis Rhythm en' Blues exist in America. However, by the late 1960s, this Caravan Qater known as the Johnny Otis Show). music had attracted new audiences abroad and the This revue featured several star soloists who traded Johnny Otis Show toured Europe, Asia, and Africa in 1970, playing for huge and enthusiastic audiences. In the early 1980s, a growing interest in rhythm and blues music sparked a revival in America. Otis came out of retirement to record an album titled "The New Johnny Otis Show" for Alligator Records in 1981, which was nominated for a Grammy award. Riding on the success ofthis album, TheJohnny Otis Show began touring around the world and became a staple at major blues and jazz festivals. Otis received the honor of being voted into the Rock & Roll Hall of Fame and selected for a Pioneer A ward by the Rhythm & Blues Foundation for his role in the development of these styles. Otis's band recorded several albums in the 1980s and 1990s and is still and Johnny Otis performing and recording today. His latest recording, "R&B Dance Party: Volume 1, " released 4 in 1997 by J &T Records, features a set of traditional Otis's show vehemently opposed Otis's plan to play R&B tunes performed in the classic style. black music and discuss African-American topics. Johnny Otis has continually kept true to his However, the station's program director, Hal vision in whatever medium he has chosen to explore. Scheidler, supported Otis's efforts and secured him His artistic confidence and unwillingness to an hour slot in the evening. In a short period of time, compromise is expressed in his unwavering musical The Johnny Otis Show for radio became very views. Instead of following current trends and fads popular and evolved into a three hour program. during the leaner years, Otis focused his energy away Often working with his friend and assistant, from the musical market, staying true to his beliefs comedian Redd Foxx, Otis broadcasted shows from rather than conforming to commercialization. In drive-in restaurants, record shops and even his own various interviews, Otis always stresses the home. He became one of the most popular rhythm importance of keeping black music alive through and blues deejays in Southern California, competing educating the public about musical styles that have with other leading radio personalities such as Lonnie been overlooked and unappreciated. Over the years, Johnson, Hunter Hancock, and Huggie Boy. he has continually exposed the public to traditional Otis's shows brought the energy and black musical styles during times when few stations excitement of rhythm and blues to a large audience. anywhere played these styles. Otis's unfathomable After Otis left KFOX in 1961, he worked as a deejay artistic talent and dedication to black music, has for KDAY, XERB, and KPPC. In the early 1970s, earned him the right to the nickname the "Godfather Otis left radio, returning again in 1982 when he began hosting The Johnny Otis Show on KPFK in ofR&B." Los Angeles. Otis took his show to KPFK's sister station, KPFA in Sonoma County, CA when he Radio and Television Career moved to the Bay Area in 1991. Although he has yet to return to television on a regular basis, Johnny In 1954, Otis entered into the broadcasting Otis's radio program continues to successfully field where he pursued his musical interest in another preach the gospel of rhythm and blues in an upbeat venue. He deejayed a radio program on rhythm and and lighthearted manner. The Johnny Otis Show blues which, in 1955, he adapted to a weekly remains the highest rated program in its time slot and television program, The Johnny Otis Show. The geographical area. Obviously, his message on the television program, which broadcast on KTTV for importance of retaining and disseminating the classic seven years, was the first live black television show rhythm and blues tradition continues to reach a wide in Los Angeles to showcase established and budding audience. stars of the 1950s such as Ray Charles, Sam Cooke, , Fats Domino, The Moonglows, and Visual Artist and Ministerial Career The Drifters. When the television show ended in 1961, Otis continued to remote broadcast his radio Besides his musical and broadcasting talent, program from various locations. Regardless of the Johnny Otis has expressed his creativity through broadcast medium, the format of the Johnny Otis visual art. While he toured with his band in the early Show has always been similar-a heavy dose of 1950s, he began drawing humorous cartoons that rhythm and blues recordings, interspersed with live parodied the life of professional musicians. He later interviews and performances, and a general wealth of created cartoons with social and political messages information on black music and culture from Otis and became a cartoonist for several Los Angeles area and his guests in the form of personal recollections . newspapers. His interest in art led him to explore and commentary. other media. He has become accomplished with oils, Not surprisingly, Otis's radio and television watercolors, ceramics, wood carving, and sculpture. shows initially drew negative reactions from some Otis began exhibiting his artwork in the late 1980s in whites, including station owners, because of the several art galleries. In 1995, he published a book of African-American content. For example, the white his artwork titled Colors and Chords: The A rt of owner ofthe first radio station (KFOX) to broadcast Johnrry Otis. 5 His initial inspirations were African Art and things other than how to build a pedestal to stand the work of Picasso. However, he developed a taller than someone else, and maybe we should be unique style that draws from the African-American reaching down to help those folks who need help." social and political experience for the subject of Otis became an ordained minister in 1974 much of his work. Many of his images are of life on and four years later he founded the Landmark the road, featuring musicians, bar scenes, and the Community Church in the Los Angeles Sugar Hill various people that surround the life of rhythm and district. The Church quickly became involved in the blues musicians. Reflecting his life's work and community, feeding the homeless, providing vision, Otis's visual art is an expression of his cultural clothing for the needy, and assisting in other needs of identity, his political, social and cultural awareness, the poor. He closed the building in 1985 because of and his love of African-American music. a rapid crime increase in the neighborhood. Despite In the late 1950s, Otis became disenchanted the closing of the church, Otis and many of his WIt h congregation established members black religion continued to when the w 0 r k fundamentalist diligently to feed and care for the homeless of Los Angeles. The y sponsored congregatIon and organized and numerous challenged food drives, them to clothing "leave the drives, "red devil's music beans and alone and rice" charity come back cookoffs, and home." concerts to Afterward, Johnny Otis and his band in the 1970s help the Otis began to needy. Otis study various religious beliefs and philosophies on has expressed his belief that the responsibility of his own, eventually returning to the teachings of local churches, synagogues, and mosques is to help Jesus. His path towards becoming an ordained provide for those in the area who cannot provide for minister was heavily influenced by Dr. Bernice themselves. Smith, the pastor of a small "Temple of Love" non­ In 1977, Otis briefly returned to preaching in denominational church, which Otis attended and the Bay Area, attracting members from many eventually joined in 1972. She was the first to faiths-Christians, Buddhists and Jews-to his non­ seriously suggest to Otis that he should become a denominational church. According to Otis, "what's minister, which he initially resisted, fearing that truly important is the message of love and people might not take him seriously due to his career forgiveness espoused by Jesus," a message that he as a professional musician. Later he relented and feels is applicable to all people of all faiths and accepted the idea of becoming a minister. As Otis beliefs. While responding to his religious calling, recalls, "She told me... we should be dealing with Otis never accepted the view that rhythm and blues

6 was the "music ofthe devil." He has clearly stated his Archives Awarded NEH Grant conviction over the years that one should "make a joyful noise unto the Lord" as instructed by the Bible, by Gloria J. Gibson and he does so through his musical performances. In Otis's opinion, black music is a reflection of all God's The National Endowment for the Humanities gifts to us such as love, joy, or even sexuality. By has awarded a $145,000 grant to the Archives of combining his spirituality with his love for classic Traditional Music. The proposal "The Archives of rhythm and blues, Johnny Otis has touched the lives Traditional Music and New Technology," will fund of many through his sermons about love and the completion of an interactive multi-media brotherhood, African-American music, and the computer-based CD-ROM entitled, "The Straus Expedition: Musical Instruments of West Africa." culture from which it sprang. The prototype was created and tested in conjunction with the Teaching and Learning Technologies Lab at Indiana University. Andrew Funke and Peter Knapczyk are currently The CD-ROM is based on one of the many working with the Johnny Otis collection with Portia expeditions of Laura Boulton. In 1934, the Straus K. Maultsby, Director of the Archives of African family financed Laura Boulton's trip to West Africa. American Music and Culture. While traveling throughout the region she collected audio and visual materials, including 16mm film References footage. Upon her return to the states, she conducted "multimedia" lectures utilizing the materials she had collected. The CD-ROM project Otis, Johnny. Upside Your Head!. Hanover: parallels Boulton's expedition in that the technology University Press of New England, 1993. will allow students to explore and discover -- to "navigate"-- through West Africa thereby gleaning ____. Colorsand Chords: TheA rto/Johnny Otis. an. understanding of the interconnections between : Pomegranate Books, 1995. music and culture. Contemporary examples of instruments from the same region will also be ____. Telephone interview with the authors. incorporated. 2 May 1997. "The Straus Expedition: Musical Instruments of West Africa," is organized around the Sachs­ Hornbostel instrument classification system. Within each group, users may cover areas such as: geographic region and ethnic groups, or specific topics such as instrument construction and playing technique. However, because of the pedagogical flexibility of the CD-ROM, users may elect to organize and classify instruments in other ways. Information can also be accessed by towns, or individual instruments. Embedded within this project are two primary goals, one short range, the other long range. Through the immersion ofstudents into the music of African cultures, the immediate curricular aim is to teach students about instruments and their cultural context. The long term goal allows students to "live-into" different music cultures. The marriage of traditional music and multimedia technology can potentially ignite an enduring desire to appreciate and a continuous appetite to learn about the meaningful and colorful tapestry of numerous cultures throughout the world. 7