s o u A Quarterly of the Volume XVII, Numbers 1/2 JanuarylApril 1998 live "on the air" interviews and performances by The Johnny Otis 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, Pee Wee Crayton, Ruth Brown, Hank Ballard, Freddy King, Buddy Guy, Barbara Morrison, 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 popular music that unique feature of the show. They allow artists the spans the rhythm and blues 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 United States. 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, jazz, and former gospel musicians, who joined insight into individual forces to create a new musical tradition known as performance styles, rhythm and blues. 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 California from the 1970s to anecdotes, and personal the present in its current format, features rhythm and recollections about the Johnny Otis in the 1950s 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, songwriter, 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 record producer, 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 Los Angeles 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, guitar, 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 the band 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.