Pete Welding collection [finding aid]. American Folklife Center ...

Pete Welding collection, 1958-1995

American Folklife Center, Library of CongressWashington, D.C.

2022

Contact information: https://hdl.loc.gov/loc.afc/folklife.contact

Catalog Record: https://lccn.loc.gov/2012655268

Additional search options available at: https://hdl.loc.gov/loc.afc/eadafc.af021010

Prepared by Marcia K. Segal

Finding aid encoded by Marcia K. Segal, April 2022

https://hdl.loc.gov/loc.afc/folklife.contact

https://lccn.loc.gov/2012655268

https://hdl.loc.gov/loc.afc/eadafc.af021010

Collection SummaryTitle: Pete Welding collectionInclusive Dates: 1958-1995Bulk Dates: 1961-1980Call No.: AFC 2011/053Creator: Welding, Pete, collectorExtent (total): approximately 7865 itemsExtent (manuscripts): 5091 items (16.25 linear feet)Extent (sound recordings): 832 sound tape reels ; various sizesExtent (graphic materials): approximately 760 photographic prints and contact sheets : black-and-white ; various sizesExtent (graphic materials): 1066 negatives : black-and-white negatives and copy negativesExtent (graphic materials): approximately 113 slides and negatives: color ; 35 mmExtent (graphic materials): 3 drawingsLanguage: Collection material in English.Location: American Folklife Center, Library of Congress, Washington, D.C.LC Catalog record: https://lccn.loc.gov/2012655268Summary: Collection of over eight hundred sound tape reels, including blues and jazz music and interviews withmusicians; several hundred photographs of prominent blues and jazz musicians, primarily from the 1960s and 1970s;manuscript materials about blues and jazz musicians, arranged by the name of performer; and articles, drafts, and noteswritten by Pete Welding, journalist, record producer, and historian of blues music.

ProvenanceDarlene Welding, purchase; 2011.

Processing HistoryProcessed by Marcia K. Segal. Initial inventory of sound recordings created by Candace Milburn. Sound recording logscreated by (in alphabetical order): Eli Berdinner, Ying-ting "Serena" Chiu, Natalie Christensen, Marshall Howard Kramer,Cole M. Masaitis, Brittney Meadors, and Marcia K. Segal. Rob Cristarella, who digitized selected tapes at LC, also wrotethe engineer's notes.

Related MaterialDarlene Welding, Larry Cohn, and Bruce Bromberg oral history interview (AFC 2010/020)

Bruce Jackson and Diane Christian collection (AFC 2011/009)

Tom Hoskins collection, 1963-1967 (AFC 2011/026)

Copyright StatusDuplication of collection materials may be governed by copyright and other restrictions.

Access and RestrictionsThe Pete Welding collection is open to research. To request materials, please contact the Folklife Reading Room at https://hdl.loc.gov/loc.afc/folklife.contact

Certain restrictions to use or copying of materials may apply.

Pete Welding collection 2







Preferred CitationResearchers wishing to cite this collection should include the following information: [item, date, container number], PeteWelding Collection (AFC 2011/053), American Folklife Center, Library of Congress, Washington, D.C.

Biographical NotePete Welding (1935-1995), an authority on blues and jazz music, worked as a writer and music producer, and was alife-long advocate for traditional blues and avant-garde jazz performers. He wrote regularly for Down Beat magazine, wroteliner notes for albums (including releases by Frank Sinatra, Memphis Slim, Nat King Cole, Ian & Sylvia, and the PaulButterfield Blues Band), and edited books on jazz and blues music. His research for his writings involved interviews ofnotable figures across music genres, including Signifyin' Mary Johnson, John Lee Hooker, Pete Robinson, Howlin' Wolf,Judy Collins, Thomas A. Dorsey, and others. He founded Testament Records in 1963 as a platform for African Americanfolk, blues, and gospel performers, and produced records by Quicksilver Messeger Service, Big Joe Williams, and Jean-LucPonty, to name a few. Twice nominated for a Grammy Award (1973 and 1993), he was posthumously inducted into theBlues Hall of Fame (1996) in the category known (at that time) as Business-Production: Media or Academic. His workscontinue to be widely-cited resources for music researchers.

Scope and ContentCollection of over eight hundred sound tape reels, including blues and jazz music and interviews with musicians; severalhundred photographs of prominent blues and jazz musicians, primarily from the 1960s and 1970s; manuscript materialsabout blues and jazz musicians, arranged by the name of performer; and articles, drafts, and notes written by Pete Welding,journalist, record producer, and historian of blues music.

ArrangementThe Pete Welding collection is organized in 10 series:

• Series 1: Writings about performers• Series 2: Typed drafts of Blues Book and Jazz Book, by Pete Welding• Series 3: Testament Records• Series 4: Articles, reviews, and other writings• Series 5: Publications• Series 6: Materials from sound recording containers, and original containers• Series 7: Oversized materials• Series 8: Sound recordings• Series 9: Photographic materials• Series 10: Sketches

Selected Search TermsThe following terms have been used to index the description of this collection in the LC Catalog. They are grouped byname of person or organization, by subject or location, and by occupation and listed alphabetically.

PeopleCollins, Judy, 1939-House, SonHowlin' Wolf, 1910-1976McCoy, EthelMcCoy, George, -1988McCoy, RubyMuddy Waters, 1915-1983


Welding, PeteWilliams, Big Joe, 1903-1982

OrganizationsBlue Sky BoysContraband (Jazz group)Dolenz, Jones, Boyce & Hart (Musical group)

SubjectsAfrican American musicians.Blues (Music)Blues musicians.Jazz festivals--Illinois--Chicago.Jazz festivals--Japan.Jazz festivals--Switzerland--Montreux.Jazz musicians.

Form/GenreInterviews.Manuscripts.Photographs.Sound recordings.


Description of SeriesContainer Series

Series 1: Writings about performers

Series 2: Typed drafts of Blues Book and Jazz Book, both by Pete Welding

Series 3: Testament RecordsDraft materials, liner notes, and related documentation.

Series 4: Articles, reviews, and other writingsThese writings are by Pete Welding and others, in published and unpublished form.

Subseries 1: Music genres

Subseries 2: Reference and research

Subseries 3: Various writings

Series 5: Publications

Series 6: Materials from sound recording containers, and original containers

Series 7: Oversized materials

Series 8: Sound recordingsDocumentation on the tape boxes was used to create the inventory for this series. This

information was partially transcribed and subsequently edited, including abbreviations thatwere expanded and names that were normalized. Logged recordings are included here, andthe information from them used to correct the inventory. Where possible, the title of thecommercial recordings has been documented. When recordings have been digitized, theengineer's notes take precedence over those on the tape boxes; the archivist has editedthese notes for clarity. Further details about the recordings appear on the tape boxes andaccompanying manuscript materials. Dubbed recordings have been noted as such. Unlessotherwise indicated, interviews were conducted by Pete Welding.

Subseries 1: Artists, bands, interviews, and eventsThe sound recordings are organized in approximate alphabetical order, given the available

information. Works by individual artists are organized by surname and when thereare multiple artists by the first surname. If the sound recording is a compilation it isalphabetized by album or project name. Events are alphabetized by the event name.

Subseries 2: Compilations of dubbed recordingsThese recordings have been organized by music style, record label, or related categories.

Subseries 3: Library of Congress dubs

Subseries 4: Various recordingsRecordings for which there is minimal or no available information, or the content is not

readily organized elsewhere in the sound recording series.


Series 9: Photographic materials

Subseries 1: Black-and-white prints and contact sheets

Subseries 2: Black-and-white negatives

Subseries 3: Color slides and negatives

Series 10: Sketches


Container List

Container Contents


BOX-FOLDER 1/2 Ammons and Johnson, July 1937Transcript of an article by Sharon A. Pease published in Down Beat, July 1937.

BOX-FOLDER 1/3 Billy Boy Arnold, undatedTyped interview transcript.

BOX-FOLDER 1/4 Kokomo Arnold, undatedOriginal pages from a published article.

BOX-FOLDER 1/5 Danny Barker, undated"The Pine-Scented Sovereign State of Miss'sippi," an essay by Danny Barker. Original issue

of For Now, issue #2, pages 25-38.BOX-FOLDER 1/6 Otis Blackwell, February 18, 1971

"In the Beginning There Was O.," by Peter McCabe. Original pages from Rolling Stone.BOX-FOLDER 1/7 Scrapper Blackwell, October 11, 1962

Original newspaper clipping.BOX-FOLDER 1/8 Bobby Bland, undated

Three original magazine clippings.BOX-FOLDER 1/9 Big Bill Broonzy, February 14, 1970

Original clipping from a magazine, plus a copy of the page proofs.BOX-FOLDER 1/10 Elijah Brown, undated

Typed draft of an article, with handwritten edits.BOX-FOLDER 1/11 James Brown, October 31, 1968, March 6, 1971

Two published articles.BOX-FOLDER 1/12 Frank Butler, undated

Typed interview transcript and writings, with handwritten edits.BOX-FOLDERS 1/13-14 Canned Heat, undated

Typed interview transcripts, with handwritten edits, published articles (original pages frompublications), and drafts of a published article.

BOX-FOLDER 1/15 Hoagy Carmichael, undatedTyped draft of an article, with corrections.

BOX-FOLDER 1/16 Leroy Carr, undatedPhotocopy from a magazine.

BOX-FOLDER 1/17 Clifton Chenier, September-October 1975Original clipping from a magazine.

BOX-FOLDER 1/18 June Christy, undatedHandwritten and typed writings, as well as a newspaper clipping and photocopied pages

from various publications.BOX-FOLDER 1/19 Nat King Cole, undated

Photocopied CD liner notes, typed and handwritten notes, photocopied pages frompublications, and typed drafts of writings. Also includes a published copy of Nat "King"Cole: The Capitol Years (which would have accompanied a boxed set of recordings).

BOX-FOLDER 1/20 Albert Collins, undatedTyped draft of an article, and hand-drawn portraits on lined paper. See box-folder 20/1 for

oversized materials.


BOX-FOLDER 1/21 Contraband, undatedPhotocopy of a published review.

BOX-FOLDER 1/22 Elizabeth Cotten, March 1975"Elizabeth Cotten, Folk Guitar Legend," by Jon Monday. Published in Guitar Player, vol. 9,

no. 3.BOX-FOLDER 1/23 David Crittendon and Barbara White, 1978

Handwritten note from David Crittendon to Pete Welding, on yellow legal paper, and typedlyrics by Crittendon and White, and photocopies of the music to which the lyrics wereset.

BOX-FOLDER 1/24 Big Boy Crudup, June 19, 1971; undatedTwo published articles; one original and one photocopied.

BOX-FOLDER 1/25 Teddy Darby, undatedHandwritten note from Ted Darby to Pete Welding, dated April 15, 1965; and a typed

interview transcript with handwritten edits and notes. A photo has been relocated tobox-folder 21/12.

BOX-FOLDER 1/26 Blind Gary Davis, August 1965Original clipping from a magazine.

BOX-FOLDER 2/1 Bo Diddley, undatedPhotocopy of a published article plus a one-page typed song list.

BOX-FOLDER 2/2 Willie Dixon, undatedPhotocopy of a typed letter from Pete Welding to "Bill," typed writings with handwritten

edits, and published writings (original and photocopies).BOX-FOLDER 2/3 Thomas A. Dorsey, undated

Two published writings (one original, one photocopy), and typed sections of a book draft.BOX-FOLDER 2/4 Jack Dupree, January 1960

Photocopy of a published article.BOX-FOLDER 2/5 David "Honeyboy" Edwards, April 26, 1968; undated

Original typed letter, (signed) from Rae Korson to Pete Welding; typed list of recordings ofEdwards by Alan Lomax, and typed draft of an interview with or article about Edwards.

BOX-FOLDER 2/6 Sleep John Estes, 1962-1977Press release from Delmark Records, proof and final copies of a published article, and a

published news article.BOX-FOLDER 2/7 Jesse Fuller, February 1964

Original pages from BMI News.BOX-FOLDER 2/8 Lowell Fulson, 1976-1977; undated

Typed drafts , one with handwritten edits, original pages from a published article, and aphotocopied album review.

BOX-FOLDER 2/9 Jazz Gillum, 1966-1978Photocopied and original articles, and other published materials.

BOX-FOLDER 2/10 John Lee Granderson, 1967; undatedHandwritten and typed items of correspondence from John Lee Granderson to Pete Welding,

and a brief typed autobiography.BOX-FOLDER 2/11 Buddy Guy, 1968; undated

Typed draft of a published article, and two published articles (one original and onephotocopy).

BOX-FOLDER 2/12 Coleman Hawkins, undatedTyped draft of album liner notes, with handwritten edits.

BOX-FOLDER 2/13 John Lee Henley, undatedTyped draft of a "bio-discography," with handwritten edits.


Container Contents


BOX-FOLDER 2/14 Smokey Hogg, undatedTyped drafts of a published article (two copies with handwritten notes), and a selected

discography.BOX-FOLDER 2/15 Earl Hooker, May 9, 1970

Original magazine article.BOX-FOLDER 2/16 John Lee Hooker, 1964-1977

Original copies of published articles, typed drafts of album liner notes and a brief publishedarticle.

BOX-FOLDER 2/17 Sam "Lightnin'" Hopkins, 1959-1961Original copies of published articles, and correspondence from various individuals. A photo

has been relocated to box-folder 21/25.BOX-FOLDER 3/1 Son House; 1964-1971, undated

Empty envelope from John D. Carney (Son House's brother-in-law), original publishedarticles, a promotional flyer, and a typed partial transcript of an interview.

BOX-FOLDER 3/2 Bee Houston, July 1975"Bee Houston," by Eric Kirss. Original pages from Guitar Player, vol. 9, no. 7.

BOX-FOLDER 3/3 Peg Leg Howell, 1963; undatedTyped drafts of writings, including an interview transcript, a handwritten tape log, typed

discographies, handwritten notes, correspondence, and a mock-up of "The Man and HisBlues," by George Mitchell. The mock-up includes two original photos affixed to a page.

BOX-FOLDER 3/4 Howlin' Wolf, 1967-1977; undatedOriginal pages from published articles, one photocopied article, a typed draft of a published

interview, with handwritten edits, and typed drafts of album liner notes.BOX-FOLDER 3/5 Mississippi John Hurt, April-May 1965

Photocopied pages from an interview by Patrick Watson published in code [sic].BOX-FOLDER 3/6 Mahalia Jackson, January 1965; undated

Typed draft of album liner notes, a typed draft of an interview, and original pages from anarticle published in Music Journal.

BOX-FOLDER 3/7 Elmore James, undatedTyped draft of liner notes.

BOX-FOLDER 3/8 Lil' Son Johnson, March 15, 1995; undatedHandwritten notes, photocopies of information published in various sources, discographies,

typed drafts of short biographies, typed minutes from the Blues Task Force meeting(March 15, 1995), and other typed drafts of published writings.

BOX-FOLDER 3/9 Lonnie Johnson, 1939-1982; undatedOriginal clippings from publications, a typed draft of album liner notes, a published offprint,

and a typed copy of part of a published article.BOX-FOLDER 3/10 Pete Johnson, 1967; undated

Original clipping and a page from publications, a typed copy of part of a published article,and a draft of information to accompany a published article. Two photos were relocatedto box-folder 21/36.

BOX-FOLDERS 3/11-13 Robert Johnson, 1969-1991; undatedPublished materials (original and photocopies), correspondence, a copy of Blues World,

no.1, photocopied job sheets, typed drafts of published articles, typed draft of album linernotes, typed lyrics, handwritten notes, and a typed copy of part of an interview with SonHouse (where he discussed Robert Johnson).

BOX-FOLDER 4/1 Curtis Jones, 1964; 1966Original copies of two published articles.

BOX-FOLDER 4/2 Scott Joplin, November 25, 1971"Scott Joplin: Genius Rediscovered," by Martin Williams. Published pages from Down Beat.


Container Contents


BOX-FOLDER 4/3 "K," 1966-1968Items of correspondence.

BOX-FOLDER 4/4 Stan Kenton, undatedHandwritten notes, a typed list of performances, typed drafts of a published article, with

handwritten edits.BOX-FOLDER 4/5 Stan Kenton - "Collectors" CD proposal; 1989-1992, undated

Correspondence, typed drafts, typed discographies, and typed draft of liner notes.BOX-FOLDER 4/6 Albert King, 1976, 1978

Original pages from three published articles.BOX-FOLDERS 4/7-8 B.B. King, 1967-1982

Original pages from published articles, typed drafts (including liner notes with handwrittencorrections), handwritten notes, correspondence, typed cut list for a proposed album, andrelated documents.

BOX-FOLDER 4/9 Freddie King; 1971-1977, undatedOriginal and photocopied pages from published articles.

BOX-FOLDER 4/10 "L," 1966; undatedTyped and handwritten correspondence.

BOX-FOLDER 4/11 Leadbelly; 1966-1970, undatedOriginal and photocopied pages from published articles.

BOX-FOLDER 4/12 Peggy Lee; 1995, undatedCorrespondence, photocopy of a published article, typed session information on index cards,

label copy and notice of copy documents, and related materials.BOX-FOLDER 4/13 Meade Lux Lewis, undated

Typed draft of an article on Lewis, by Sharon A. Pease.BOX-FOLDER 4/14 Mance Lipscomb, 1962-1976

Two typed drafts of an interview, original pages from published articles, and a photocopy ofa newspaper article.

BOX-FOLDER 4/15 Little Walter, 1968, undatedPhotocopied list of Little Walter unreleased recordings for duplication, typed information to

be included in liner notes, a song title list, a typed draft of liner notes, a typed draft ofother notes, and original pages from an article published in Down Beat.

BOX-FOLDER 4/16 Robert Lockwood, Jr., November 1975"Robert Lockwood, Jr.: Master of the Blues," by Mit Schuller. Original pages from an article

published in Guitar Player., vol. 9, no. 11.BOX-FOLDER 5/1 Bill McAdoo, 1961

Saturday Review (complete issue - April 29, 1961), which includes an article by PeteWelding, typed autobiographical notes, and correspondence.

BOX-FOLDER 5/2 Fred McDowell; 1966, undatedTyped draft of interview transcript, with handwritten edits, typed draft of a published article,

and original pages from a published article.BOX-FOLDER 5/3 Brownie McGhee; 1958-1973, undated

Pages from published articles (original and photocopies), and "Sonny Terry and BrownieMcGhee Press Book: 1959-1960 Tour of India" (typed document), by Paul Endicott.

BOX-FOLDER 5/4 Magic Sam, August 7, 1969"West Side Soul: Magic Sam," by Michael Cuscuna. One-page photocopy of article from

Down Beat.BOX-FOLDER 5/5 Taj Mahal; 1971, undated

Original pages from published articles.


Container Contents


BOX-FOLDER 5/6 Carl Martin, undatedTyped discography, typed draft of a published article, and typed transcript of an interview.

BOX-FOLDER 5/7 Frank Melrose, May 1945Jazz Record, no. 32. Includes "Barrelhouse Frank Melrose," by Pete Daley.

BOX-FOLDER 5/8 Memphis Slim, 1960, 1970Pages from published articles (one original, one photocopy).

BOX-FOLDER 5/9 Big Maceo Merriweather, undated"Big Maceo," by Paul Oliver (photocopy of a published article.

BOX-FOLDER 5/10 Elmon Mickle, undatedTyped draft of a paper, with handwritten edits.

BOX-FOLDER 5/11 Amos Milburn, September 1995Typed copy of a published article.

BOX-FOLDER 5/12 Gloria Oden, 1978-1989Reprint of a published interview, correspondence, a photocopy of a published paper, typed

and signed document by Gloria Oden, a photocopy of a published article, and GloriaOden's curriculum vitae.

BOX-FOLDERS 5/13-15 Johnny Otis; 1970-1980, undatedTyped draft of an autobiographical document (photocopy), typed interview transcripts (one

with handwritten edits), pages from published articles (original and photocopies; alsonoting Shuggie Otis), typed draft of "The Johnny Otis Story," with handwritten edits,correspondence, and typed and handwritten drafts of other writings.

BOX-FOLDER 5/16 Art Pepper, undatedPhotocopy of "The Megatape Sessions" song list, and typed drafts of liner notes (with

handwritten edits). See box-folder 20/2 for oversized material.BOX-FOLDER 5/17 Baden Powell, undated

Typed drafts of writings (with handwritten edits).BOX-FOLDER 5/18 Jimmy Raney; 1979, undated

Typed drafts of writings (with handwritten edits), a published death notice, and handwrittennotes.

BOX-FOLDER 6/1 Jimmy Reed, circa 1976-1993Typed draft of "Jimmy Reed notes - new introduction," plus original and photocopied pages

from magazine(s).BOX-FOLDER 6/2 Jimmy Rodgers, undated

Typed copies of Jimmie Rodgers and Hank Snow discographies.BOX-FOLDER 6/3 Dr. Isaiah Ross, circa 1964-1966

Typed drafts of writings (with handwritten edits), plus a handwritten letter to Welding fromDr. Ross.

BOX-FOLDER 6/4 Otis Rush, circa 1977Original clippings from magazines.

BOX-FOLDER 6/5 John Sellers, May 1965Original magazine clippings.

BOX-FOLDER 6/6 Shakey Jake, circa 1972Typed drafts of interview introduction and transcribed interview, plus a letter from Welding

to "Bruce."BOX-FOLDER 6/7 Robert Shaw, December 1966

Original clipping from Jazz Beat magazine.BOX-FOLDER 6/8 Don Schlitten, November 1977

Two typed transcriptions of an interview; with handwritten edits.


Container Contents


BOX-FOLDER 6/9 Johnny Shines, circa 1970Typed sections of a transcribed interview, handwritten notes with doodles, a typed

introduction to the interview, and original and photocopied pages from publications.BOX-FOLDERS 6/10-11 Frank Sinatra, circa 1987-1994

Original and photocopied pages from publications, typed and handwritten lists of songsperformed by Sinatra, handwritten notes, and one letter to Welding from John Ridgway.

BOX-FOLDER 6/12 Bessie Smith, circa 1967-1979Typed drafts of documents, plus original and photocopied pages from publications.

BOX-FOLDER 6/13 Clarence "Pinetop" Smith; 1939, undatedDraft typed version of article by Sharon Pease on Smith for Down Beat, plus copyright

registration information for the article, a copy of Smith's death certificate, and relateddocuments. The photos have been relocated to box-folder 22/19.

BOX-FOLDER 6/14 Otis Spann, 1970Two original clippings from publications.

BOX-FOLDER 6/15 Arthur "Big Boy" Spires, undatedTyped bio-discography of Spires by Welding.

BOX-FOLDER 7/1 Staple Singers, circa 1960sPublished materials about the Staple Singers, plus a one-page typed draft of introductory

matter for an unidentified project.BOX-FOLDER 7/2 Tampa Red, 1939

A typed half-page of a passage on Tampa Red copied from Down Beat magazine; the issuewas dated November 15, 1939.

BOX-FOLDER 7/3 Hound Dog Taylor; 1975-1982, undatedA two-page typed draft of a record review by Welding, a clipping from Guitar, dated August

1975, and a Nostalgia Book Club catalog.BOX-FOLDER 7/4 Big Mama Thornton, October 1966; undated

Photocopy of a published article, typed draft of an article with handwritten edits, andphotocopies of photos (the photos have been relocated to box-folder 23/2).

BOX-FOLDER 7/5 Henry Townsend, July 5, 1967; undatedTyped letter of correspondence, plus two versions of an interview (both with handwritten

edits), and Townsend's business card.BOX-FOLDER 7/6 Luther Tucker, undated

Original two-page article on Tucker, from an unidentified magazine.BOX-FOLDER 7/7 Ike Turner, 1970-1971

Two original clippings from publications.BOX-FOLDER 7/8 Big Joe Turner, September 1965

Photocopied draft of a typed text written about Joe Turner, a typed draft of another work onTurner (with some corrections), and an original clipping from a magazine.

BOX-FOLDER 7/9 Johnny Turner, October 1977Two typed drafts and possibly some other pages of an older draft (with corrections) of

Welding's article Blues With a Feeling, a flyer for Jake Leg Records, and a magazineclipping about Turner.

BOX-FOLDER 7/10 Eddie "Cleanhead" Vinson, May 8, 1975Clipping from a magazine.

BOX-FOLDER 7/11 Walter Vinson, March 9, 1962One-page copy of Blues News.

BOX-FOLDER 7/12 T-Bone Walker, circa 1965-1977Typed drafts of various writings on Walker (both originals and photocopies), original and

photocopies clippings from magazines, a handwritten letter from a person (Jack?) atDown Beat to Pete, and a typed note.


Container Contents


BOX-FOLDER 7/13 Clara Ward, undatedTwo typed drafts of an essay about Ward.

BOX-FOLDER 7/14 Gayle Wardlow; 1965-1966, undatedOne handwritten letter and three typed letters from Wardlow to Welding, plus an original

printed copy of OJL [Original Jazz Library] Supplement, no. 1 (1965).BOX-FOLDERS 7/15-16 Muddy Waters; 1959-1980, undated

A typed letter from Michael Cuscuna to Welding, a typed letter to "Art" from Welding, typeddrafts of various writings (e.g., liner notes) about Waters; some with handwritten edits,and one with Welding's sketches on the back of various people, and several clippings(most original) from various magazines. See folder 20/3 for oversized material.

BOX-FOLDER 7/17 Pete Welding; 1960-1995, undatedOriginal and photocopied articles about Welding from various magazines, a flyer from

Testament Records, a typed letter from Leonard Watkins, a typed letter from GeorgeFeltenstein to Welding, a copy of Welding's resume, and photocopies of photos relocatedto box-folder 23/5.

BOX-FOLDER 8/1 Junior Wells; May 1975, undatedTwo photocopied articles from magazines.

BOX-FOLDER 8/2 Peetie Wheatstraw, 1953Photocopied article by Paul Oliver from an unidentified publication.

BOX-FOLDER 8/3 Bukka White; 1971-1977, undatedOriginal clippings from magazines.

BOX-FOLDER 8/4 Robert Wilkins, undatedOriginal, typed interview transcription, typed proof with edits, and handwritten notes.

BOX-FOLDER 8/5 Big Joe Williams; 1964-1966, undatedOriginal, typed drafts of interview transcriptions (one with handwritten edits, an original,

handwritten letter from Williams to Welding, and original clipping from a magazine.BOX-FOLDER 8/6 Robert Pete Williams; 1968-1970, undated

Original, typed interview transcript with handwritten edits, handwritten notes and adiscography, and two photocopied articles and one original article from magazines.

BOX-FOLDER 8/7 Homesick James Williamson, undatedTwo typed pages of an unidentified writing about Williamson.

BOX-FOLDER 8/8 Bob Wills, May 14, 1975One page photocopied from a newspaper.

BOX-FOLDER 8/9 Jimmy Witherspoon, 1964-1967Original articles from magazines.

BOX-FOLDER 8/10 Phil Woods; 1975, undatedAn original article and an original clipping from a magazine.

BOX-FOLDER 8/11 Jimmy Yancey; 1939-1966, undatedA one-page typed copy of an article from Down Beat (dated October 15, 1939), an original

copy of liner notes from a Yancey LP released on the Chicago Jazz Series, and aphotocopy of a published article from a magazine.

BOX-FOLDER 8/12 Johnny Young, undatedAn original clipping from a magazine or flyer.


BOX-FOLDERS 8/13-14 Blues book, undatedIdentified as "Blues Book" in the document itself. Typed sections of the book.


Container Contents


BOX-FOLDERS 8/15-16,9/1-2

Jazz book, undated

Identified as "Jazz Book" in the document itself. Typed sections of the book.

Series 3: Testament RecordsDraft materials, liner notes, and related documentation.

BOX-FOLDER 9/3 Dorsey, Nancy, and Howard Dixon: Babies in the Mill. Testament T-3301, circa 1964.Promotional flyer/order form for the LP, plus an original copy of Textile Labor, vol. XXV,

no. 11 (November 1964).BOX-FOLDER 9/4 Jones, Eddie Lee. Yonder Go That Old Black Dog. Testament T-2224, circa 1974.

Documents pertaining to the LP release, including typed biographical information, proofs ofthe album's back cover paste-down and liner notes, and a typed letter to Welding from"Bill."

BOX-FOLDER 9/5 Masters of Modern Blues, vols. 1-3. Testament T-2212, T-2213, T-2214, circa 1966.Typed copies of various writings and song lists (some with handwritten edits), proof of

various Testament Records liner notes, an original copy of the program for the worshipservices for September 1, 1968 at Eagle Rock Baptist Church (Los Angeles), and abusiness card for Robert M. MacLeod, Jr.

BOX-FOLDER 9/6 Masters of Modern Blues, vol. 4. Testament T-2215, circa 1967.Three proofs of liner notes (two with handwritten edits), and typed copy of song list of text

of notes (with handwritten edits). See box-folder 20/4 for oversized material.BOX-FOLDER 9/7 McDowell, Fred and Annie. My Home is in the Delta. Testament T-2208, circa 1964.

Typed and handwritten copies of texts, and typed copy of song list, and copies of liner noteproofs.

BOX-FOLDER 9/8 McDowell, Fred and the Hunter's Chapel Singers. Amazing Grace. Testament T-2219, circa1969.Proofs of liner notes plus an original typed version of liner notes with handwritten edits.

BOX-FOLDER 9/9 Modern Chicago Blues. Testament T-2203, 1969.Typed copy of text and song list, with handwritten edits. A photo has been relocated to

box-folder 23/18.BOX-FOLDER 9/10 Robinson, Pete. Pete Robinson: Dialogues for Piano and Reeds Testament T-4401, circa 1972.

Liner note proofs (with some handwritten edits), a typed draft of text, and a photocopy of amagazine review. Photos have been relocated to box-folder 22/14.

BOX-FOLDER 9/11 The Sound of the Delta: A Mississippi Blues Anthology. Testament T-2209, circa 1966.Liner note proofs, a typed draft of text and song list (with some handwritten edits), and an

image of an unidentified bluesman, printed on coated stock paper.BOX-FOLDER 9/12 Spann, Otis. Otis Spann's Chicago Blues: Nobody Knows My Troubles. Testament T-2211,

circa 1966.Two copies of liner note proofs.

BOX-FOLDER 9/13 Tarlton, Jimmy. Steel Guitar Rag. Testament T-3302, 1965, 1967; undated.Typed texts and a song list (with handwritten edits), and a typed letter to Welding from

Norm Cohen. A photo has been relocated to box-folder 23/1.BOX-FOLDER 9/14 Traveling Through the Jungle: Negro Fife and Drum Bands. Testament T-2223, circa 1974.

Typed copy of text (with handwritten edits) written by David Evans, a typed letterto Welding from "Dave" (probably David Evans), and a different typed text withhandwritten edits.


Container Contents


BOX-FOLDER 9/15 Waters, Muddy. Down on Stovall's Plantation. Testament T-2210, circa 1966.Liner note proofs, handwritten notes, a typed discography of Muddy Waters's works

from the Music Division, Library of Congress, and typed notes and a song list (withhandwritten edits).

Series 4: Articles, reviews, and other writingsThese writings are by Pete Welding and others, in published and unpublished form.

Subseries 1: Music genres

BOX-FOLDER 10/1 Blues and folk columns, 1966-1978; undatedOriginal and a few photocopied clippings from magazines (and one newspaper clipping)

about blues artists and blues performances, including several copies of Welding's"Blues 'n' Folk" column that appeared in Down Beat.

BOX-FOLDER 10/2 Blues - articles (general), 1961-1977; undatedOriginal and a few photocopied clippings from magazines and newspapers, plus a

complete copy of Anarchy, no. 51 (the blues, R & B, pop, and folk music issue).Also includes typed correspondence and a draft of liner notes sent to Welding.

BOX-FOLDER 10/3 Blues, change, and gospel music, undatedA section of a typed draft of a document, with handwritten edits.

BOX-FOLDER 10/4 Blues criticism, 1965-1971; undatedOriginal magazine clippings, plus a typed letter and two handwritten postcards to Welding

from Rod Gruver.BOX-FOLDER 10/5 Blues (general), 1968-1971; undated

Original newspaper and magazine clippings, plus a complete issue of Blues World, no. 24(July 1969).

BOX-FOLDER 10/6 Blues information, 1993; undatedTyped draft of an essay (with corrections), two photocopied pages of a song list (with

handwritten notes), a photocopied newspaper article, and a typed draft of credits for aJohn Lee Hooker release (with corrections).

BOX-FOLDER 10/7 Blues lyrics, 1961-1966; undatedTwo original magazine clippings and a typed sheet of lyrics for "Blood Red River," with

handwritten notes.BOX-FOLDER 10/8 Blues (travel), 1963

Original magazine clipping.BOX-FOLDER 10/9 Boogie woogie, 1937-1962; undated

Original magazine clipping, a promotional booklet for boogie woogie piano published byBrunswick, and typed copies of articles originally published in Down Beat.

BOX-FOLDER 10/10 Chicago blues, 1960-1969Original magazine and newspaper clippings, a partial typed draft of liner notes (with

handwritten edits) and a later, more complete typed draft of the same, and a typed draftof the song list for the Chicago Anthology.

BOX-FOLDER 10/11 Christmas songs (Negro), 1941, 1950Original song sheets for "The Savior's Here" and "The Savior is Born."

BOX-FOLDER 10/12 Folk music (articles), 1962-1976; undatedOriginal newspaper and magazine clippings, and a typed draft of an article.

BOX-FOLDER 10/13 Gospel music, 1958-1977Original and photocopied newspaper and magazine clippings, original liner notes for the

sound recording In the Spirit No. 1 and No. 2, and a complete copy of Hue magazine,vol. 5, no. 12 (October 1958).

Series 3: Testament Records

Container Contents


BOX-FOLDER 10/14 Guitar - blues, 1965-1977Typed sections of a draft of Welding's "Running Mates" in American Negro Folksong:

the Blues and the Guitar, a photocopy of a typed text about banjo folklore, collectedby James Madison Carpenter (the original text stored at the Archive of California andWestern Folklore, UCLA), and related materials.

BOX-FOLDER 11/1 Jazz articles from trade publications, 1978-1987; undatedPhotocopied and original clippings. See folder 20/5 for oversized material.

BOX-FOLDER 11/2 Jazz guitarists, 1974-1975Clippings from various magazines.

BOX-FOLDER 11/3 Jazz movement, 1978-1979; undatedPhotocopied and original clippings from different publications.

BOX-FOLDER 11/4 Jug bands, undatedTwo photocopied articles from different publications.

BOX-FOLDER 11/5 Music information, 1960; undatedPhotocopy of one set of liner notes, an original clipping from a magazine, discographies,

and one sheet of album release data. Includes two offprints: "A Discography ofAmerican coal miners' songs," by Archie Green; reprinted from Labor History, vol. 2,no. 1 (Winter 1961), and "The Death of Mother Jones," reprinted from Labor History,vol. 1, no. 1 (Winter 1960).

BOX-FOLDER 11/6 Piano blues, 1967; undatedPhotocopied articles from magazines.

BOX-FOLDER 11/7 Piano masters, after 1977Typed essay, with corrections.

BOX-FOLDER 11/8 Policy blues, March 1963Original clipping from a magazine.

BOX-FOLDER 11/9 Ragtime band, November 1964Original clipping from a magazine.

BOX-FOLDER 11/10 R & B jazz guitar/"The best of blues and roots: guide to blues, gospel, R & B, and ragtimerecords," undatedTyped documents, with corrections, and an original magazine clipping.

BOX-FOLDER 11/11 Rock and roll, 1960-1966; undatedTyped draft of a document, with handwritten corrections, clippings from magazines, a

promotional flyer, a copy of Rhythm and Blues Jazz Scrapbook, and an accompanyingletter from Thurston Moore

BOX-FOLDER 11/12 Soul music, November 1965An original copy of the advertising supplement to the Chicago Sun-Times. Includes a

feature story on the singing group The Supremes.BOX-FOLDER 11/13 Topical blues, 1965-1966

A typed copy of "Time brings about a change: Topical reference as an index of change inblues and gospel songs," a paper Welding submitted while at college (with handwrittennotes and the grade from the teacher), plus two typed drafts, handwritten notes, and anoffprint of an article by D. K. Wilgus, published in the Journal of American Folklore,LXXVIII (April-June 1965).

BOX-FOLDER 11/14 White blues, 1965-1970Original newspaper and magazine clippings.

Subseries 2: Reference and research

Series 4: Articles, reviews, and other writings

Container Contents


BOX-FOLDER 11/15 Ames, Russell. "Implications of Negro Folk Song." Science and Society XV, no. 2 ( Spring1951): 163-173.Photocopy.

BOX-FOLDER 11/16 Ames, Russell. "Protest and Irony in Negro Folksong." Science and Society, vol. 14, no. 3( 1950): 193-213.Photocopy.

BOX-FOLDER 11/17 Blackman, Bob. "Discover the Archive of Folk Song." Sing Out, 15-16. Reprinted from FolkScene,vol. 1 (January 1975).Photocopy.

BOX-FOLDER 11/18 Bloomfield, Mike. "Me and Big Joe." High Times (December 1980): 46-50, 77.Photocopy.

BOX-FOLDER 11/19 Borneman, Ernest. "Creole Echoes, Part II." Jazz Review, vol. 2, no. 10 (November 1959):26-27.Original clipping from the magazine.

BOX-FOLDER 11/20 Davis, Henry C. "Negro Folk-Lore in South Carolina." Journal of American Folk-LoreXXVII ( 1914): 241-254.Photocopied essay.

BOX-FOLDER 12/1 Evans, David. "Afro-American One Stringed Instruments." Reprinted from WesternFolklore, vol. 29, no. 4 (1971): 229-246.Original offprint, signed by the author.

BOX-FOLDER 12/2 Hearn, Lafcadio. "Levee Life: Haunts and Pastimes of the Roustabouts, Their OriginalSongs and Peculiar Dances." Cincinnati Commercial, March 17, 1876; reprinted inChildren of the Levee, ed. by O.W. Frost, Univ. of Kentucky Press, 1957: 61-83.Photocopied essay.

BOX-FOLDER 12/3 Mooney, H.F. "Popular Music Since the 1920s: the Significance of Shifting Taste."American Quarterly, vol. 20 ( 1968): 67-85.Photocopied essay.

BOX-FOLDER 12/4 Odum, Anna Kranz. "Some Negro Folk-Songs from Tennessee." The Journal of AmericanFolklore, vol. 27 ( 1914): 255-265.Photocopied essay.

BOX-FOLDER 12/5 Odum, Howard W. "Folk-Song and Folk-Poetry as Found in the Secular Songs of theSouthern Negroes" Journal of American Folk-LoreXXIV ( July-September 1911) and(October-December 1911).Photocopied essay.

BOX-FOLDER 12/6 Peabody, Charles. "Notes on Negro Music." Journal of American Folk-Lore 16 ( 1903):148-152.Photocopied essay.

BOX-FOLDER 12/7 Perrow, E. C. "Songs and Rhymes from the South." Journal of American Folk-Lore, XXVI( 1913): 137-155.Photocopied essay.

BOX-FOLDER 12/8 Puckett, Newbell N. "Religious Folk-Beliefs of Whites and Negroes." The Journal of NegroHistory, vol. 16, no. 1 ( January 1931): 9-35.Original offprint.

BOX-FOLDER 12/9 Roberts, John Storm. "Africa: The Guitar's Role." Guitar Player, vol. 9, no. 11, ( November1975): 22-24, 57.Original clipping from the magazine.

BOX-FOLDER 12/10 Rozek, Michael. "Harmonic Variations." American Way ( October 1982): 72-76.Photocopied article from the magazine.

BOX-FOLDER 12/11 "Virginia Illustrated." Harper's Monthly, vol. XII, no. LXVIII ( January 1856): 174-176.Photocopied article from the magazine.


Container Contents


BOX-FOLDER 12/12 Welding, Pete. "Jazz: the Moldy Fig Lives On." Typed draft, undated.Photocopy of a typed draft, with handwritten edits.

BOX-FOLDERS 12/16-17 Articles (1-2 of 2), 1968-1971; undatedOriginal clippings from newspapers and magazines, plus a brochure for Folkways

recordings (Fall 1968).BOX-FOLDER 12/18 Articles by Pete Welding, 1966-1969; undated

Typed original and photocopied drafts (with handwritten edits) and published clippingsfrom magazines and a newspaper.

BOX-FOLDER 12/19 Auctions, April and August 1967; undated.One issue each of Record Research, issue 83 (April 1967) and issue 85 (August 1967),

and a ditto copy of a song/artist index (with handwritten edits).BOX-FOLDER 12/20 Big Joe Turner, undated

Typed draft of an essay, a photocopied list from an unidentified publication, and a typedone-page list of CD sets.

BOX-FOLDER 12/21 Blues festivals, 1969; undatedTwo original clippings from magazines.

BOX-FOLDER 12/22 Blues recordings, 1937-1971Photocopied clippings from magazines and one original newspaper clipping.

Subseries 3: Various writings

BOX-FOLDER 12/23 Blues records (reviews), 1970-1976Typed drafts, magazine clippings, a ditto of an item of correspondence from David Evans,

and related documentation.BOX-FOLDER 12/24 Blues Unlimited? [sic], undated

Typed sections of a draft.BOX-FOLDER 13/1 Book reviews, 1971; undated

Original magazine and newspaper clippings, plus a photocopy of a typed draft of a bookreview.

BOX-FOLDER 13/2 Brochure and liner notes, undatedHandwritten and typed drafts (with handwritten edits) of brochures for Testament

Records, a discography, and other writings.BOX-FOLDERS 13/3-4 Broken-up files or missing pages, 1962-1977; undated

Typed draft liner notes, held notes, and various writings about Howlin' Wolf, Rex Stewart,Erroll Garner, and others, and related documentation.

BOX-FOLDER 13/5 Capitol Records: 1945 catalog, 1945Photocopy.

BOX-FOLDER 13/6 "Caught in the Act" - reviews, etc., 1966-1967; undatedOriginal clipping from a magazine, with reviews of live music performances.

BOX-FOLDER 13/7 Down Beat - reviews, 1961-1967; undatedOriginal clippings from magazines, plus two typed draft documents (one on gospel music,

the other about Aretha Franklin; both with handwritten edits).BOX-FOLDER 13/8 Harry Oster: Folk-Lyric Records, 1959-1963; undated

Handwritten and typed correspondence to Welding from Oster, plus copies of apromotional brochure for Folk-Lyric Records (one with handwritten notations), typeddrafts of writings, and magazine clippings. A photo has been relocated to box-folder22/8.

BOX-FOLDER 13/9 Maxwell Street, July 27, 1969A clipping from the Los Angeles Times.


Container Contents


BOX-FOLDER 13/10 McCormick's "Treasury of Field Recordings" and Dobell's folk labels, 1960-1961; undatedTyped and handwritten correspondence to Welding (most are from Mark Dobell), typed

drafts of writings, newspaper and magazine clippings, and related documentation.BOX-FOLDER 13/11 Memphis, Tennessee, January 7, 1977

Photocopied article from The New York Times.BOX-FOLDER 13/12 Migration patterns, March 1960

An original article published in Fortune, regarding African American populationmigrations in the U.S.

BOX-FOLDER 13/13 Mississippi [state], February 27, 1966An original article published in the Chicago Sun-Times.

BOX-FOLDER 13/14 Notes: Ray Charles, Shuggie Otis, John Lee Hooker, 1994; undatedTyped drafts of liner notes, plus an invoice for Sony Legacy Records regarding Welding's

work on liner notes, and a brief proposal for a Sonny Terry CD release.BOX-FOLDER 13/15 Notes for book: Muddy Waters - Charley Patton manuscripts - Rhythm & Blues, undated

Typed drafts of writings and related documentation.BOX-FOLDER 14/1 Profiles, undated

Original and photocopied clippings from magazines, plus an original typed one-pagedocument about the nature of jazz.

BOX-FOLDER 14/2 Race labels (Bob Koester), 1948; undatedA writing by Koester on race labels, plus a fold-out record dating chart (part 1).

BOX-FOLDER 14/3-4 Reviews: Testament Records; 1959-1969, undatedOriginal clippings and one faxed article from magazines, plus complete magazines:Jazz Journal (August 1964)Jazz Journal (September 1964)Code (March 1965)Jazz Monthly (May 1965)

BOX-FOLDER 14/5 Smithsonian blues set, undatedHandwritten and typed song lists.

BOX-FOLDER 14/6 Song record information, undatedPhotocopied pages from a published, unidentified work.

BOX-FOLDER 14/7 Superstition, 1964-1966Original newspaper and magazine clippings.

BOX-FOLDER 14/8 Various writings by Pete Welding, undatedTyped writings, both complete and incomplete, including an essay Welding wrote on the

book Lolita, by Vladimir Nabokov.BOX-FOLDER 14/9 Xanadu Records, undated

Photocopied announcement of the merger of Xanadu Records and Cream Records, and aphotocopied, typed writing about Xanadu Records.

BOX-FOLDER 14/10 61-15000 List, undatedPartial copy of a typed discography. Folder title taken from the original folder received

from the donor.

Series 5: Publications

BOXES 15-18 Issues of magazines that include writings by Welding, and information he used as referencematerial. Many of these issues include reviews and other content directly related to thiscollection.



Container Contents


BOX-FOLDERS 19/1-8 Inserts from tape containers, handwritten interviews, discographies, receipts, logs, and otherdocuments.

BOXES 26-27 A selection of original tape boxes that housed sound recordings.Extent: The original containers not retained were photographed, and the digital files for

these images are available on request from the American Folklife Center.

Series 7: Oversized materials

BOX-FOLDER 20/1 Albert Collins, circa 1969Extent: 24 in. x 12 in.Small brown-and-white poster/flyer with a photo of Collins, and biographical information

directly on it. See folder 1/20 for related material.BOX-FOLDER 20/2 Art Pepper, undated

Photocopied discography. See box-folder 5/16 for related material.BOX-FOLDER 20/3 Muddy Waters, April 1977

Original clipping from Soul & Jazz magazine, issue #37 (undated). See folders 7/15-16 forrelated material.

BOX-FOLDER 20/4 Masters of Modern Blues, vol. 4" (T-2215), circa 1968Liner note proofs for Testament Records release. See box-folder 9/6 for related material.

BOX-FOLDER 20/5 Liner notes for Stan Kenton recordings (part of a Time-Life Music release), 1984Final copy. Relocated from 11/1

BOX-FOLDER 20/6 Testament Records - reviews, 1964Original issue of The Literary Times, plus two newspaper clippings.

BOX-FOLDER 20/7 Blues Unlimited, 1964-1965British music magazine. Five issues: January 1964, April/May 1964, July 1964, September

1964, and January 1965.BOX-FOLDER 20/8 Pete Welding - obituaries, 1995

One-page photocopy of Welding's obituary in Mad Rhino News, plus two other photocopiedobituaries.

BOX-FOLDER 20/9 Mad Rhino News, 1995Year-end issue. See page 6 for the obituary that appears as a photocopy in box-folder 20/8.

BOX-FOLDER 20/10 Billboard, December 9, 1995Complete issue.

BOX-FOLDER 20/11 Johnny Shines, undatedExtent: 11 3/4 in. x 11 in. or smallerOversized, black-and-white photo taken by Welding. See Box-Folder 22/17 for more images

of Shines.

Series 8: Sound recordingsDocumentation on the tape boxes was used to create the inventory for this series. This

information was partially transcribed and subsequently edited, including abbreviations thatwere expanded and names that were normalized. Logged recordings are included here, andthe information from them used to correct the inventory. Where possible, the title of thecommercial recordings has been documented. When recordings have been digitized, theengineer's notes take precedence over those on the tape boxes; the archivist has editedthese notes for clarity. Further details about the recordings appear on the tape boxes andaccompanying manuscript materials. Dubbed recordings have been noted as such. Unlessotherwise indicated, interviews were conducted by Pete Welding.


Container Contents


Subseries 1: Artists, bands, interviews, and eventsThe sound recordings are organized in approximate alphabetical order, given the available

information. Works by individual artists are organized by surname and when thereare multiple artists by the first surname. If the sound recording is a compilation it isalphabetized by album or project name. Events are alphabetized by the event name.

Item-ID: AFC 2011/053:SR673

Ace of Spades, #1 - Central Avenue Blues, undated

Rack number: RXH 5550Extent: 1 sound tape reel : analog ; 7 in.


Ace of Spades, #2, undated



Ace of Spades, #3, undated



Joe Albany Trio and solo, #2, circa 1960s-1970s

Rack number: RXH 4124Extent: 1 sound tape reel (polyester, 00:46:10) : analog, 7 1/2 ips, half track, stereo ; 7 in.According to the tape box notes this is a master dub.

Time ContentStart

(00:00:05)

"A Night in Tunisia"

00:05:36

"You're Blasé"

00:08:58

"Like Someone In Love"

00:14:10

"What Are You Doing the Rest of Your Life"

00:18:45

"Barbados"

00:22:49

"St. Thomas"

00:27:07

"Ellington Medley"

00:32:35

"Yellow Days"

00:37:32

"Everything Happens to Me"

00:40:36

"When Lights Are Low"

00:46:10

End

Series 8: Sound recordings

Container Contents



Joe Albany, undated

Rack number: RXH 5451Extent: 1 sound tape reel : analog ; 7 in.LP mock-up


Luther Allison Live at the Montreux Jazz Festival, #1, July 3, 1976

Rack number: RXH 3167Extent: on one side of 1 sound tape reel (00:30:06) : analog, 7 1/2 ips, 1/4 track, stereo ; 7

in.Time ContentStart "Don't Know What Love Is"9:34 "Sweet Home Chicago"14:45 "The Bum is Mine"21:23 "The Same Thing"30:06 End


Luther Allison Live at the Montreux Jazz Festival, #2, July 3, 1976

Rack number: RXH 3168Extent: on one side of 1 sound tape reel (00:22:23) : analog, 7 1/2 ips, 1/4 track, stereo ; 7

in.Time ContentStart "Easy Baby"07:10 "Red Rooster"19:30 "Chuck Berry Medley"22:23 End


Delia Anderson, July 29, 1968

Rack number: RXH 3208Extent: on one side of 1 sound tape reel (00:29:41) : analog, 7 1/2 ips, half track, stereo ;

7 in.Collector's original ID number: 284.Archivist's note: Anderson sings a cappella. Between songs Pete Welding and Anderson

talk about where she learned songs, and other topics. The number "201" is appears onthe tape box in parentheses, without any context. See the note for SR735Time ContentStart

(00:00:07)

"Little Beggar Man"

00:01:47

"The Green Volunteers"

00:02:18

"The Lass of Killacrankie"

00:03:17

"The Shoals of Herring"

00:05:05

"Down By the Liffey Side"

00:06:08

mouth music (breaks off)


Container Contents


Time Content00:06:

54mouth music #2

00:08:10

unidentified (first line: "The cold winds are blowing, wearily, wearily")

00:08:59

"The Day We Went to Rossy-O" (breaks off)

00:10:22

"The Day We Went to Rossy-O" (picks up from the break)

00:12:01

"Die an Old Maid in a Garret"

00:13:24

"When the Blue Bonnets Came Over the Border"

00:15:11

"Jock of Hazeldene"

00:16:51

"The Patriot Game" (breaks off)

00:17:13

"The Patriot Game" (Anderson tries in new key; breaks off)

00:16:32

"The Patriot Game" (Anderson sings in a different key; breaks off twice, butcontinues)

00:19:05

children's games (bits of various songs)

00:20:03

"Banks of the Clyde"

00:20:34

"Rakes and Barley-O"

00:21:32

"MacPhereson's Lament"

00:22:49

mouth music #3 (false start)

00:25:11

"The Lass of Killacrankie"

00:26:30

"Wild Mountain Thyme" (fragment)

00:26:46

"Wildwood Flower"

00:27:40

"Donna, Donna"

00:29:00

"Greenock Song"

00:29:40

End


Delia Anderson, July 29, 1968

Rack number: RXH 5612Extent: 1 sound tape reel (polyester, 00:30:00) : analog, 7 1/2 ips, half track, stereo ; 7 in.Archivist's note: the content matches SR069, with slightly different time markers.


Billy Boy Arnold interview, 1970

Rack number: RXH 5586


Container Contents


Extent: 1 sound tape reel (polyester; Side A: 00:53:00, Side B: 00:53:00) : analog, 7 1/2ips, half track, mono ; 7 in.

Logger's note: Pete Welding (PW) interviews Billy Boy Arnold (BBA), a Chicago bluesharmonica player. A child's voice can be heard in the background.

Side ATime ContentStart PW and BBA talk about BBA's background and his interest in blues music.03:44 BBA talks about when he at started playing and his musical influences.

His first instrument was harmonica. He talks about getting lessons fromSonny Boy Williamson (SBW). [BBA says he was born in1935.]

10:20 BBA talks about musical influences prior to SBW. BBA says that he learnedmostly from phonograph records.

12:28 BBA says that he saw SBW only twice prior to SBW's death at age 34. BBAtalks about SBW's harmonicas.

17:22 BBA talks about playing After SBW's death. He learned to play guitar froma man called McGee. (BBA's primary instrument is harmonica). He talksabout some of the other musicians with whom he played. He tells aboutmaking his first recording, at age 17, for Cool Records.

20:53 BBA says his second recordings were for Vee Jay Records. He startedperforming in clubs. He played frequently with Bo Diddley, and alsowith other musicians.

23:00 BBA and Bo Diddley made recordings for Chess Records. BBA talks aboutthe sessions and specific songs recorded.

26:50 BBA, Bo Diddley and Little Walter were making records for VEE Jay,Universal and Chess. This forced decisions, because of various recordingcontracts, about songs, lead singers, and musical arrangements.

30:12 BBA and Bo Diddley went to New Orleans. When they returned to Chicago,BBA put together his first band to lay at a new club called The BellHouse. He talks about the band members. He says that the gig was asuccess and they were booked for 3 months.

35:06 BBA discusses the next steps of his career. He was always paid union scaleand paid union scale to his band members. He talks about some of hisgigs. He says that he was successful playing in the clubs. He says heworked steadily in the 1950s and into the 1960s.

38:00 BBA says that Chicago's music scene changed from B.B. King and MuddyWaters to more contemporary (early 1960s) music. He says that in the1960s Chicago still had an active blues scene in its black community.

42:25 BBA talks about the blues musicians active now in Chicago. He says it isprimarily the old blues men, but there are not too many opportunities toperform. PW says that the Civil Rights Movement may have been part ofthe reason for loss of interest in the blues. BBA responds.

46:43 BBA says "I think what happened to Chicago is this." He talks aboutmigration of people from the south and changes of musical taste. PWadds to this by talking about changing interest in jazz.

53:00 EndSide B

Time ContentStart BBA talks about music being played on the radio. PW adds his thoughts.

BBA talks about different generations of blues performers. PW talksabout the commercial aspect of music. BBA talks about Vee Jay andChess records and their commercial considerations.


Container Contents


Time Content04:28 BBA talks about interest in the blues being cyclical and generational. He

says that his family is one of the last blues families in Chicago. There arenow only a few clubs in Chicago in which blues are played. But if yougo to other cities, there will be no blues clubs.

07:22 PW asks "Who are the young guys in Chicago (today) who re making anykind of noise?" BBA responds. PW says that most of the new bluesrecord's he's heard in the last ten years "are pretty dull." BBA replies.They discuss this at length. BBA says that there is no more money inplaying the blues.

15:45 BBA says that black musicians are moving away from the blues into othergenres. He says that if, today, you want a blues guitar player or drummeryou probably have to hire a white guy. PW expresses concerns that theblues is going to die out. BBA agrees.

17:34 PW asks BBA where he performs. BBA says that he does not work aroundChicago. He goes over seas once or twice a year. They talk about theamount of money one is paid for playing. BBA talks about the potentialand future of the blues.

22:15 PW SKS IF THE European scene is good enough to support yourself. BBAsays "no," but the Europeans are really dedicated to the music. PW talksabout blues fans in the United States. The talk about record promotionand distribution.

31:56 BBA talks about the record shops in Chicago when he was young. BBA saysthat there is no need for blues today. He explains.

38:32 BBA talks about segregation and the blues. He says blues are a way ofexpressing your frustrations.

45:01 BBA says that after the rebellions of the 1960s people turned away from theblues. They turned away from the blues of twenty years ago and turnedto the blues of Stevie Wonder. BBA says that his grandmother dealt withthe blues by singing (humming) gospel songs. BBA and PW talk aboutthe blues and emotions.

50:15 PW talks about the commercial pressure on the blues. BBA says that theblues is a universal form of music.

53:00 EndItem-ID: AFC 2011/053:SR215

Billy Boy Arnold interview, July 11, 1971

Extent: 1 sound tape reel : analog ; 7 in.The tape was found to be entirely blank (no content).


Backwoods Blues / London AL-3535 (Brit)/4 Track/Blues Songs Sung By The LonesomeBlues Singer Royale, undatedRack number: RXH 5423Extent: 1 sound tape reel : analog ; 7 in.


Chet Baker Quartet - Carlton Theater, L.A., 1953

Rack number: RAA 59327Extent: 1 sound tape reel : analog, 15 ips, 2 track, mono ; 10 in.


John Henry Barbee - Carl Martin - Jake Gilmore - Frank Gilmore - Ted Bogan - CTI / CTC6028 B, undatedRack number: RAA 59317Extent: 1 sound tape reel : analog ; 10 in.


Container Contents


"CTI 4 trak cassette sub master" on the tape box. This may be a compilation of dubbedrecordings.


Count Basie, July 7, 1978



Count Basie Orchestra Live, undated



Andrew and Jim Baxter, Richard "Rabbit" Brown, Luke Jordan, Leroy Johnson, undated



Harold Beatty, circa 1973

Rack number: RXH 4062Extent: 1 sound tape reel (polyester, 00:14:00) : analog, 7 1/2 ips, half track, stereo ; 7 in.Collector's original ID number: 102.

Time ContentStart Harold Beatty (HB) performs his first piece with backup singers and

accompaniment, titled "Someone Has Taken Your Place"2:56 The second song with HB titled "Backup Man"6:59 The next selection by HB and accompaniment titled "Two Steps from Your

Doorstep"11:01 HB and backup singers perform their next selection; the title is unknown13:55 End


Ed Bell / Mary Johnson / Henry Townsend, undated



Bill Berry, undated

Rack number: RXH 4223Extent: 1 sound tape reel (Side A: 00:7:08, Side B: 00:00:23) : analog, 7 1/2 ips, mono ; 4

1/2 in.Archivist's note: Bill Berry, interviewed by Pete Welding (who seems to have provided

questions, perhaps in writing, as he cannot be heard on the recording).Vendor's digitization note: the programs are distorted at times, and there is significant hum

from the tape.Item-ID: AFC 2011/053:SR214

Big Horn Jazz Festival: Soprano Summit, 1st set, May 30, 1976 (Side 1), Bud Freeman andVic Dickenson, May 27, 1974 (Side 2), May 27, 1974, May 30, 1976Rack number: RXH 4097Extent: 1 sound tape reel (graphite-backed polyester Side A: 01:37:08, Side B:

01:37:11) : analog, 3 3/4 ips, quarter track, stereo ; 7 in.Accompanying set list.LC engineer's note: The tape side were recorded out of relative phase. This was corrected

in the transfer.Logger's note: performers include Marty Grosz on guitar, [unintelligible name on the

recording] on drums, Milt Hinton on bass, Kenny Davern on clarinet, and Bob Wilber


Container Contents


on clarinet. This audio log includes some of the band members' banter with each otherin between songs, and jokes they make about Marty Grosz.

Side ATime ContentStart People are chatting and clapping.00:23 Sydney Bechet's "Swing Parade" begins to play. Song from Soprano

Summit's first album.3:41 Bob Wilber announces the musicians and which instruments they are

playing. He announces that next they will play an original song fromtheir upcoming Chiaroscuro album called, "Grenadilla Stomp." Heexplains that his clarinet is made from grenadilla wood, and jokes thatKenny Davern's clarinet is made of hard rubber. The audience laughs.He says, "Everyone to their own tastes." You can hear Davern in thebackground say, "I'll get you for that, Wilber."

5:14 Grenadilla Stomp13:48 Bob Wilber (presumably) announces next song - "Black and Tan Fantasy" by

Duke Ellington14:21 Black and Tan Fantasy22:19 "Old Miss" by W. C. Fields28:26 Bob Wilber [presumably] says, "The reason we stand up after each number

is not to acknowledge your applause as so much as to air off certain areasof the body which happen to be sticking to the seat due to incrediblehumidity here in Chicago." Someone from the audience asks whenMarty will sing. Wilber responds, "Marty sings soon. He has a coupleof numbers where we turn him loose."

29:16 Bob Wilber [presumably] says that the next piece called "Song of Songs" isprobably the most requested piece they have in their library.

30:12 Song of Songs36:03 Song ends and Wilber says, "And now we'd like to present our lovely

vocalist, Chicago's own, Marty Grosz ... otherwise known as 'send in theclowns.'"

36:38 Wilber announces that the next song is one from Thomas Fats Waller called"How Can You Face Me Now?" sung by Marty Grosz. Song begins toplay.

41:00 Wilber announces that they will be playing "Milneburg Joys" next. Hemakes some jokes about the song and their concerts.

41:48 Milneburg Joys49:05 Wilber announces the name of the drummer again - Freddie Stoll [?]. He

also goes through the names and musicians in the band again.49:33 Wilber announces the next song is "Chalumeau Blue" (as well as the title of

their next album). "Chalumeau Blue" begins to play.58:08 Oh! Sister, Ain't That Hot1:06:1

1Egyptian Fantasy

1:11:24

Oriental Strut

1:16:11

Wilber says, "Now it's time once again ladies and gentlemen for our lovelyvocalist, Miss Grosz ... wending her way to the bandstand into the heartsof hundreds."

1:18:11

A Porter's Love Song to His Chambermaid


Container Contents


Time Content1:25:4

0I Wish That I Were Twins begins to play. (Before they start to play this song,

Marty Grosz [I think] tells a joke story about how Paul Newman is hisfamous movie star twin.)

1:31:20

Unidentified song

1:36:57

Announces that they are going to do a song that they don't have anarrangement of - they just sort of do it off the tops of their heads, but therecording cuts out.

1:37:05

End

Side BTime ContentStart Unidentified instrumental song begins to play. Live. People talk and laugh

throughout the track.10:42 Unidentified instrumental song begins to play. Live. People talk and laugh

throughout the track.23:14 Some unintelligible talking. Sounds like the recording got cut off.23:20 Next unidentified instrumental song28:19 Next unidentified instrumental song39:07 Someone announces that they will play a song composed by Bud Freeman -

"The D-Minor Thing."39:46 The D-Minor Thing47:45 Next unidentified instrumental song53:08 Next unidentified instrumental song57:57 Next unidentified instrumental song1:07:2

5Next unidentified instrumental song

1:14:41

Someone announces that Big Dickerson [?] has a request to do "In ASentimental Mood."

1:15:10

Someone announces, "This piece is in reverence to The Duke, who is buriedtoday and we [unintelligible] would like to give something to Duke."

1:15:28

In A Sentimental Mood

1:20:16

Next unidentified instrumental song

1:25:41

Next unidentified instrumental song

1:37:10

End


Bigard-Woodman All-Stars concert, reel #2, October 20, 1975

Rack number: RAA 59354Extent: 1 sound tape reel (00:36:11) : analog, 15 ips, half track, stereo ; 10 in.Recorded live at Baxter Lecture Hall, Caltech (California Institute of Technology),

in Pasadena, as part of an all-Duke Ellington program. Personnel: Barney Bigard,clarinet; Britt Woodman, trombone; Jimmy Jones, piano; Larry Leatherwood, bass;Nick Fatool, drums.

Archivist's note: the tape container indicates the concert date was November 20,while SR137's container indicates the date was October 20.The archivist at Caltechconfirmed the date was October 20. Recordings from this event are also included onSR137, SR749, SR756, SR757, and SR758.


Container Contents


Vendor's digitization note: the program has hiss from the tape.Time ContentStart

(00:00:10)

"C Jam Blues"

00:09:06

"Mood Indigo"

00:18:03

"Don't Get Around Much Anymore"

00:26:32

"Perdido" (spoken intro by Brigard)

00:36:11

End


Bigard-Woodman All-Stars concert, reel 2 of 2, October 20, 1975

Rack number: RAA 59287Extent: 1 sound tape reel (00:36:39) : analog, 15 ips, half track, stereo ; 10 in.Archivist's note: other recordings from this event are included on SR137, SR756, SR757,

SR758, and SR817, with further details noted for SR817 relevant to all recordingsfrom the event.

Vendor's digitization note: the program has distortion and hiss from the source tape. Thebeginning and end of the tape are cut off.Time ContentStart

(00:00:01)

"C-Jam Blues"

00:04:12

"Caravan"

00:14:02

"Chelsea Bridge"

00:17:36

"Rose Room"

00:22:44

"Sophisticated Lady"

00:27:40

"Take the 'A' Train"/"Things Ain't What They Used To Be"

00:36:39

End


Bigard-Woodman All-Stars concert, October 20, 1975

Rack number: RXH 3686Extent: 1 sound tape reel (polyester; Side A: 00:41:00, Side B: 00:41:15) : analog, 7 1/2

ips, quarter track, stereo ; 7 in.Described on the tape box as a rough dub-down recording. See SR817 for further details

and notes. Recordings from this event are included on SR749, SR756, SR757, SR758,and SR817.

Side A


Container Contents


Time ContentStart "In a Mello Tone"07:46 "C Jam Blues"16:44 "Mood Indigo"25:49 "Don't Get Around Much Anymore"34:14 "Perdido"41:00 End

Side BTime ContentStart "Perdido"03:56 "Caravan"14:04 "Chelsea Bridge"17:53 "Rose Room"23:12 "Sophisticated Lady"28:24 "Take the A Train"35:15 "Things Ain't What They Used To Be"41:15 End


Eubie Blake - Earl Hines concert, May 1972

Rack number: RXH 3692Extent: on one side of 1 sound tape reel (polyester, 00:30:10) : analog, 7 1/2 ips, half

track, stereo ; 7 in.Archivist's note: Recorded at Dwinelle Hall, University of California-Berkeley. Also

includes a spoken word segment ("Talk with E.B., E.H., and Phil Elwood").Time ContentStart applause, EB speaking01:58 "Charleston Rag"05:07 EB speaking06:55 "Melodic Rag"09:53 applause, EB speaking about the two James P. Johnsons12:35 medley of three songs (at least two by James P. Johnson)16:30 applause, EB and EH talking. EH talks about watching EB play piano and at

the same time direct the band.20:30 applause, piano jazz tune30:10 End


Bobby Bland Live at The Whiskey, November 7, 1973

Rack number: RXH 4212Extent: 1 sound tape reel (00:48:56) : analog, 7 1/2 ips, stereo ; 7 in.Vendor's digitization note: the program is distorted at times, and speed fluctuations at the

start of the tape.Item-ID: AFC 2011/053:SR731

Blue B., undated

Rack number: RXH 5608Extent: 1 sound tape reel : analog, 7 1/2 ips ; 7 in.Possibly a recording by Bobby "Blue" Bland.


The Blue Sky Boys, #1, October 17, 1964

Rack number: RXH 3695Extent: 1 sound tape reel (acetate, 00:31:19) : analog, 7 1/2 ips, full track, mono ; 7 in.


Container Contents


Recorded at Lincoln Hall, at the University of Illinois. Collector's original number: 259.Time ContentStart The Blue Sky Boys (BSB) start with a duet titled "Don't This Road Look

Rough and Rocky"3:55 Earl sings a solo hymn titled "Only One Step More"7:09 BSB sing "The Fox"10:27 BSB sing "'Twas Midnight on the Stormy Deep"14:47 BSB perform a hymn titled "Whispering Hope"18:41 BSB sing "Kentucky"22:55 BSB sing "The Sweetest Gift, A Mother's Smile," a piece where the tenor

takes the lead instead of following26:33 BSB perform "Sweetheart, Mountain Road"28:45 BSB sing the hymn "Beautiful" from their album "Precious Moments"31:19 End



Rack number: RXH 3696Extent: 1 sound tape reel (acetate, 00:32:23) : analog, 7 1/2 ips, full track, mono ; 7 in.Recorded at Lincoln Hall, at the University of Illinois. Collector's original number: 258.

Time ContentStart Bill from The Blue Sky Boys (BSB) sings "After the Ball"5:45 BSB sing "Behind These Prison Walls of Love"9:51 BSB sing "Don't Trade"13:09 BSB perform "Little Bessie"22:56 BSB shows the audience their albums and explains why they chose specific

songs for each album (monologue, a little history, and a sales pitch)32:22 End



Rack number: RXH 3697Extent: 1 sound tape reel (acetate, 00:10:31) : analog, 7 1/2 ips, full track, mono ; 7 in.Recorded at Lincoln Hall, at the University of Illinois. Collector's original number: 235.

Time ContentStart Earl explains what it was like to record using equipment in the "early days"1:24 BSB sing "The Butcher's Boy"5:00 BSB perform another selection titled "Are You from Dixie" (a short and long

version)10:31 End


Blues Is Killing Me, Side 1, 1978

Rack number: RAA 59288Extent: 1 sound tape reel (00:21:23) : analog, 15 ips, half track, stereo ; 10 in.Archivist's note: Released as Juke Joint 1501, this is a compilation of songs by various

artists. It's unclear if this is a master or dub tape.Vendor's digitization note: the program has distortion, hiss, and flutter from the source

tape. Test tones are on the tape: the audio begins before the test tones.Item-ID: AFC 2011/053:SR751

Blues Is Killing Me, Side 2, 1978

Rack number: RAA 59289Extent: 1 sound tape reel (00:20:06) : analog, 15 ips, half track, stereo ; 10 in.


Container Contents


See the notes for SR750.Vendor's digitization note: the program has distortion and hiss from the source tape.


Blues With A Feeling #1, May 25, 1976

Rack number: RAA 59310Extent: 1 sound tape reel : analog ; 10 in.Collector's original ID number: 8.











Blues With A Feeling, #1, undated



Blues With A Feeling, #2, undated



Blues With A Feeling, #3 (Fred McDowell), undated



Ted Bogan interview, January 14, 1966

Rack number: RXH 3232Extent: on one side of 1 sound tape reel (polyester; 00:41:40) : analog, 7 1/2 ips, full

track, mono ; 7 in.Time ContentStart In response to PW's question, TB says he was born in Spartanburg, South

Carolina in 1910. He started playing guitar when he was 16 years old andleft at age 18 to earn his living playing music. He first started to playpiano, then moved to guitar. He had 3 brothers and 5 sisters. During hisgrowing up years, his family sang mostly religious music.

03:52 He says, as a kid, he heard lots of blues: Bessie smith, Lonnie Johnson,and Tampa Red (among others). He heard their records. His family hadmostly records of sacred music. He was attracted the blues when he wasaround 12 years old.

06:37 TB talks at length about why he was attracted to the blues.


Container Contents


Time Content08:45 TB talks about switching from piano to guitar. He talks about Pink Anderson

and Blind Simmie Dooley who he heard in Spartanburg. He talks about afiddle player named Blind Roland Martin.

12:41 PW asks TB how he learned to play guitar. He answers that he is basicallyself-taught. The first song he learned to play through was "John Henry."

14:30 TB says he went to Chicago in 1933. He heard Big Bill Broonzy and TampaRed. Prior to moving he worked as a barber. He went "on the road" in1928.

16:40 PW asks about the period from 1928 to 1933. TB answers. He says heworked on a medicine show" and talks about it.

19:30 TB says that after he left the medicine show he went to Knoxville. Where hemet Carl Martin, Howard Armstrong and Bill Ballanger. They travelledand did radio broadcasts. TB talks, at length, about this group. Theyplayed mostly in Taverns and private homes.

23:58 PW asks what happened when the band got to Chicago in 1933. TBanswers. They were booked into theaters, mostly doing variety shows.He mentions some of the other musicians playing around Chicago at thistime.

28:40 TB talks about making records with Louie Blue [Hill Louis] in 1934. Theycut 4 numbers. TB talks about other records he made.

33:50 TB talks about playing around Chicago. Then he went into the Army. Whenhe got out, after WWII, he worked in plants in Detroit. They talk aboutHoward Armstrong.

36:56 TB talks about some songs he has written. He talks about Joe McCoy. Theymade some records together.

40:10 TB talks about touring with several other musicians in 1951. He lived inDayton, Ohio, then returned to Chicago in 1953.

41:40 EndItem-ID: AFC 2011/053:SR149

Luiz Bonfá, April 10, 1968 or before

Rack number: RXH 3698Extent: 1 sound tape reel (polyester, 00:12:15) : analog, 15 ips, half track, mono ; 7 in.All but one of the works are instrumentals.

Time ContentStart "Melancolia"2:54 "Samba de Orfeu"5:24 "Bahia Soul"8:32 "Manha de Carnaval," with Maria Toledo as a guest vocalist12:15 End


Bossa nova recordings: Vera Brasil / Nara Leão, undated

Rack number: RXH 5436Extent: 1 sound tape reel : analog ; 7 in.Dubs of commercial recordings. Vera Brasil: Tema Do Boneco De Palha (Farroupilha

LPFA-400), released 1964. Nara Leão: O Canto Livre de Nara (Phillips P 632.748 L),released 1965.


Bobby Bradford and the John Carter Quintet - "No U Turn: Live in Pasadena, 1975," reel 1of 3, November 17, 1975Rack number: RAA 59299Extent: 1 sound tape reel : analog, 15 ips, 4 track ; 10 in.


Container Contents


Recorded at Baxter Lecture Hall, Caltech (California Institute of Technology), inPasadena, California. Personnel: John Carter; Bobby Bradford; Stanley Carter;Roberto Miranda; William Jeffrey.


Bobby Bradford and the John Carter Quintet - "No U Turn: Live in Pasadena, 1975," reel 2of 3, November 17, 1975Rack number: RAA 59300Extent: 1 sound tape reel : analog, 15 ips, 4 track ; 10 in.See the notes for SR761.


Bobby Bradford and the John Carter Quintet - "No U Turn: Live in Pasadena, 1975," reel 3of 3, November 17, 1975Rack number: RAA 59301Extent: 1 sound tape reel : analog, 15 ips, 4 track ; 10 in.See the notes for SR761.


Avery Brady - John Lee Granderson, November 30, 1963

Rack number: RXH 4099Extent: 1 sound tape reel (polyester, 00:45:02) : analog, 7 1/2 ips, full track, mono ; 7 in.

Time ContentStart "City of New Orleans"2:11 "Times Hard in Chicago" (partial song)4:30 "Times Hard in Chicago" (breaks off)6:45 "Times Hard in Chicago" (breaks off)9:22 "Times Hard in Chicago" (breaks off)13:33 "Mama, Where Your Daughter Gone"17:27 "Bad Weather" (Brady)19:46 "Stop Your Train" (Brady and Willie)21:47 "Stop Your Train" (Brady solo)24:11 "Uncle Sam's Own Ship" (Brady solo)25:25 "Across the Street"25:42 "Across the Street" (Brady and harp)28:32 "Been a Long Time" (Brady and harp; weak boogie)30:40 "Keep Your Arm Around Me"31:31 "Sugar Mama"34:33 "Gangster Blues"37:15 "Remember Me One More Time"39:31 "Bottle Up and Go"43:02 "Bottle Up and Go"45:00 End


Avery Brady #9, undated

Rack number: RAA 59321Extent: 1 sound tape reel : analog ; 10 in.


Ruby Braff, April 24, 1976

Rack number: RXH 3687Extent: 1 sound tape reel (backcoated polyester; Side A: 01:37:00, Side B: 01:36:41) :

analog, 3 3/4 ips, quarter track; stereo ; 7 in.Archivist's note: recorded at Rick's American Bar, in the Holiday Inn, Chicago, Illinois.Side A


Container Contents


Time ContentStart unidentified jazz tune04:40 unidentified jazz tune08:58 unidentified jazz tune, (perhaps "The Man I Love")21:48 introduction, then "This Can't Be Love"27:17 talking, then "Don't Get Around Much Anymore"31:19 unidentified jazz tune35:03 unidentified jazz tune36:10 unidentified jazz tune, the band members are introduced41:40 unidentified jazz tune47:28 talking, the band members are introduced, more talking, then "Sleepy Time

Down South"57:11 unidentified jazz tune1:02:4

2blank, then, unidentified jazz tune

1:11:00

unidentified jazz tune

1:16:34

talking, then unidentified jazz tune, talking

1:25:30


1:32:52

Over the Rainbow

1:37:00

End

Side BTime ContentStart unidentified jazz tune06:41 unidentified jazz tune, band member introduced and talking over the music17:17 "Them There Eyes"22:42 talking, the "Let's Do It (Let's Fall in Love)"30:08 unidentified jazz tune35:46 talking, then "Between the Devil and the Deep Blue Sea"43:47 unidentified jazz tune50:05 perhaps "This Can't be Love"54:22 unidentified jazz tune1:00:4

6unidentified jazz tune

1:02:57

perhaps "St. James Infirmary"

01:07:29


01:11:27


01:15:09


01:19:23


01:25:23



Container Contents


Time Content01:29:

41perhaps "Sweet Georgia Brown"

01:32:05


01:32:05

End


Jimmy and Fannie Brewer, #1a, March 7, 1964

Rack number: RXH 4108Extent: 1 sound tape reel (acetate, 00:18:21): analog, 7 1/2 ips, half track, mono ; 7 in.On the tape box, Jimmy Brewer is also identified as James Brewer. Collector's original ID

number: 187.Time ContentStart

(00:00:08)

"Jesus Healed the Woman"(better known as "Jesus Gave Me Water")

00:02:30

"If I Could Hear My Mother Pray Again"

00:06:20

"Just a Little Talk With Jesus"

00:10:30

"I'll Fly Away"

00:15:48

"Kennedy Was Our President" (better known as "When We Got theMessage")

00:18:21

End


Jimmy and Fannie Brewer, #1, early May 1964

Rack number: RXH 4107Extent: 1 sound tape reel (acetate, 00:32:33) : analog, 7 1/2 ips, full track, mono ; 7 in.Recorded in Chicago, before an audience. Collector's original ID number: 186.

Time ContentStart

(00:00:10)

Spoken introduction by Pete Welding. He introduces Jimmy and FannieBrewer, who are married, and both are blind.

00:03:07

"Just a Little Talk With Jesus"

00:06:56

"Farther Along"

00:10:59

"Jesus Gave Me Water"

00:14:15

"If I Could Hear My Mother Pray Again"

00:18:16

"Just A Closer Walk With Thee"


Container Contents


Time Content00:21:

45"Before This Time Next Year"

00:25:50

Jim Brewer introduces the next song.

00:26:19

"I'll Fly Away"

00:30:25

Fannie Brewer introduces the next song, which she wrote about PresidentKennedy.

00:31:48

"When We Got the Message" (song cuts off abruptly)

00:32:33

End


Jimmy and Fannie Brewer, #2, 1964

Rack number: RXH 4109Extent: 1 sound tape reel (acetate, 00:28:38) : analog, 7 1/2 ips, half track, mono ; 7 in.Archivist's note: on the tape box, Jimmy Brewer is also identified as James Brewer. While

Fannie's name appears on the tape title, she does not perform on this recording. Vocalsand guitar by Jimmy on all songs. Collector's original ID number: 188.Time ContentStart

(00:00:05)

"Why Did He Have To Go"

00:04:40

"Poor Kelly"

00:07:57

"Pea Vine Special"

00:11:35

"Mean Old Frisco"

00:14:24

"Trouble in Mind" (song ends at 00:17:08, followed by silence until the nextsong)

00:18:36

"Hair Like Drops of Rain"

00:20:48

"What's Gonna Become of Me"

00:25:22

"All I Had Was Gone"

00:28:38

End


Jimmy and Fannie Brewer, #3, 1964

Rack number: RXH 4110Extent: 1 sound tape reel (acetate, 00:16:59) : analog, 7 1/2 ips, half track, mono ; 7 in.Archivist's note: While Fannie's name appears in the title for the recording, only Jimmy

performs (vocal and guitar). Collector's original number: 189.Time ContentStart "Worried Life Blues"3:22 "Step It Up and Go"


Container Contents


Time Content6:06 "Talking Guitar Boogie"9:33 "Come On, Take a Walk With Me"13:01 "Night Time Is the Right Time"16:38 End


Big Bill Broonzy, Side 1, undated

Rack number: RAA 59285Extent: 1 sound tape reel (00:24:29) : analog, 15 ips, half track stereo ; 10 in.Vendor's digitization note: the program has distortion and hiss from the source tape.


Big Bill Broonzy, Side 2, undated

Rack number: RAA 59286Extent: 1 sound tape reel (00:24:11) : analog, 15 ips, half track, stereo ; 10 in.Vendor's digitization note: the program has distortion and hiss from the source tape. The

beginning of the recording is cut off.Item-ID: AFC 2011/053:SR619

Big Bill Broonzy - dubs #1, undated



Big Bill Broonzy - dubs #2, undated



Clarence "Gatemouth" Brown - dubs, undated

Rack number: RXH 4697Extent: 1 sound tape reel (Side A: 00:48:10, Side B: 00:47:44) : analog, 7 1/2 ips, mono ;

5 in.Vendor's digitization note: the programs are distorted at times. In addition, the tape was

recorded at a very high level.Item-ID: AFC 2011/053:SR142

Jimmy Brown and Willie Lee Harris interview, circa 1963-1964

Rack number: RXH 3691Extent: 1 sound tape reel (polyester, 00:16:30) : analog, 7 1/2 ips, half track, mono ; 7 in.Collector's original ID number: 182.Archivist's note: doodles on the tape box may have been made by Pete Welding.Logger's note: a man named Joe is also present at the interview.

Time ContentStart PW starts by asking JB several questions about himself and his family.01:07 PW asks JB how he first got started in music. JB replies that he started

with guitar then switched to violin. A man named Bob Jones started himplaying violin when he was 22 years old. They discuss where JB playedand the music he played.

04:38 JB left Mississippi and went to St. Louis. They talk about the music JBlearned from records. JB did mostly construction work to earn his living.

06:36 JB says that he worked construction in St. Louis. They discuss where heplayed in St. Louis. JB says he played mostly guitar.

08:05 JB and Joe talk about meeting and playing together.


Container Contents


Time Content08:50 PW asks WLH several questions about himself and his musical background.

WLH says that when he was four years old his sister took him fromMississippi to St. Louis. He talks about the work he did n St. Louis.

10:25 PW asks WLH about playing music in St. Louis. WLH answers.10:55 PW asks WLH when he first took up the harp (i.e., the harmonica). WH

responds. JB, WLH and Joe have worked together over the years. Thediscuss this.

14:26 PW and WLH talk about how WLH learned to play the harp. They talkabout where WLH learned the songs he played. WLH also wrote somesongs.

16:30 EndItem-ID: AFC 2011/053:SR153

"In Concert:" Jackson Browne; Linda Ronstadt, March 1, 1974

Rack number: RXH 4036Extent: 1 sound tape reel (polyester, 00:21:35) : analog, 7 1/2 ips, half track, stereo ; 7 in.Archivist's note: March 1, 1974 was probably the broadcast date. See the note for SR151.

Time ContentStart "Redneck Friend," performed by Jackson Browne4:10 "Ready or Not," performed by Jackson Browne7:38 "Doctor My Eyes," performed by Jackson Browne10:07 "Love Has No Pride," performed by Linda Ronstadt15:23 "Desperado," performed by Linda Ronstadt19:00 "Silver Threads and Golden Needles," performed by Linda Ronstadt21:35 End


W.B. Bryson, #1, May 20, 1962


track, mono ; 7 in.Collector's original ID number: 282.Logger's note: conflicting dates appear for the five Bryson performances. See SR127,

SR128, SR129, and SR130.Time ContentStart unidentified song - piano solo03:02 first line: "All right baby, that's all right for you" - vocal and piano07:12 unidentified song - vocal and piano11:49 Morgan mountain is a mean place to go - vocal and piano17:01 unidentified song - vocal and piano20:03 first line: "I got drunk last Monday and couldn't find my way home" - vocal

and piano24:27 unidentified song - vocal and piano27:09 first line: ""Ain't it a shame baby, the way you drag my heart around" - vocal

and piano31:08 unidentified song - vocal and piano35:04 Pete Welding (PW) and W.B Bryson (WB) talking. WB talks about first

starting to play the piano. The talk about music WB has written andWB's playing style. Other people join the conversation.

44:44 End


Container Contents



W.B. Bryson, alt #1, May 27, 1962


track, mono ; 7 in.See the note for SR126.

Time ContentStart first line: "I know you be mine, you're somebody else's too" - (take 1) -

piano and vocal02:51 first line: "What a mean old train, Lord, taking my baby away" - piano and

vocal06:42 first line: "I know you be mine, you're somebody else's too" - (take 2) -

piano and vocal10:44 unidentified song - piano and vocal13:28 unidentified song - piano and vocal18:19 getting ready and false start19:18 false start20:25 unidentified song - piano and vocal24:47 first line: "I want to tell you baby ..." - piano and vocal27:39 getting ready28:22 unidentified song - piano and vocal32:45 first line: "You've been as god to me, you've been as good to me as you

could be" - piano and vocal37:55 a bit of "St. Louis Blues" then stopped38:41 false start, then unidentified song - piano solo41:25 first line: "Oh, I haven't any money, Oh I've got no place to go"46:10 End


W.B. "Piano Bill" Bryson, #2 or 2A, May 20 and/or 27, 1962

Rack number: RXH 3676Extent: on one side of 1 sound tape reel (polyester, 00:47:34): analog, 7 1/2 ips, half

track, mono ; 7 in.See the note for SR126. Collector's original number: 180.

Time ContentStart unidentified piano solo02:58 unidentified piano solo05:30 unidentified piano solo08:28 talking, fits and starts, then unidentified piano solo13:08 unidentified piano solo, song composed by Mr. Bryson17:52 talking, then noodling on the piano20:28 first line: "All right pretty baby, Oh Lord it's all right with you" - piano and

vocal25:22 PW and WB talk about a song's lyrics. WB segues into a song - first line: "I

woke up one morning .... Half past four." [There is a dog barking in thebackground.] - piano and vocal

33:03 talking33:40 first line: "I received your letter ...." - piano and vocal38:15 talking and noodling on piano39:01 unidentified song - piano and vocal47:34 End


Container Contents



W.B. "Piano Bill" Bryson, #3, May 27, 1962

Rack number: RXH 3677Extent: on one side of 1 sound tape reel (acetate, 00:40:00) : analog, 7 1/2 ips, half track,

mono ; 7 in.See the note for SR126. Collector's original number: 178.

Time ContentStart getting ready, then unidentified song - piano and vocal04:26 talking, then unidentified song - piano and vocal07:11 unidentified song - piano and vocal11:52 several false starts13:38 first line: "I want to tell you baby" - piano and vocal16:19 getting ready, then unidentified song - piano and vocal21:10 first line: "You've been as good to me, you've been as good to me as you can

be" - piano and vocal26:16 unidentified song - piano and vocal28:36 first line: "Oh, I haven't any money. ...I've got no place to go" - piano and

vocal33:17 unidentified song - piano and vocal34:29 talking, then unidentified piano solo36:54 unidentified song - piano and vocal40:00 End


W.B. "Piano Bill" Bryson, #4, May 27, 1962


track, mono ; 7 in.See the note for SR126. Collector's original number: 179.

Time ContentStart unidentified song - piano and vocal01:06 getting ready01:30 first line: "Now what a time, what a dream, I had nobody treat me this way"

- piano and vocal04:37 unidentified song - piano and vocal06:03 unidentified song - piano and vocal08:32 End


George "Mojo" Buford blues album, 1969

Rack number: RXH 5513Extent: 1 sound tape reel : analog ; 7 in.Archivist's note: recorded in 1969, and released officially in 2020 as Mojo Workin'.


Jim Bunkley - George Henry Bussey - Bud White - Jessie Clarence Gorman - Cliff Scott -Bud GrantRack number: RXH 4599Extent: 1 sound tape reel (Side A: 00:46:36, Side B: 00:47:34) : analog, 7 1/2 ips, two

track, stereo ; 7 in.Collector's original ID number: 241.Archivist's note: this tape may be a compilation of live recordings.Vendor's digitization note: the program is distorted at times, and there is significant hum

from the tape.


Container Contents



Vinnie Burke All-Stars; The Buddy Arnold Septet, 1956


ips, quarter track, mono ; 7 in.Dub recordings of The Vinnie Burke All-Stars (ABC Paramount 139), on Side A, and the

Buddy Arnold Septet album, Wailing (ABC Paramount 114), on Side B. The originalrecordings were released in 1956. See SR594 for potentially identical content.

Side ATime ContentStart

(00:00:05)

"I'm Getting Sentimental Over You"

5:42 "Vin-Tin-Tin"11:45 "Lulu's Back in Town"15:55 "You Don't Know What Love Is"19:41 "Unison Blues"24:01 "Jordu"29:05 "Blue Jeans"34:43 "Strike Up the Band"39:57 End

Side BTime ContentStart

(00:00:10)

"Oedipus"

3:46 "Footsie"8:51 "It's Sand, Man"12:34 "You Don't Know What Love Is"17:49 "No Letter Today"21:25 "Patty's Cake"24:51 "P.W. Stomp"28:25 "Moby Dick"32:20 "Old Devil Moon"36:29 End


Vinnie Burke All-Stars - Buddy Arnold Septet, Wailing, 1956

Rack number: RXH 5455Extent: 1 sound tape reel (Side A: 00:40:21, Side B: 00:36:11) : analog, 3 3/4 ips, stereo ;

7 in.See SR154 for the log and notes, and potentially identical content.Vendor's digitization note: the program is distorted at times.


Billy Butterfield; Max Kaminsky, April 29, 1973, October 12, 1974


ips, quarter track, stereo ; 7 in.


Container Contents


Two performances: Billy Butterfield (Side A and the first four performances on Side B)and Max Kaminsky (Side B), recorded at Big Horn. Butterfield was recorded on April29, 1973, and Kaminsky was recorded on October 12, 1974.

Side ATime ContentStart "Struttin' with Some Barbecue" by Louis Armstrong8:00 "Rosetta"18:02 "Black and Blue Over You"27:14 "You Can Depend on Me"34:24 "Butter and Egg Man" by Louis Armstrong41:28 "Indiana" by Hoagy Carmichael45:25 seconds with no sound50:57 "Chicago"58:51 "What's New?"1:03:2

0"Oh Baby (Ain't You Good to Me)"

1:13:32

"Tin Roof Blues"

1:24:59

"The Tenth Interval Rag" (Bobby Wright, piano solo)

1:30:05

"Wolverine Blues"

1:36:14

End

Side BTime ContentStart "Wolverine Blues" with an instrumental solo4:42 "Royal Garden Blues"13:31 "Baby Won't You Please Come Home"20:18 "Sweet Georgia Brown"28:41 "Love is Just around the Corner"36:48 "When You're Smiling"; MK is the vocalist44:52 "The Fidgety Feet"53:55 "Bourbon Street Parade"1:01:5

0"St. James Infirmary" ["Black and Blue"]

1:10:17

"Basin Street Blues"

1:17:40

"Dippermouth Blues"

1:23:04

"Ain't Gonna Give Nobody None of My Jellyroll"

1:26:34

"I Found a New Baby"

1:33:12

End


Tom Shepherd / Bruce Cale / Bill Moser, undated

Rack number: RXH 4100Extent: 1 sound tape reel (polyester, 00:24:00) : analog, 7 1/2 ips, half track, stereo ; 7 in.


Container Contents


"Tri-Tone Social Club" is named on the tape box; it is unclear if this is the name of avenue or an album. According to documentation Cale plays bass viol, Bill Moser playsdrums, and Tom Shepherd plays reeds. THis seems to be an unreleased recording.Time ContentStart "Valma" [?] (Shepherd)04:15 Bells begins to play. (Cale)9:06 "Windows"15:32 "Windows"20:10 Unidentified song (Shepherd)23:43 End


Hoagy Carmichael #1, circa 1929-1939

Rack number: RXH 5472Extent: 1 sound tape reel : analog ; 7 in.Dubs from various commercial recordings.














John Carter-Bobby Bradford Quintet, reel 1 of 2 - "Extensions," November 17, 1975

Rack number: RXH 3661Extent: on one side of 1 sound tape reel (polyester, 00:33:08) : analog, 7 1/2 ips, quarter

track, stereo ; 7 in.Archivist's note: the concert was held at Baxter Lecture Hall, Caltech (California Institute

of Technology), and recorded by Pete Welding.Time ContentStart Unidentified - jazz performance.21:45 Unidentified - jazz performance.33:08 End


John Carter-Bobby Bradford Quintet, reel 2 of 2 - "Extensions," November 17, 1975



Container Contents


Extent: on one side of 1 sound tape reel (polyester, 00:20:56) : analog, 7 1/2 ips, quartertrack, stereo ; 7 in.

See the notes for SR112.Time ContentStart Unidentified - jazz performance.06:32 Unidentified - jazz performance.20:56 End


Celestial Gospel Trio, #1 (with Thomas A. Dorsey, piano and occasional vocal), July 13,1962Rack number: RXH 4081Extent: 1 sound tape reel (polyester 00:41:15) : analog, 7 1/2 ips, half track, mono ; 7 in.Collector's original ID number: 147.Archivist's note: this may be The Celestial Trio.

Time ContentStart The Celestial Gospel Trio perform their first selection1:03 "Peace in the Valley," by Thomas A. Dorsey4:33 "Keep Me Every Day"9:24 unidentified song12:52 I Believe by CG15:24 How Many Times" [?]18:46 "How Many Times" [?] (second time)20:19 "Little Wooden Church on the Hill"26:48 unidentified song, performed by a soloist from the group29:16 unidentified song (same as the preceding), performed by a soloist from the

group, and sung in a lower key33:26 "How Much More (of Life's Burdens Must We Bear)," performed by a

soloist from the group37:41 "I Want Jesus on the Road I Travel," performed by a soloist from the group41:15 End


Celestial Gospel Trio, #2 (rehearsal), July 2, 1962

Rack number: RXH 4082Extent: 1 sound tape reel (polyester, 00:19:42) : analog, 7 1/2 ips, half track, mono ; 7 in.See the archivist's note for SR198. Collector's original ID number: 148.

Time ContentStart "Peace in the Valley" by Thomas A. Dorsey, performed by a soloist from the

group4:03 "He's Already Done," performed by a soloist from the group8:04 "Jesus He Knows Me" [?]11:44 "When My Savoir Calls Me Home" [?]17:05 "Walk in the Light"19:42 End


Celestial Gospel Trio, #3, August 31, 1962

Rack number: RXH 4083Extent: 1 sound tape reel (polyester, 00:47:10) : analog, 7 1/2 ips, half track, mono ; 7 in.See the archivist's note for SR198. Collector's original ID number: 134.


Container Contents


Time ContentStart Pete Welding (PW) ask Thomas A. Dorsey (TD) to start singing one of his

songs and then eliminate the piano accompaniment so PW can achieve agood balance of sound

0:30 The Celestial Gospel Trio (CG) accompany TD singing "If We NeverNeeded The Lord Before"

3:31 CG sing "If We Never Needed The Lord Before" again, in a faster tempo6:16 CG practice the previous song again8:44 CG perform "Peace in the Valley"12:02 "He Will Never Leave Me Alone," performed by the CG15:16 CG perform "Precious Lord, Take My Hand" by TD19:27 CG discuss who sings select lyrics for "How Many Times"19:56 CG sing the beginning of "How Many Times" with a false start21:12 CG perform "How Many Times" with TD as a soloist23:56 CG perform the previous song again26:42 A musician practices piano waiting for the singers27:35 CG perform a gospel song possibly titled "When My Savior Calls Me

Home"32:52 CG perform the previous song again38:05 CG and TD perform a selection, possibly titled "Praise God Over There"43:18 A soloist from CG performs "I Want Jesus on the Road I Travel"47:06 End


Celestial Gospel Trio, #4, August 31, 1962


mono ; 7 in.See the archivist's note for SR198. Collector's original ID number: 51.

Time ContentStart A soloist from The Celestial Gospel Trio (CG) performs "I Want Jesus on

the Road I Travel"3:52 Thomas A. Dorsey (TD) practices "How Much More (of Life's Burdens

Must We Bear)"5:25 TD performs "How Much More (of Life's Burdens Must We Bear)"8:30 End


Frank Chace - Bob Wright - Don De Michael - Wild Bill Davidson / Jazz at Storyville, circa1950-1970Rack number: RXH 4095Extent: 1 sound tape reel (graphite-backed polyester; Side A: 01:35:10, Side B:

01:37:27) : analog, 3 3/4 ips, quarter track, stereo ; 7 in.Compilation of live and pre-recorded performances. Accompanying set list.LC engineer's note: Portions of the tape were recorded out of relative phase. This was

corrected in the transfer.Side A

Time ContentStart A jazz band plays their first instrumental selection. The title is unknown3:18 The band plays "The Beale Street Blues"9:38 Wild Bill Davison (WBD) and the band play "Sweet Georgia Brown"14:34 The band plays the jazz standard "If I Could Be With You One Hour

Tonight"19:39 WBD and Dixieland perform an instrumental selection


Container Contents


Time Content24:22 The next instrumental piece31:31 WBD plays "Who's Sorry Now"37:30 The band plays their next instrumental selection45:16 WBD and the band perform "Big Butter and Egg Man"51:57 A soloist sings a short song about a con man53:03 An instrumental piece58:51 WBD announces Bobby Wright to play a piano solo [the piano instrumental

begins at 59:20]1:02:5

0WBD explains the background story behind how "Tin Roof Blues" was

composed.1:03:3

2The band and vocalist perform "Tin Roof Blues"

1:10:23

WBD and the band play another instrumental selection

1:17:55

WBD performs "Blue Again" with a cornet solo

1:21:29

The next instrumental piece

1:26:54

WBD and the band play their next instrumental selection

1:32:34

Bobby Wright plays a piano piece titled "Delirium"

1:35:10

End

Side BTime ContentStart An unidentified instrumental piece #1 played by the jazz band. [The

audience applauded at the end of the performance. This is likely thebeginning of part 1 of Side Two, which was performed by Wild BillDavison and Frank Chase. ]

00:04:19

An unidentified instrumental piece #2 played by the jazz band.

00:10:56


00:11:32


00:17:13


00:24:12


00:29:16


00:35:17

An unidentified instrumental piece #8 played by the jazz band. [The whitenoise in the recording increased from this point on, suggesting that thisis a different tape. It is likely the start of part B of side 2, which wasperformed by Wild Bill Davison, George Brunis, and others.]

00:39:55

An unidentified instrumental piece #9 played by the jazz band. [Somechatting noise in the background.]

00:47:25



Container Contents


Time Content00:53:

17An unidentified instrumental piece #11 played by the jazz band.

00:56:52


01:00:30


01:04:08


01:07:35


01:11:21


01:14:25


01:16:43


01:17:51

The above piece ends abruptly.

01:18:05

An unidentified man announces the piece "Jazz in Storyville with Wild BillDavison, At the Jazz Band Ball."

01:22:38

An unidentified man announces the piece "Wild Bill Davison and MemphisBlues."

01:27:52

An unidentified man announces "Wild Bill Davison plays Exactly LikeYou."

01:33:08

An unidentified man announces " And it is George Wein on piano, JohnnyVine on drums, John Field on bass, Eddie Hubble on trombone, andFrank Chase on clarinet. And it is A Blues."

01:33:58

The above song ends abruptly.

01:37:27

End


Roosevelt Charles - Herman Johnson, undated


7 in.Collector's original ID number: 243.Vendor's digitization note: the programs are distorted at times.


Roosevelt Charles - Otis Webster, undated

Rack number: RXH 4175Extent: 1 sound tape reel (Side: 00:31:52, Side B: 00:31:54) : analog, 7 1/2 ips, mono ; 7

in.Collector's original ID number: 242.Vendor's digitization note: the programs are distorted at times, in addition to crosstalk on

the tape.Item-ID: AFC 2011/053:SR245

Chicago Beau, July 8, 1977



Container Contents


Extent: 1 sound tape reel (backcoated polyester, 00:11:18) : analog, 15 ips, half track,stereo ; 7 in.

Collector's original ID number: 138.Archivist's note: the name Chicago Beau was spelled "Chicago Bo" on the tape box.

Recorded at The Raven and The Rose, Sierra Madre, California. Pete Welding was therecordist. Collector's original number: 138. See the archivist's notes for SR777.

LC engineer's note: The tape was extremely sticky, with shed starting at 00:10:04, andstarted flaking off such large amounts of oxide during transfer that the tape had to bestopped and could not be transferred to the end.Time ContentStart

(00:00:05)

"Broke and Hungry"

00:02:58

"One Way Out"

00:06:46

"Old Horse-Young Horse"

00:11:18

End


Chicago Beau and Blues With A Feeling, recorded at the Raven and Rose, July 8, 1977

Rack number: RAA 59315Extent: 1 sound tape reel : analog, 2 track ; 10 in.Archivist's note: the tape box for SR777 lists one more song than the tape box for SR245.

It is unclear which tape is a copy and which is original. Johnny Turner's band wascalled Blues With a Feeling. The Raven and The Rose was a club was located inSierra Madre, California. Collector's original ID number: 26. See the archivist's notefor SR245.


Buck Clayton All-Stars; Harry Edison; Mel Powell All-Stars; Mel Powell Septet; B.G.Sextet; B.G. Sextet with Mel Powell, circa 1942-1959Rack number: RXH 4047Extent: 1 sound tape reel (backcoated polyester; Side A: 01:36:30, Side B: 01:30:00) :

analog, 3 3/4 ips, quarter track, stereo ; 7 in.Archivist's note: song numbers assigned by the archivist.Logger's note: dub recordings of commercial releases, except for outtakes from the B.G.

Sextet session (circa 1942), and the breakdown with the B.G. Sextet and Mel Powell.Side ASelections 1 through 5 are from Songs for Swingers - Buck Clayton With His All-Stars

(Columbia CL 1320; 1959).Selections 6 through 8 are from Duke Ellington and the Buck Clayton All-Stars at

Newport (Columbia CL 933; 1956). These selections are performed by Buck Clayton'sgroup.

Selections 9 through 14 are from Henry Edison Swings Buck Clayton (and Vice Versa)(Verve 8293; 1958).Time ContentStart 1. "Swingin' Along on Broadway"7:08 2. "Night Train"14:26 3. "Mean To Me"20:53 4. "Buckini"26:25 5. "Moonglow"


Container Contents


Time Content33:40 6. "You Can Depend on Me"41:54 7. "Newport Jump"48:01 8. "In a Mellotone"56:27 9. "Memories for the Count"1:05:3

210. "Come With Me"

1:11:34

11. "Critic's Delight"

1:18:36

12. "Oh, How I Hate to Get Up in the Afternoon"

1:27:59

13. "It All Depends on You/Charmaine/How Long Has This Been GoingOn"

1:34:35

14. "Makin' Whoopee"

1:36:30

End

Side BSelections 1 through 4 are from Jam Session at Carnegie Hall - Mel Powell's All-Stars

(Columbia CL 557; 1956).Selections 5 through 9 are from Mel Powell Septet (Vanguard 8004; 1953).Selections 11 through 13 are Benny Goodman outtakes, possibly circa 1942. Musicians:

Benny Goodman (clarinet), Mel Powell (piano), Lou McGarity (trombone), Sid Weiss(bass); possibly Morey Feld (drums).Time ContentStart 1. "I Found a New Baby"17:00 2. "When Day is Done"19:20 3. "Lighthouse Blues"34:01 4. "After You've Gone"48:04 5. "'S Wonderful"52:72 6. "It's Been So Long"56:19 7. "I Must Have That Man"1:03:3

28. "You're Lucky to Me"

1:08:36

9. "Sonatina for Piano"

1:20:05

10. unidentified song - Benny Goodman, et al

1:22:56


1:25:41


1:29:45

End


Buck Clayton jam session, undated



Cozy Cole All-Stars / G.A. 334 - A, June 15, 1977



Container Contents


Extent: 1 sound tape reel : analog ; 7 in.Item-ID: AFC 2011/053:SR060

Mrs. Ella V. Coleman, reel #1, June 21, 1961

Rack number: RXH 3199Extent: on one side of 1 sound tape reel (acetate; 00:34:00) : analog, 7 1/2 ips, full track,

mono ; 7 in.Archivist's note: unedited tape - comments, et al. Focus on Philadelphia folk music. The

Whisperettes of Joy performed on several tracks. Coleman accompanies herself onukelele. Collector's original number: 161.

Logger's notes: Gospel songs performed by Mrs. Ella V. Coleman (EVC). She sings somesongs alone and some with back-up singers. On SR061 we learn that these songs wererecorded live by Pete Welding.Time ContentStart This is the way I think when there's trouble in my home [first line], EVC,

ukulele02:26 "I said I was gonna tell nobody, but I couldn't keep it to myself" [first line] -

EVC, back-up singers, guitar05:29 "Have you heard about Joshua in the battle of Jericho?" [first line] - EVC,

back-up singers, guitar07:33 "You don't know like I know what's it done for me" [first line] - EVC,

back-up singers, guitar10:12 "I dreamed I went to a city" [first line] - EVC, back-up singers, guitar13:35 "In the land there stands a city" [first line] - EVC, ukulele16:05 "Little black train is coming, coming around the track" [first line] - EVC,

back-up singers, guitar18:18 "It's me, it's me, it's me, it's me Oh Lord standing in need of prayer" [first

line] - EVC, back-up singers, guitar21:08 "Come and go with me till my father comes" [first line] - EVC, ukulele23:46 "Come and go with me to my father's house" [first line] - EVC, back-up

singers, guitar26:04 "I may be somewhere sleeping" [first line] - EVC, ukulele28:47 "Holy, holy, holy, holy somebody said to me" [first line] - EVC, back-up

singers, guitar30:54 "Come back here Lord, come back here" [first line] - EVC, back-up singers,

guitar34:00 End


Mrs. Ella V. Coleman, reel #2, June 22, 1961


mono ; 7 in.See the notes for SR060.

Time ContentStart PW and EVC talking.00:40 "Soldiers of the Cross" - EVC, ukulele02:40 PW and EVC talking about songs she sang last night.04:08 "I Like the Old Time Way" - EVC, ukulele06:10 PW and EVC talk about songs.09:05 "I'll Be There" - EVC, ukulele11:43 PW and EVC talk about songs. They set up for EVC and the backup singers.14:00 "Couldn't Keep It to Myself" [?] - EVC, backup, guitar


Container Contents


Time Content16:43 PW, EVC and the backup singers talk about the songs they did last night.18:56 [the first line is unintelligible] EVC, backup, guitar21:27 PW, EVC and the backup singers talk.22:39 "I have heard the Savior say" [first line] - EVC, backup singers, guitar [take

one]23:15 "I have heard the Savior say" [first line] - EVC, backup singers, guitar [take

two]24:32 song stops, talking, guitar riffs27:00 "Motherless Child" - EVC, backup singers, guitar30:00 End


Albert Collins interview #1, March 26, 1969

Rack number: RXH 3230Extent: on one side of 1 sound tape reel (polyester; 01:04:24) : analog, 3 3/4 ips, half

track, mono ; 7 in.Archivist's note: interview location: Palo Alto, California. Continued on SR218.

Time ContentStart PW asks AC a number of "obvious questions." AC says he was born in

Leona, Texas, about 125 miles from Houston, on October 1, 1932. Inabout 1939 his family moved to Houston. When he was 11 or 12 yearsold, he started to get interested in music. He started to play piano in HighSchool, then switched to guitar.

04:10 AC says that, at age 14 or so, he learned to play guitar from his cousin.Willow (?) Young. When he was about 16 years old, he started to playwith bands in clubs. He also learned from T-Bone Walker and severalother musicians.

06:28 His first guitar was a home-made from a cigar box. Later he was given ahome-made guitar that he did work for. This guitar was made from anoak tree. He started playing in clubs on the weekends.

08:27 PW asks if AC had a "church background." He answers that his mother wasdeeply religious so was not pleased that he was playing blues. He talksabout when he really could play guitar at a professional level.

10:52 AC talks about the music he played in the clubs when he was 16 yearsold. He says he played a lot of Lightning Hopkins's music. They talkabout Lightnin' Hopkins records. They discuss the blues style differencesbetween Lightning Hopkins and T-Bone Walker, and how AC wasinfluenced by them.

14:20 They talk about AC playing in a tavern for about a year. AC added a bassplayer to the band. AC started playing electric guitar.

16:20 PW asks about the music scene" in Houston in the late 1940s. AC responds.He says that he was also listening to records.

17:40 PW asks if there were other bands around at that time which were statingto record. AC replies. He says he added horns to the band, it was now 7pieces. He cut his first record around this time.

20:40 PW asks about changes to the music in 1950 so. AC says that he did not hearany of the Chicago musicians. They talk about Texas bands.

24:18 They talk about when AC added horns to his band. They talk about thebands and musicians AC heard and those that he did not hear.

26:24 PW asks about the style AC was playing. AC answers and talks aboutdeveloping his own style.


Container Contents


Time Content27:36 They talk about AC returning to Houston in 1954. AC had day jobs.

He played music nights and weekends. He managed to keep his bandtogether during this time.

29:18 They discuss AC cutting a record in 1958. AC talks, in detail, about themusicians on the record.

34:05 PW asks if there was any immediate results from the recording. AC answersthat he got more bookings, but kept his day job for about 6 more months.He says he cut another record in 1960.

37:00 PW asks what AC thinks is the most difficult things about living the life of amusician. AC answers. The talk about there being a continuing interest nthe blues.

38:50 PW asks about the differences between modern blues and older blues. ACanswers. They talk about blues guitar styles. They segue into discussingchurch music, soul music, and modern jazz.

44:45 They discuss guitar tunings. AC demonstrates on a guitar.48:47 PW asks where AC learned the tune he was playing (to demonstrate guitar

tunings). AC replies. The continue discussing guitar tunings.51:20 PW asks why AC has stuck to the blues since the mid-1940s. AC answers.

PW asks about the (musical) differences between the blues and rock-and-roll. AC answers.

53:56 PW asks which blues musicians have been the most influential on AC. Heresponds. They talk about B.B. King. The talk about "working a crowd."

57:29 PW asks how AC feels about performing. AC answers. They talkabout getting the band together (musically). They talk about musicalarrangements.

1:00:22

They talk about AC's most recent album. AC talks about the musicians onthe album.

1:04:24

End


Albert Collins interview #2, March 26, 1969

Rack number: RXH 4101Extent: 1 sound tape reel (acetate, 00:06:15) : analog, 3 3/4 ips, full track, mono ; 7 in.Continued from SR092.

Time ContentStart PW and AK discuss the resurgence of blues2:22 PW and AK talk about how AK just plays the blues, not other genres2:55 PW and AK talk about how the sounds of blues have gotten louder and

bigger. AK discusses how he's been influenced by this.5:30 PW and AK talk about the guitar and amplifier AK uses6:12 End


Judy Collins interview, July 8, 1962

Rack number: RXH 3183Extent: 1 sound tape reel (Side A: 00:32:20, Side B: 00:36:09) : analog, 3 3/4 ips, half

track, mono ; 7 in.LC engineer's note: In-depth interview with Judy Collins, focused on her 1962 LP, Golden

Apples of the Sun. She is interviewed by Pete Welding.Side A


Container Contents


Time ContentStart PW and JC discuss the song "Golden Apples of the Sun." She learned it

from Will Holt. It is based on a poem by William Butler Years. Themelody is by Richard Dyer Bennet.

05:46 They discuss "Bonnie Ship the Diamond" which she first heard on an albumby Ewan MacColl and A.L. Lloyd. She sings a bit of a whaling song.

10:33 They discuss "Little Brown Dog." She learned it from Logan English. It isincluded in a book by Ruth Crawford Seeger, "Animal Songs."

14:12 They discuss "Twelve Gates to the City." JCV in not sure where she learnedit, she's heard so many people perform it. She once played it on to of theArch in Washington Square Park, NYC, for a television program.

17:15 They discuss "Christ child Lullaby." She heard it on an Isla Cameronrecording. They talk about the dearth of Christmas songs in the Afro-American (the use the term Negro) tradition. PW talks about some AlanLomax recordings Alan Lomax collected and two books he wrote. PWtalks about his interest in collecting Afro-American music.

25:11 They discuss "Great Selkie of Shule Skerry." JC says she got this song fromthe research of Kenny Goldstein. She tells the story of the song and itscontext. She sings a bit of the song.

32:20 EndSide B

Time ContentStart

(00:00:10)

JC speaks about the significance of the songs on the album, in terms ofhuman uncertainty and knowledge.

00:01:23

JC talks about the Polish song, "Tell Me Who I'll Marry."

00:04:30

JC talks about the song "Fannerio."

00:06:58

JC talks about the song "Crow on the Cradle."

00:09:31

JC talks about the song "Lark in the Morning."

00:11:50

JC talks about the song "Sing Hallelujah."

00:17:08

JC talks about the song "Minstrel Boy" (not on the album). PW talks abouta six-part suite called "Day in the City," by Don Friedman, based on thetheme of "Minstrel Boy." He gives her his own copy of the record.

00:21:34

JC talks about the song "Shule Aroon." PW looks through (perhaps) booksfor references to the song, while JC speaks. He puts on a record that hasa version of the song, sung by an unidentified woman.

00:26:20

JC talks about urban folk music, and the five-banjo playing in folk music.

00:28:52

JC talks about her music background, and lacking a particular grounding inany culture, though she had classical music training. She talks about herfamily's Irish and Protestant background. She talks about her interest inthe music of other geographic regions (Israel, France).

00:33:45

JC talks about errors in the transmission of her own story, and other folkmusicians who are not quite honest about their own background. Therecording cuts off abruptly (end of the tape).


Container Contents


Time Content00:36:

09End


Glover Compton, circa 1950s

Rack number: RXH 4236Extent: 1 sound tape reel (Side A: 00:08:41) : analog, 7 1/2 ips, mono ; 5 in.Dubbed copies of commercial recordings, possibly with Compton playing piano.

Collector's original ID number: 208.Archivist's note: Side B has not yet been digitized.Vendor's digitization note: the program on Side A is distorted at times.


Glover Compton, June 18 1955

Rack number: RXH 4237Extent: 1 sound tape reel (Side A: 00:08:19, Side B: 00:07:40): analog, 7 1/2 ips, mono ;

5 in.Recorded live. Collector's original ID number: 209.Vendor's digitization note: the programs are distorted at times.


Contraband: first session, March 22, 1971

Rack number: RXH 4049Extent: 1 sound tape reel (polyester, 00:36:30) : analog, 7 1/2 ips, half track, stereo ; 7 in.Archivist's note: Pete Robinson was the pianist for Contraband (the name of the band),

which released one album, in 1971.Time ContentStart Contraband (CB) play their first instrumental work titled "Interlock"11:42 Next instrumental work16:20 CB plays their next piece "Crimson Sunset"18:42 Second take of "Crimson Sunset"19:15 Third take of "Crimson Sunset"20:18 Fourth take of "Crimson Sunset"25:36 CB plays a piece by Eddie Harris36:22 End


Contraband, March 24, 1971

Rack number: RAA 59353Extent: 1 sound tape reel (00:52:41) : analog, 7 1/2 ips, half track, stereo ; 10 in.The archivist supplied the title for this tape.Vendor's digitization note: the program has hiss and print-through from the tape.

Time ContentStart "Shadow on the Mountain"00:00 Untitled - improv #100:00 End


Contraband - "The One Who Knows," April 13, 1971

Rack number: RXH 4050Extent: 1 sound tape reel (polyester, 00:11:04) : analog, 7 1/2 ips, half track, stereo ; 7 in.See the note for SR166.


Container Contents


Time ContentStart Contraband (CB) plays their first instrumental piece titled "The One Who

Knows"5:47 CB plays their second piece called "Improvisations"8:22 The final piece by CB called "Intune"11:01 End


Contraband - Pete Robinson: "The One Who Knows," "Improvisations 1/2/3," "Intune,"April 15, 1971Rack number: RXH 4051Extent: 1 sound tape reel (polyester, 00:28:00) : analog, 7 1/2 ips, half track, stereo ; 7 in.See the archivist's note for SR166.

Time ContentStart Contraband (CB) plays their first instrumental piece4:55 The second piece by CB10:20 The next selection15:13 CB plays their next instrumental work21:38 The next piece by CB25:59 The final instrumental work by CB28:00 End


Contraband / Pete Robinson, circa 1971

Rack number: RXH 4053Extent: 1 sound tape reel (polyester, 00:35:15) : analog, 7 1/2 ips, half track, stereo ; 7 in.Archivist's note: this may be an unedited master recording for Contraband's album Time

and Space.sr See the archivist's note for SR166.LC engineer's note: tone at the head of the tape; levels set to this tone.According to accompanying documentation, the titles here may include: "Shadow on

the Mountain," "Crimson Sunset," "Interlock," "Intune," and "The One Who Knows"(fourth section).Time ContentStart Contraband (CB) plays their first piece6:01 CB plays their next instrumental piece8:00 Until 9:05 there is no sound9:06 The next instrumental piece9:39 Until 11:22 there is no sound except for a piano playing lasting less than

three seconds11:22 The next piece16:27 CB plays their next song21:51 The next instrumental piece23:27 The next piece24:43 CB plays their next piece26:09 The next piece31:12 The final instrumental piece34:27 End


Contraband side II - Pete Robinson, circa 1971

Rack number: RXH 4054Extent: 1 sound tape reel (polyester, 00:22:10) : analog, 7 1/2 ips, half track, stereo ; 7 in.See the archivist's note for SR166.


Container Contents


Time ContentStart Contraband (CB) play their first instrumental piece titled "To Miles"3:52 The next selection by CB called "The One Who Knows"13:51 The next instrumental piece called "Crimson Sunset"15:07 CB play their next selection16:34 The final selection of this series (an incomplete Eddie Harris tune)22:10 End


Contraband - Pete Robinson, circa 1971

Rack number: RXH 4055Extent: 1 sound tape reel (acetate; Side A: 00:07:25, Side B: 00:10:04) : analog, 7 1/2 ips,

quarter track, stereo ; 5 in.See the archivist's note for SR166.Side A

Time ContentStart The first instrumental piece titled "You're All I Want"4:08 The second and final instrumental piece of part one called "Don't Ever

Leave Me"7:20 End

Side BTime ContentStart The first instrumental selection titled "Interlock"5:32 Contraband plays their second instrumental selection titled "Shadow on the

Mountain"7:01 The final selection is called "Intune"10:04 End


Charles Copeland #1, June 2, 1966

Rack number: RXH 4139Extent: 1 sound tape reel (00:14:49) : analog, 7 1/2 ips, mono ; 7 in.Collector's original ID number: 163.


Copie CCIR #1, undated












Guitarra ExoticaGeorge Cordoba (Dot 25134 A and B), 1958



Container Contents


Extent: 1 sound tape reel : analog ; 7 in.Archivist's note: the track list matches the name of the album, but the catalog number does

not. The album was originally released in 1958; this catalog number may be for a laterversion.


The House of Blue LightsThe Eddie Costa Trio (Dot 25206 B), June 15, 1977

Rack number: RXH 5524Extent: 1 sound tape reel (00:20:17) : analog, 7 1/2 ips, stereo ; 7 in.Archivist's note: the LP was originally recorded in 1959; this may have been a version

intended for re-release.Item-ID: AFC 2011/053:SR730

Who's Been Talkin'? - Robert Cray, 1980

Rack number: RXH 5607Extent: 1 sound tape reel : analog, 15 ips ; 7 in.This LP was released in 1980.


Pee Wee Crayton Band, undated

Rack number: RXH 4140Extent: 1 sound tape reel : analog ; 7 in.Collector's original ID number: 164.


Crest commercial, circa 1960s-1970s

Rack number: RXH 5563Extent: 1 sound tape reel (00:09:18) : analog ; 7 in.Archivist's note: several takes of a commercial for Crest brand toothpaste. The actor who

has the line "Hey, man, that's my Crest" is almost certainly William Christopher, betterknown for his role as Father Mulcahy on television show M*A*S*H.


Leroy Dallas, #1 or #4, January 27, 1962

Rack number: RXH 4077Extent: 1 sound tape reel (polyester, 00:38:15) : analog, 7 1/2 ips, half track, mono ; 7 in.Collector's original ID number: 165.

Time ContentStart Leroy Dallas (LD) performs his first blues selection4:00 LD performs his next song, the title is unknown6:32 The next blues selection10:32 LD performs his next song, possibly titled "Talk to Me"13:56 The next blues song by LD17:20 LD's next blues selection20:43 The next selection by LD23:18 LD performs his next song26:46 The next selection29:39 LD's next blues selection33:02 The next blues selection by LD35:06 LD performs his next piece possibly titled "Two Timing Woman"38:14 End


Leroy Dallas, #2, January 27, 1962

Rack number: RXH 4078Extent: 1 sound tape reel (polyester, 00:34:30) : analog, 7 1/2 ips, half track, mono ; 7 in.


Container Contents


Recorded in Philadelphia, Pennsylvania. According to the note on the tape box "allselections have been rough-cut, to remove extraneous material, but final editing hasnot been done. These are the original tapes." Collector's original ID number: 166.Time ContentStart Leroy Dallas (LD) plays his first blues song titled "I'm Down Now, But I

Won't Be Down Always"3:16 LD performs his next selection, title is unknown6:41 The next song by LD10:13 LD performs his next blues song14:19 LD performs his next piece titled "Please Don't Go Back to New Orleans"17:08 The next song by LD20:52 The next selection by LD24:56 LD performs his next blues selection28:38 LD performs his next piece31:15 The next song by LD34:30 End


Leroy Dallas, #2a, January 27, 1962

Rack number: RXH 4080Extent: 1 sound tape reel (polyester, 00:35:06) : analog, 7 1/2 ips, half track, mono ; 7 in.Recorded in Philadelphia, Pennsylvania. Deleted material from Prestige recording session.

Collector's original ID number: 168.Time ContentStart Leroy Dallas (LD) performs a blues song, title unknown2:48 The next selection by LD6:47 LD performs his next song8:41 The recording continues with the completion of the previous song9:37 The next blues song by LD13:24 LD performs his next blues song14:10 LD restarts the previous selection and again at 14:5618:00 The next selection21:18 LD performs his next song25:02 The next song28:14 LD performs about thirty seconds of one of his blues songs before the audio

is momentarily turned off28:51 LD performs a rendition of "I'm Gonna Move to Kansas City"31:41 The next selection34:15 LD performs a small section of one of his songs35:06 End


Leroy Dallas, #3, January 27, 1962

Rack number: RXH 4079Extent: 1 sound tape reel (polyester, 00:30:00) : analog ; 7 1/2 ips, half track, mono ; 7 in.Collector's original ID number: 167.

Time ContentStart Leroy Dallas (LD) performs the chorus of one of his songs, title is unknown1:00 The next selection by LD4:10 LD performs his next blues song6:44 LD begins to perform one of his pieces, but starts over again after

approximately one minute of an instrumental introduction


Container Contents


Time Content7:35 Restarts the song and again at 7:598:10 LD performs his next selection11:43 The next song14:43 LD performs his next song17:21 The next selection by LD20:02 The next song23:29 LD performs his next blues song26:47 LD performs the previous selection again30:00 End


Leroy Dallas interview, January 27, 1962


track, mono ; 7 in.Collector's original ID number: 169.

Time ContentStart PW asks LD background questions: where he had lived, family life, when he

started playing.01:28 PW asks LD whom he learned to play from.01:46 Discussion of LD's arrival in Chicago in 1941 and the music scene there.02:28 PW asks LD about his first recordings. Tampa Red and Roosevelt Sykes are

mentioned.03:13 Discussion shifts to LD's move to New York City (NYC), the music scene,

and recording there.04:34 PW brings up Sykes and Red again, they discuss LD's relationship with Red.05:05 PW asks what sort of non-musical work LD did in NYC.05:25 PW asks LD when he started recording in NYC, Jade and Sittin' In recording

companies are mentioned.06:49 PW asks about rehearsing before recording sessions, LD talks about

Brownie McGhee.07:42 LD states he hasn't done any recording since 1948.08:05 LD: "Before I met you, I almost gave it [music] up."08:23 PW asks LD why he plays the blues, follows up by asking how LD goes

about writing a piece. LD refers to his songs as poems.10:43 PW asks about the pieces LD had played for him earlier that day.11:15 PW asks if LD has met any other famous people. LD Mentions Big Joe

Williams.11:45 LD: "A man who writes a song, has a photograph mind."12:55 LD mentions recording the TV Blues for PW earlier that day [specifically

"tonight"].13:15 PW asks about musical activity in Memphis when LD was a kid. This leads

LD to talk about his early music career.14:20 PW asks about catching freight trains.15:28 PW and LD discuss LD's singing and playing style. PW asks about other

guitarists LD has met who he enjoyed or might have influenced him. LDmentions Georgia Slim, Stick McGhee, and Big Joe Williams [callinghim Joe Lee Williams].

19:06 [Phone rings and PW answers it. Someone, probably LD, can be heardlightly playing a guitar]

19:49 [Tape jumps] PW asks where LD met Joe Williams.


Container Contents


Time Content20:45 PW asks LD where he learned the older songs that he had played for PW

earlier that day.21:06 End


Blind Teddy Darby interview / Pete Seeger dub recording, October 9, 1964

Rack number: RXH 3234Extent: 1 sound tape reel (polyester; Darby: 01:16:17; Seeger: 00:16:13, 00:16:41) :

analog, 3 3/4 ips, quarter track, stereo ; 5 in.Archivist's note: interview location: Chicago, Illinois. Collector's original number: 170.LC engineer's note: "Tape is predominately a Blind Teddy Darby interview in full track

mono format, but after 01:16:17 interview is cut off and tape goes into the 4-trackstereo format and contains a recording of the commercially released LP 'Gazette Vol.2' by Pete Seeger (Folkways FN 2502, 1961)."

Darby interviewTime ContentStart PW asks TD several questions. TD say that his name is Theodore Darby

and he was born in Henderson, Kentucky on March 1, 1906. He had nobrothers or sisters. He did not come from a musical family. His motherplayed a couple of songs on guitar, which TD discusses.

01:50 TD's family moved to St. Louis when he was sever years old, because hisfather got a job there. TD went to sixth grade in school, then was sent toreform school for fighting. He was in reform school from March, 1921 toMay, 1922. He went blind in 1926, from glaucoma.

05:34 PW asks what happened when TD lost his sight. He had some money savedin the bank from when he was working. He decided to make his livingas a blues player. He says he really learned to play the blues in the citywork-house in 1927. TD explains what he did which caused him to goto the work-house. He asked his mother to bring him a guitar. He taughthimself to play four pieces.

09:14 TD says he got out of the work-house in June 1928. He went home andlived a normal life. He played and sang at house parties. He says therewas a Syrian neighborhood in which he often played. He also playedin a "smoke shop" that sold whiskey and had two back rooms used forgambling. This was in 1931.

11:18 PW asks how TD got to make his records in 1929 for Paramount. TDanswers. They talk about Paramount going out of business, then restatingin 1948. TD talks about some of the musicians at the 1929 recordingsession: Henry Brown, Roosevelt Sykes, and Davey James.

14:20 PW asks if Henry Brown recorded at the same time. TD responds the HenryBrown just play piano for other musicians. TD talks about how much hewas paid to record in 1931. TD says he recorded two numbers for Victor.He explains. They were composed by himself and recorded in Chicago.

16:58 PW says TD's next records were made in 1935. He asks TD what he wasdoing between 1931 and 1935. TD responds. He met the woman to behis wife in East St. Louis during this time. In 1939 TD started getting a"blind pension."

18:38 PW asks about the records TD made in 1935 for (Vocalin). TD responds.They discuss the songs in that session. They talk about "The PokinoBlues." TD says that Pokino was a popular card game. He also talksabout a church song he composed in the work-house, "God Moved in theWind." He sings it.


Container Contents


Time Content24:15 TD says he has an excellent memory. He know about 125 telephone

numbers. He talks about his time in the Army in 1922. They talk about"The Decoration Day Blues" which he recorded. His mother taught himto play in Spanish tuning.

27:45 PW asks if there was much music back in Kentucky when he was a kid. TDanswers. They talk about a number of songs of that time.

29:24 PW asks about when TD was young. Were there any naught or dirty songsthe guys would sing among themselves. TD answers and gives someexamples.

32:46 PW asks about a man named Tommy Webb. TD says Tommy Webb was hiscousin. He was killed over two cigarettes in about 1951.

34:54 TD and PW played together in East St. Louis starting in 1930. TD talksabout some records they made together in 1933.

39:09 TD says the last records he made were in 1937. He cut four numbers. Theydiscuss the songs.

41:50 PW asks TD what he has been doing since he last recorded in 1937. TD saysthat he has been playing around East St. Louis. TD talks about gettinghis blind pension. He says that he has been a church member for tenyears and so has not played the blues in that time.

43:43 PW asks if TD made any records between 1930 and 1954. TD replies. Hetalks about making a living with his handicap.

45:40 PW asks TD what he thinks the blues are. TD responds at length.47:15 PW asks what makes a good blues song. TD responds and gives some

examples. They talk about many blues songs being about women.49:39 TD says that he got married in 1938. His wife died in 1958. HE talks about

how he met the woman he married.51:43 They talk about most blues songs being written about women.53:52 PW asks why there is such a strong separation between blues songs and

church songs. TD answers at length. He talks about the need for love inthe world.

1:01:54

PW says that many blues songs are written about love, physical love. TD hasbeen talking about "love in the heart." TD talks about this.

1:02:53

no recording (dead air)

1:04:45

PW ask how TD goes about composing a blues. TD replies. They talk aboutsome songs he recorded for Decca.

1:07:09

TD talks about being blind and his life. He talks about moving around whenhe was young.

1:10:24

PW asks TD if he enjoyed making records. TD responds. They talk about arecording session scheduled for tomorrow.

1:14:08

PW asks TD if was a wild guy when he was young. TD replies. TD says he'sbeen married three times.

1:16:17

End

Seeger recording, part 1Time ContentStart "The Dying Miner" (the first part of the song is missing)1:18 "Bourgeois Blues"3:27 "The Literacy Test Song"5:01 "Fayette County"8:08 "Moorsoldaten" (Peat Bog Soldiers)


Container Contents


Time Content11:34 "Hold the Line"16:13 End

Seeger recording, part 2Time ContentStart "When a Fellow is Out of a Job"3:18 "The RAND Hymn"5:28 "The Crow on the Cradle"7:54 "I Cone and Stand at Every Door"10:22 "The Easter Marchers"14:26 "The Jack Ash Society"16:41 End


Darby and Tarlton folk classics - dubs / Cajun dubs, undated

Rack number: RXH 5543Extent: 1 sound tape reel : analog ; 7 in.Dub recordings, probably from commercial releases. Darby and Tarlton were an early

country music singing duo (circa 1920s: Tom Darby and Jimmie Tarlton).Item-ID: AFC 2011/053:SR202

Blind John Davis, #1, March 25, 1962

Rack number: RXH 4085Extent: on one side of 1 sound tape reel (acetate; Side A: 00:17:50, Side B: 00:17:50) :

analog, 7 1/2 ips, half track, mono ; 7 in.Dubbed compilation of commercial recordings. Collector's original number: 174.Side B

Time ContentStart Blind John Davis (BJD) plays his first instrumental piece1:26 BJD sings one of his blues songs, the title is unknown4:28 BJD performs his next song9:01 The next song by BJD11:01 BJD performs the song from 1:26 again14:58 An instrumental selection by BJD17:50 End


Blind John Davis with Billy Boy Arnold, April 15, 1962

Rack number: RXH 4102Extent: 1 sound tape reel (polyester, 00:49:05) : analog, 7 1/2 ips, half track, mono ; 7 in.Collector's original ID number: 175.Logger's note: blues songs performed by Blind John Davis and Billy Boy Arnold, and an

interview conducted by Pete Welding (PW). The recording starts off with performedsongs, and at 22:49 the interview begins. The song titles are based on notes from thetape box.Time ContentStart "How Long Blues" begins to play (with Billy Boy Arnold)02:31 "Fast Boogie"04:20 "How Long Blues" (with Billy)07:40 "How Long Blues" (with Billy); instrumental09:24 "Someday, Baby" [this song might also be called "No Mail Today" based on

the lyrics]12:45 "No Mail Today" (instrumental)


Container Contents


Time Content14:58 "Piano Blues"17:09 "How Long Blues" [the tape case has this labeled as "different bass styles"]20:58 "Listen to Mama" (according to the tape case); this song may be called

"How Long Blues"]22:49 They talk about the previous song and how long John has been in Chicago.23:04 They talk about when John first started playing music and some aspects

of his recording career, including when he started and who he recordedwith.

25:30 They talk about John's procedure for recording in studios and who helpedhim set up these recording sessions.

27:02 They discuss when John first started playing piano professionally. Theydiscuss the "Chicago house rent party scene" and how he came to beinvolved in them.

31:09 PW asks John if he can play the typical music you might hear at one of thesehouse parties. PW suggests a "boogie tune."

31:18 Starts playing an instrumental jazz song - a boogie tune you might hear at ahouse party.

32:42 PW asks him to explain the different kinds of basses that would be used in aboogie woogie?

32:54 John discusses the basses33:16 John plays a demo of a rolling bass33:59 John plays a demo of a walking bass34:22 PW asks if there are any other kinds, and John starts playing another demo.

(He says this one is mostly one of his - no special name for this one.)35:05 John is playing some piano while the interviewer and another man talk. The

guys joke around with each other and laugh.35:37 They talk about John's music36:55 John introduces "Sweet Patootie." [He doesn't play the song - maybe the

recording gets cut off?]37:49 PW asks if there are any pianists when he was working in the '30s whose

work he especially liked and if he tried to pattern his work after anyone?38:20 John shares an anecdote from his childhood about why he started playing

piano.39:38 John names the main people who helped him learn to play40:14 John talks more about his background and musical relationship with an artist

named Tampa.43:23 John discusses his relationship with Sonny Boy Williams45:11 John discusses some bass players he has played with45:32 PW asks John what he thinks of the blues singers today compared with the

boys he recorded with.46:52 John talks about playing with Dr. Clayton.48:05 John talks about his relationship with Billy Boy Arnold (who is in the

room and who was presumably playing another instrument during therecordings).

49:03 EndItem-ID: AFC 2011/053:SR661

Blind Willie Davis - Ed Bell - John Hurt - Washington White, etc., undated



Container Contents



Wild Bill Davison 2, undated



Bo Diddley, undated

Rack number: RXH 5501Extent: 1 sound tape reel (Side A: 00:40:12) : analog, 3 3/4 ips, mono ; 5 in.Archivist's note: Side A seems to be dubs from various recordings. Side B has not yet

been digitized.Vendor's digitization note: the program is distorted at times. Side A has speed fluctuations

from 00:37:30 to the end of the recording.Item-ID: AFC 2011/053:SR692

Where It All Began - Bo Diddley (Chess album), December 16, 1971

Rack number: RXH 5569Extent: 1 sound tape reel : analog ; 7 in.Archivist's note: the album was released in 1972.


Nelson "Smitty" Dixon, March 1, 1964

Rack number: RXH 3217Extent: on one side of 1 sound tape reel (acetate; 00:15:15) : analog, 7 1/2 full track,

mono ; 7 in.Piano solos. Collector's original ID number: 177.

Time ContentStart piano solo03:53 piano solo06:08 piano solo09:00 piano solo12:34 piano solo15:15 End


Babies In The Mill: Carolina Traditional, Industrial, Sacred Songs - Dorsey Dixon, NancyDixon, Howard Dixon, November 24, 1963Rack number: RXH 3211Extent: on one side of 1 sound tape reel (polyester; 00:22:40) : analog, 7 1/2 ips, half

track, mono ; 7 in.Collector's original ID number: 17.Archivist's note: master recording, Side A. Testament Records T-3301-A, commercially

released in 1964. See SR073for Side B.Time ContentStart "Babies in the Mill"03:16 "Weave Room Blues"05:48 "I Saw the Wood"07:37 "Across the Shining River"09:36 "Hard Times in the Mill"10:45 "Hard Times in the Mill"12:55 "Christmas Cake"14:30 "Will the Circle Be Unbroken"16:51 "Be at Home Soon Tonight"19:49 Pinball Machine22:36 End of content


Container Contents


Time Content22:40 End of tape


Babies In The Mill: Carolina Traditional, Industrial, Sacred Songs - Dorsey Dixon, NancyDixon, Howard Dixon, November 24, 1963Rack number: RXH 3212Extent: on one side of 1 sound tape reel (polyester; 00:23:16) : analog, 7 1/2 ips, half

track, mono ; 7 in.Collector's original ID number: 18.Archivist's note: master recording, Side B. Testament Records T-3301-B, commercially

released in 1964. See SR072for Side A.Time ContentStart "Wreck of the Old '97"03:43 "Factory Girl" [Nancy Dixon]04:52 "Factory Girl" [Dorsey Dixon]07:08 "Weaver''s Life"10:34 "Burglar Man"12:35 "Wreck on the Highway"15:45 "Somebody Touched Me"17:56 "Our Johnny"20:19 "Girl I Left in Danville"23:15 End


It's A Sad Situation - Prince Dixon and the Jackson Southernaires, circa 1975

Rack number: RXH 5449Extent: 1 sound tape reel (00:39:38) : analog ; 7 in.Archivist's note: the LP was commercially released in 1975.


Dolenz, Jones, Boyce & Hart, 1st show, April 17, 1976

Rack number: RXH 4059Extent: 1 sound tape reel (graphite-backcoated polyester, 00:37:45) : analog, 7 1/2 ips and

3 3/4 ips, quarter track, stereo ; 7 in.Archivist's note: Dolenz and Jones were members of the Monkees. Tommy Boyce and

Bobby Hart wrote songs for the Monkees, among others. Recorded at Six Flags OverTexas, Arlington, Texas.Time ContentStart An unidentified announcer greets the crowd00:53 The band members are introduced, then they perform "Last Train to

Clarksville"03:42 Medley: "Valleri"/"Daydream Believer" (at 05:02)/"A Little Bit Me, A Little

Bit You" (06:10)09:14 "I Wonder What She's Doing Tonight"12:02 "(I'm Not Your) Stepping Stone"15:11 "I Wanna Be Free"18:11 Medley: "Come a Little Bit Closer"/"Pretty Little Angel

Eyes" (19:22)/"Hurts So Bad" (20:07)/"Peaches 'N' Cream"(21:09)/"Something's Wrong with Me" (21:33)/"Keep on Singing"(22:07)

23:22 "Pleasant Valley Sunday"27:06 "Teenager in Love"


Container Contents


Time Content29:49 Introduction of the members of the band (Micky introduces Davy, who

makes the introductions)31:16 "Where the Action Is"32:56 "Where the Action Is" (encore)33:41 "I'm a Believer"36:02 "(Theme from) The Monkees"37:44 End


Dolenz, Jones, Boyce & Hart, 2nd show, April 17, 1976

Rack number: RXH 4060Extent: 1 sound tape reel (graphite-backcoated polyester, 00:35:10) : analog, 7 1/2 ips,

quarter track, stereo ; 7 in.Archivist's note: 411 / 7625 / Dolenz 2nd show (from tape box). See notes for SR176.

Time ContentStart An unidentified announcer introduces the band00:46 "Last Train to Clarksville"03:30 Medley: "Valleri"/"Daydream Believer" (at 04:48)/"A Little Bit Me, A Little

Bit You" (05:55)08:59 "I Wonder What She's Doing Tonight"11:47 "I'm Not Your Stepping Stone"15:10 "I Want to Be Free"17:45 Medley: "Come a Little Bit Closer"/"Pretty Little Angel

Eyes" (18:54)/"Hurts So Bad" (19:40)/"Peaches 'N' Cream"(20:43)/"Something's Wrong with Me" (21:07)/"Keep on Singing"(21:42)

22:59 "Pleasant Valley Sunday"26:21 Davy Jones introduces the members of the band27:20 "Honky Tonk Woman" (lead vocal: Keith "Guitar" Allison)30:27 "I'm a Believer"33:33 "(Theme from) The Monkees"35:09 End


Thomas A. Dorsey interview, #1, June 30, 1962

Rack number: RXH 3169Extent: on one side of 1 sound tape reel (00:42:30) : analog, 7 1/2 ips; half track, mono ;

7 in.Time ContentStart "Tight Like That" (several versions)05:05 "Rainin' on the Ocean" (a Ma Rainey song)07:08 TD talks about his early days. He learned to play the organ. He is the son of

a minister.12:20 TD and his family lived in a suburb of Atlanta. He got most of his training

at the Chicago Music College. He talks about playing the organ and thepiano.

16:35 TD says he saw Bessie Smith perform in about 1912. He also saw BudLamee (?) [a bluesman] and Ma Rainey. The theater bug bit him. HEtalks about "hip shake" parties. He talks about "song plugging" to sellsheet music.


Container Contents


Time Content20:45 PW asks how TD heard songs aimed at the "colored market." TD responds.

They talk about ragtime music. They talk about church music andperformance music. TD talks about two performers named Blind Broomand Blind Tom.

26:44 "Nearer My God to Thee" (the first song that TD played.28:00 TD says that music was "a gift." He loves all kinds of music.29:52 "Chattanooga Fallin'"31:32 "Don't You Leave Me Here"33:25 "See Me Runnin'" (Ma Rainey song)35:00 An unidentified rag.36:34 "Walkin' the Dog" (a Sheldon Brooks song)37:04 PW and TD talk about other songs. They talk about getting music written

down on paper so that it is not lost. They talk about ragtime and ragtimecomposers. They talk about Negro spirituals.

42:30 EndItem-ID: AFC 2011/053:SR031

Thomas A. Dorsey interview, #2, June 30, 1962, July 7, 1962

Rack number: RXH 3170Extent: on one side of 1 sound tape reel (00:45:25) : analog, 7 1/2 ips; half track, mono ;

7 in.Time ContentStart PW asks about the music being played at parties when TD was getting

started, about 1912. TD replies and plays pieces of several songs.03:10 Woodman, Woodman Spare That Tree03:45 They continue the conversation about old songs. PW asks about musicians,

in the early days, who TD admired. TD responds. He learned the walkingbass from Ed Butler. He plays a sample.

06:30 PW asks when boogie woogie style music came in. TD says he first noticedit in about 1912. He plays sample.

09:10 TD says he was about 12 or 13 when he started playing at parties and inpublic. In 1914 Ed Haywood Sr. started playing in the Atlanta area.

13:05 PW asks if TD knows any simple folk songs, not blues or church songs. TDreplies and plays "Sawdust."

15:46 They discuss this song. They talk about when TD raveled and played in thelumber camps, about 1923. TD talks about a show he played in the hillsof Kentucky.

21:15 They talk about a book TD wrote and another that he is writing.22:33 They talk about a piano called "long boy" that was owned by TD's aunt. She

sold it in 1928. She ran a fish stand in Atlanta.27:35 The Rollin' Mill is Done Gone (1)29:17 The Rollin' Mill is Done Gone (2)31:17 TD says he wrote this song. They discuss it.31:45 PW asks if TD wrote or knew any other songs about local events. TD plays

part of a song and the spiritual that uses the same melody. They talkabout work songs. TD plays part of a "water boy song." After talkingwith PW he plays several more verses.

41:20 TD says he left for Chicago when he was 16. His mother came to live withhim in 1935. He talks about "buffet flats" and house parties.

44:20 A Good Man is Hard to Find45:25 End


Container Contents



Thomas A. Dorsey interview, #4, July 7, 1962

Rack number: RXH 3172Extent: on one side of 1 sound tape reel (00:36:00) : analog, 7 1/2 ips, half track, mono ;

7 in.Time ContentStart TD talks about the opening of a Ma Rainey show at the Grand Theater in

1921. (The city is not identified.)02:20 TD talks about Ma Rainey's band. He identifies, and talks about, members of

the band and other musicians.07:28 TD talks about a venue called The Weekend Lifesaver, where he and

the band played on Sundays. He talks about a singer called WilliamFranklin.

08:17 PW asks if TD was the musical director of MR's band. TD responds.09:17 TD talks about playing piano in movie theaters for silent films, in 1913

or 1914. He says that people who wanted to be around music, or learnmusic, or learn the latest songs hung around the movie theater. Some ofthese people went onto become great artists.

12:05 TD says that after a week at the Grand Theater, Ma Rainey and the bandwent to Kansas City. That's where he met Teetna (sic) Palm. Pa Raineywas diseased by then. MR and the band were on a six-month tour. Henames some of the cities where they played.

14:46 PW asks what MR did with all of her money. TD responds "That's what theworld wants to know." In 1961 TD visited MR's brother in Columbus,Georgia. He was told the "Ma made a lot of money, but her weaknesswas young men." TD expands on this.

17:03 PW asks how MR worked up her material. TD responds.17:52 PW asks how MR paid her musicians. TD responds. He says he earned

enough money to get married.19:50 The following season, TD "took ill" after 2 shows, so he left the tour and he

band. The last time TD talked with MR about her show was 1929.22:46 TD talks about the experience and musical education he got from working

and touring with MR.26:21 TD describes a "typical" MR show. It was during vaudeville days. The show

ran for about an hour and fifteen minutes.30:35 TD talks about MR being "the mother of the blues."32:30 TD talks about being on MR's recording dates. He was with MR for about 3

½ seasons.36:00 End


Thomas A. Dorsey interview, #5, January 5, 1963


7 in.Time ContentStart PW asks TD to talk about his recording during the 1920s and 1930s after he

let Ma Rainey. TD responds.02:30 TD talks about recording with Tampa Red. He did not have an exclusive

recording contract, so he recorded for several recording companies.03:46 PW asks how TD prepared new material for recording. TD responds at

length.


Container Contents


Time Content05:47 PW asks if TD and Tampa Red worked together outside of the recording

studio. TD responds.08:02 TD says that in about 1930 "the blues began to start on the wane." He talks

about a group called The Hokum Boys.10:55 TS says "deep down in me I had these gospel songs..." ..."When the blues

left town, I concentrated on the gospel songs."12:06 TD talks about gospel singing groups and blues singing groups.13:08 PW asks about the condition of Negro religious music around 1930. TD

responds.17:36 PW asks about hymn style music transitioning to gospel music. TD

responds. He says that he "coined the words gospel songs" and "gospelsingers."

20:50 TD says that he wrote one of the first gospel songs which became popular.He sings it, then talks about it.

22.22 TD says that gospel singers have become big business. He talks aboutpublishing gospel music. He talks about "1 sheet" music and sellingcopies for 10 cents each.

25:43 PW asks what makes a gospel song and how does it differ from other formsof Negro music? TD answers and gives several examples. He mentionsthe Fisk Jubilee Singers.

29:50 TD says this music is a "great American heritage." The music totallyevolved in America. He talks about minstrel shows.

32:17 TD talks about where and when gospel music has become.33:50 PW asks to go back to what differentiates gospel songs from the others. TD

says he came along at a time when America needed gospel music. Hediscusses this at length and gives (e.g., sings) examples. He mentionsW.C. Handy.

39:29 TD says that right now gospel singing is at its height.40:06 PW asks how gospel music differs musically from its predecessor. TSD

responds. He mentions the blues.43:20 PW talks about gospel music and folk music of the Negro. TD responds.46:11 End


Thomas A. Dorsey interview, #6, January 5, 1963


7 in.Time ContentStart PW and TD discuss gospel music as folk music. They also talk about folk

singers3:20 TD talks about the place of music in the world. He calls it one of the

"heavenly things." They talk about composed songs and how they arechanged by the "folk process." They talk about music written down onpaper.

07:05 They talk about influential, individual performers and groups doing gospelmusic.

09:32 PW asks TD what or whom he considers to be the first legitimate singer orgroup of gospel singers. TD responds. The first person he mentions is(Sister) Rosetta Tharpe.

12:27 PW asks about the Universal Singers and what other gospel groups TDmight have heard. TD responds.


Container Contents


Time Content16:14 They talk about gospel singers and gospel choirs in church.20:15 PW asks what dozen songs, of all the songs TD has written, would be a

representative collection of his work. TD responds.Item-ID: AFC 2011/053:SR291

Geraldine Van Moses (vocal), Thomas A. Dorsey (piano), April 6, 1963

Rack number: RXH 4177Extent: 1 sound tape reel (Side A: 00:33:26) : analog, 7 1/2 ips, mono ; 7 in.Side B has not yet been digitized. Collector's original ID number: 143.Vendor's digitization note: the program is distorted at times.


Dorsey Dixon, Howard Dixon, and Nancy Dixon, August 1962

Rack number: RXH 4176Extent: 1 sound tape reel (Side A: 00:38:56) : analog, 3 3/4 ips, mono ; 7 in.Archivist's note: this is a proposed tape for a Dorsey Dixon LP, collected by Gene Earle

and Archie Green in Rockingham, North Carolina. Accompanying title list. Side B hasnot yet been digitized. Collector's original ID number: 176.

Vendor's digitization note: the program is distorted at times.Item-ID: AFC 2011/053:SR292

Phil Edwards - Piano, November 15, 1961

Rack number: RXH 4178Extent: 1 sound tape reel (Side A: 00:38:47) : analog, 7 1/2 ips, mono ; 7 in.Archivist's note: the interview follows the music. Accompanying notes include title list.

Side B has not yet been digitized. Collector's original number: 107.Vendor's digitization note: the program is distorted at times, and the speed ramps up near

the end of the recording.Item-ID: AFC 2011/053:SR086

Don Ellis interview, January 31, 1967

Rack number: RXH 3224Extent: on one side of 1 sound tape reel (acetate; 01:00:15) : analog, 3 3/4 ips, half track,

mono ; 7 in.Time ContentStart Static and comments about songs being good and condenser mic quality.00:18 DE discusses coming out to Los Angeles and starting a band. DE mentions

an earlier band, The Hindustani Jazz Sextet, and exploring rhythms andgospel sounds with a big band.

02:00 DE talks about the quality of the Musicians Union practice space in L.A.,the accomplishment of getting band members to practice at 10 am onWednesdays, and adding multiple basses to the group.

02:45 DE mentions going back to New York and working with Lucas Foss in abig band, as well as forming a smaller group to play around Buffalo(New York). This smaller group had two drummers and to basses. Uponreturning to L.A. DE wanted to form a big band with a large rhythmsection: five drummers and four basses.

04:36 PW asks what brought DE to this "rhythmic investigation." DE givesbackground on his previous experimentations with rhythms, and thendiscusses studying Indian music with Harihar Rao and discovering newrhythms.

06:37 DE's "all consuming passion" to develop himself rhythmically.07:18 DE's background as a composition grad student at UCLA, and where he first

met Harihar Rao.


Container Contents


Time Content08:15 DE mentions the rising prominence of the sitar in rock music and jazz, and

Ravi Shankar's upcoming visit to the United States. DE states that therock groups "take the easy way out" by just using the sitar drone soundand not the more complex Indian rhythms.

09:34 PW introduces the subject of semi-tones in Indian music, and differentscale systems, suggesting that the difference between Indian and Westernmusic is greater than just rhythms. DE gives a somewhat ambiguousreply, asserting that equal temperament rhythms are abominable, andeventually coming around to the power of intonation in blues music.

11:24 PW restates the subject, asking if "tonal ambiguity" isn't just as "excitementinducing" as the rhythms. PW brings up bottle neck slide playing inblues guitar as an example. DE reasserts that, compared to the Indianscale system, Western music is only just scratching the surface. DE goeson to mention his development of a quarter tone trumpet, and how itenables him to explore different sounds and pitches.

13:55 PW and DE discuss exploring tonality in the "massed sound of theorchestra."

15:56 PW asks when DE reorganized or actually formed his current band, if thereare any issues with keeping the band working, and how often they play.

18:00 DE discusses the makeup of the band, that not all of the players areprofessional musicians, and auditioning his rhythm section. DE givesnames and background information about the bass players and drummersin his band.

23:38 PW and DE discuss the public interest in the Indian/Western musiccrossover via jazz and the Beatles.

26:40 PW mentions The Byrds coining "raga rock" and the Beatles' "NorwegianWood."

29:08 DE talks about Harihar Rao coming to the States to work with jazzmusicians, and whether or not American jazz musicians were interestedin Indian music at that time. DE asserts that, like jazz, you have to studyIndian music to fully appreciate it.

32:34 DE discusses audience reactions and PW circles back to DE's assertionthat the rhythms were the crucial part of the music. PW asks how DEmaintains the synthesis of Western and Indian music. This leads into adiscussion of the differences between the two types of music and theirdevelopment.

39:20 DE discusses how he goes about combining Eastern and Western music.44:27 PW asks how long it took the other musicians to play DE's compositions

with ease and proficiency.46:18 PW asks who else in the band is contributing musical arrangements.48:25 PW and DE talk about an upcoming release on Liberty Records, recorded

live at Monterey, and another recorded at the Pacific Jazz festival.49:24 PW asks about recordings done for Irving Mills/Mills Music. DE explains

that Mills was a financial backer that fell through and tried to stop DEfrom releasing his own recordings.

53:58 PW asks what jobs are available for a big band these days.55:43 PW asks about Ellis Music Enterprises.57:00 PW lays out how DE could reach a more specific audience by advertising in

the MENC journal and self-publishing a method book.1:00:1

5End


Container Contents



Dave Evans, undated

Rack number: RAA 59329Extent: 1 sound tape reel : analog ; 10 in.Archivist's note: this is possibly Dr. David Evans, musicologist.


Dave Evans - dubs of Mississippi recordings, September 6, 1967



Dave Evans - dubs of Mississippi blues music, September 6, 1967

Rack number: RXH 5450Extent: 1 sound tape reel (00:31:42) : analog, 7 1/2 ips, full track, stereo ; 7 in.Collector's original ID number: 109.Archivist's note: Dr. David Evans is a musicologist. This may be a collection of

recordings he collected. The date 9/6/1967 is written on the tape box spine.Vendor's digitization note: the program is distorted at times.

Time ContentStart

(00:00:01)

"Mean Mistreater" (Woodrow Adams, vocal, harmonica; Curtis Allen,guitar; Fiddlin' Joe Martin, drums). Recorded in Robinsonville,Mississippi on August 28, 1967.

00:05:53

"Sitting on Top of the World" (same personnel and date as "MeanMistreater")

00:09:36

"Bye and Bye Blues" (Houston Stackhouse, vocal, guitar; Carey Mason,guitar). Recorded in Crystal Springs, Mississippi on September 3, 1967.

00:12:20

"Mean Black Spider" (same personnel and date as "Bye and Bye Blues")

00:15:22

"Mercy Blues" (Carey Mason, vocal and slide guitar; Houston Stackhouse,guitar)

00:18:09

"I Hate to Hear My Good Girl Call My Name" (same personnel as "MercyBlues")

00:20:44

"Return Mail" (Houston Stackhouse, vocal and slide guitar; Carey Mason,guitar)

00:23:56

"Traveling Blues" (Mager Johnson, vocal and guitar; Carey Mason, guitar).Recorded in Crystal Springs, Mississippi on September 3, 1967. Abruptbeginning to the song, with one false start.

00:26:23

"Doodlesville Blues" (Carey Lee Simmons, vocal and guitar). Recorded inJackson, Mississippi on September 4, 1967.

00:28:42

"B. and O. Blues" (Jack Owens, vocal and guitar). Recorded in Bentonia,Mississippi on September 6, 1967.

00:31:42

End


Fife and Drum Bands - dub of material on Testament T-2223 A and B, 1974



Container Contents


Archivist's note: these recordings were collected between 1942 and 1970, and releasedon the Testament label as Traveling Through the Jungle: Negro Fife and Drum BandMusic from the Deep South.

Note from the tape box: "material is not in order used on LP; sequence indicated on logsheet included." Collector's original ID number: 136.


First International Blues-and-Boogie Woogie Festival, #1, September 14-15, 1974

Rack number: RXH 3680Extent: 1 sound tape reel (polyester) : analog, mono ; 7 in.Archivist's notes: The festival was organized by Hans W. Ewert for Radio WDR and held

in Cologne, West Germany. While the date on the tape box is September 8, the festivalwas held on September 14-15. Three digital files were created from this recording:their durations are 00:43:59, 00:47:20, and 01:35:42. See the notes for SR133

Side A (half-track format; 00:43:59)LC engineer's notes: the tape appears to have been initially recorded on a quarter-track

stereo machine at 3.75 ips on one side only and later reused on a half track monomachine recorded on both sides and running at 7.5 ips. This file is Side A of thehalf-track format recording on the tape.Time ContentStart unidentified piano solo05:02 unidentified piano solo07:00 unidentified piano solo09:11 unidentified piano solo12:49 unidentified piano solo16:09 unidentified piano solo18:23 unidentified piano solo21:18 unidentified piano solo24:22 unidentified piano solo28:27 applause - unidentified piano solo32:35 unidentified piano solo35:10 applause, the rhythmic applause, some talking in German37:08 first line: "How long how long ....., how long mama, how long" - blues song,

female vocal and piano41:28 unidentified blues song - female vocal and piano44:00 End

Side B (half-track format; 00:47:20)LC engineer's notes: the tape appears to have been initially recorded on a quarter-track

stereo machine at 3.75 ips on one side only and later reused on a half-track monomachine recorded on both sides and running at 7.5 ips. This file is Side B of thehalf-track format recording on the tape.Time ContentStart unidentified piano solo02:57 unidentified piano solo06:47 unidentified piano solo09:48 unidentified piano solo14:00 unidentified piano solo17:32 unidentified piano solo19:46 unidentified piano solo23:15 unidentified piano solo30:11 talking in German, the unidentified piano solo32:51 unidentified piano solo


Container Contents


Time Content34:43 unidentified piano solo40:04 unidentified piano solo43:38 unidentified piano solo47:20 End

Side A (right channel in the quarter-track stereo format; 01:35:42)LC engineer's notes: the tape appears to have been initially recorded on a quarter

track stereo machine at 3.75 ips on one side only and later reused on a half-trackmono machine recorded on both sides and running at 7.5 ips. The audio in this filecorresponds to what would be the right channel of Side A in the quarter track stereoformat. Because of the incomplete erasure, one can hear backwards audio of whatwould be Side Two of the half-track mono rerecording bleeding over the audio as thefile progresses. This makes the file very hard to listen to, but it was transferred forcompleteness sake, as well as historical interest as the audio is an air check of Bostonradio stations WBCN-FM for the first 3:45, then WJIB-FM when it was a beautifulmusic station.Time ContentStart unidentified, classical music with orchestra00:54 very distorted vocal, unintelligible1:32 unidentified, classical music with orchestra, then male voice doing a station

break for WBCN, Boston03:46 seemingly random mix of music and musical fragments1:35:4

2End


First International Blues-and-Boogie Woogie Festival, #2, September 14-15, 1974


ips, half track, mono ; 7 in.See the notes for SR131.Side A

Time ContentStart talking in German; first line: "When I heard my baby boogie, makes you

climb the walls" - piano and male vocal04:38 first line: "I've got a good mind to give up living" - piano and male vocal10:22 unidentified song - piano solo13:35 first line: "I've got a girl and she like me whole night and day" - piano and

male vocal18:55 talking in German, introduces the next band - unidentified song - piano solo21:45 unidentified song - piano solo25:10 unidentified song - piano solo28:25 unidentified song - piano solo31:51 unidentified song - piano solo39:31 unidentified song - piano solo42:46 unidentified song - piano solo46:47 End

Side BTime ContentStart unidentified blues song - piano solo03:01 unidentified song - piano solo08:16 unidentified song - piano solo


Container Contents


Time Content12:53 unidentified song - piano solo15:16 unidentified song - piano solo18:19 unidentified song - piano solo21:43 unidentified song - piano solo25:31 unidentified song - piano solo29:12 unidentified song - piano solo34:18 applause, introduction to the song "Sanity" - piano solo37:52 introduction to a blues song, first line: "Did you ever go down on the Mobile

and KC line? I want to ask you, have you seen that girl of mine?" - pianoand vocal

42:13 unidentified song - piano solo43:57 "We don't care what Mama don't allow, we gonna boogie woogie anyhow"48:05 End


First International Blues-and-Boogie Woogie Festival, September 14-15, 1974


ips, half track, mono ; 7 in.See the notes for SR131.Side A

Time ContentStart applause, unidentified blues song, female vocal and piano02:59 talking in German, introduction of next performers, - unidentified song -

piano solo07:22 unidentified song - piano solo11:01 "Texas Stomp" - piano solo13:50 introduction to the next song, unidentified song, piano and male vocal18:15 unidentified song - piano solo22:49 unidentified song - piano solo25:56 talking in German, unidentified song - band and male vocal31:37 "I Just Can't Be Satisfied" - band32:26 End

Side BTime ContentStart "I Just Can't Be Satisfied" - band and male vocal06:16 first line: "A gypsy woman told my mother, .... I was born. You got a boy

(scout) comin' and he'll be a son of a gun." - band and male vocal14:53 first line: "Sugar Mama, Sugar Mama well Sugar Mama please come back to

me" - band and male vocal23:00 unidentified song - piano solo26:25 unidentified song - piano solo29:02 unidentified blues song - piano solo32:05 End


First Japan Jazz Festival, September 13, 1963


track, stereo ; 7 in.


Container Contents


Archivist's note: part of the program series, "Ambassadors of Jazz." September 13, 1963is the broadcast date. Recorded at Hibiya Outdoor Hall, Tokyo. Mitsuko Miyakerecorded from the 1970s under the name Martha Miyake.Time ContentStart An announcer introduces the program with "Tokyo Japan. The first Japan

Jazz Festival. This is Ambassadors of Jazz." (more)00:55 "Daahoud" (Clifford Brown) - Kazuo Yashiro Trio and Mitsuko Miyake07:25 The announcer introduces the members of the Kazuo Yashiro Trio.07:45 "The Man I Love" - Kazuo Yashiro Trio and Mitsuko Miyake10:36 "Blues for Mitsuko" - Kazuo Yashiro Trio and Mitsuko Miyake14:23 Next song is introduced by the announcer.14:34 "Glory Hallelujah" - Kazuo Yashiro Trio18:15 Announcer speaks over the music, closes the program.18:52 Music resumes, no announcer.20:04 End


Clare Fischer Orchestra (dubs), undated



Gary Foster Quartet (dub) - Chet Baker Quartet, 1953

Rack number: RXH 5511Extent: 1 sound tape reel : analog ; 7 in.The Chet Baker Quartet was recorded live at Carleton Theater, in Los Angeles.


Bud Freeman #1, June 30-July 1, 1958

Rack number: RXH 4607Extent: 1 sound tape reel (Side A: 00:42:11) : analog, 7 1/2 ips, stereo ; 7 in.Performances by Bud Freeman, Bob Hammer, and Mousey (Mousie) Alexander.Archivist's note: Side B has not yet been digitized.Vendor's digitization note: there is a gap in the sound on Side A, from 00:20:11 to

00:21:07Time ContentStart "California Here I Come"03:00 "I Can't Give You Anything But Love"06:20 "'S Wonderful"09:56 "Who Cares"13:25 "Chicago"16:37 "Satin Doll"20:10 Side A ends21:06 St. Louis Blues24:36 "Limehouse Blues"27:43 "Newport News Blues"31:08 "Just One of Those Things"34:48 "Gone with the Wind"38:44 A Viking to my Liking42:11 End


Bud Freeman #2, February 16-17, 1959



Container Contents


Extent: 1 sound tape reel (Side A: 00:27:54) : analog, 7 1/2 ips, stereo ; 7 in.Archivist's note: Side B has not yet been digitized.Logger's note: performances by Bud Freeman, Dick Cary, Jimmy Jones, Leonard Gaskin,

and George Wettling. The insert on the original tape box contains the titles of thesongs and some notes about each song.

Vendor's digitization note: the program is distorted at times.Time ContentStart "Birth of the Blues"03:13 "A Foggy Day"05:23 "Mimi"07:30 "I've Got It Bad"09:59 "I Guess I'll Have To Change My Plan"13:00 "The Very Thought Of You"17:41 "They're Playing Our Song"20:00 "Gentleman's Blues"23:53 "Try a Little Tenderness"26:22 "We're Through"27:54 End


Blind Boy Fuller (Fulton Allen) / Barbecue Bob (Robert Hicks), undated

Rack number: RXH 5516Extent: 1 sound tape reel : analog ; 5 in.Recordings dubbed from commercial releases.


Eddie Gale, undated


5 in.Archivist's note: the Side B content is unrelated to the Side A recording, and is out of

scope for this collection.Item-ID: AFC 2011/053:SR357

John Gallager (Side 1); Hobart Smith (Side 2), September 28, 1964


7 in.Collector's original ID number: 218Archivist's note: live recordings, dubbed from recordings made by Bruce Jackson, and

related to recordings in the Bruce Jackson and Diane Christian collection (AFC2011/009). This tape is probably a compilation dubbed from recordings Jacksonsent to a record company. Musicians include John, Jimmy, and Fred Gallagher, BillDeBusk, and Hobart Smith. Recorded in Saltville, Virginia.


Erroll Garner / Phineas Newborn, undated



Garon dubs #1, undated


7 in.Dubs of commercial recordings.


Container Contents




Archivist's note: "Garon" may be Paul Garon, a noted writer and blues historian.Vendor's digitization note: the program is distorted at times.




7 in.Dubs of commercial recordings. See archivist's note for SR429.Vendor's digitization note: the program is distorted at times.




7 in.Dubs of commercial recordings. See archivist's note for SR429.Vendor's digitization note: the program is distorted at times, and there is significant hum


Stan Getz, New York, 1980

Rack number: RXH 4103Extent: 1 sound tape reel (polyester, 00:29:12) : analog, 7 1/2 ips, half track, stereo ; 7 in.Two instrumental works (and possibly more), featuring Stan Getz; possibly recorded in

New York. A man's voice can be heard between works 1 and 2. Collector's original IDnumber: 59.Time ContentStart

(00:00:05)

unidentified work #1

00:11:05

unidentified work #2

00:29:12

End


Hovanes Getzoian, undated

Rack number: RAA 59330Extent: 1 sound tape reel (master) : analog, 15 ips, 2 track, stereo ; 10 in.Archivist's note: This recording may have been made on a reused tape, as the information

on the tape box seems to be from two different recording sessions, with differentartists.


Hovanes Getzoian #2, undated

Rack number: RXH 4104Extent: 1 sound tape reel (polyester, 00:20:42) : analog, 15 ips, half track, stereo ; 7 in.All songs feature drums, sitar, and male solo voice.


Container Contents


Time ContentStart

(00:00:05)

first song

00:10:00

second song

00:13:06

third song

00:20:42

End


Frank and Jake Gilmore #1, June 24, 1965

Rack number: RXH 4179Extent: 1 sound tape reel (00:29:57) : analog, 7 1/2 ips, mono ; 7 in.Personnel: Frank and Jake, vocals and guitars; Ted Bogan, vocals and bass.Vendor's digitization note: the recording speeds up near the end of the tape.


Glory of Negro Song 1-A, undated

Rack number: RXH 5454Extent: 1 sound tape reel (00:16:36) : analog, 7 1/2 ips, mono ; 7 in.Probably dubbed from a commercial recording. Collector's original ID number: 55.


Benny Goodman: airshots, 1938-1958



Benny Goodman Sextet (unissued recordings, Fall 1976); Bob Wilber Trio (January 24,1964); Soprano Summit, 1st set, at the Big Horn Jazz Festival (June 1, 1975); Wilber,Sutton jam session (June 1, 1975); Soprano Summit, second set (June 1, 1975), 1964-1976Rack number: RXH 4096Extent: 1 sound tape reel (polyester; Side A: 01:37:31, Side B: 01:37:31) : analog, 3 3/4

ips, quarter track, stereo ; 7 in.LC engineer's note: live recordings; some are dubs that are multiple generations removed

from the source recordings. The tape was recorded out of relative phase. This wascorrected in the transfer.

Side ATime ContentStart An unidentified instrumental jazz song3:40 The next unidentified instrumental jazz song9:58 The next unidentified instrumental jazz song14:55 The next unidentified instrumental jazz song19:23 The next unidentified instrumental jazz song22:13 The next unidentified instrumental jazz song26:47 The next unidentified instrumental jazz song30:32 The next unidentified jazz song begins. At the beginning of the song, a

vocalist lets out a few grunts and a soft yell, "O!" He hums, grunts, andyells out throughout the first couple minutes of the song.

33:28 The next unidentified instrumental jazz song37:03 The next unidentified instrumental jazz song39:09 The next unidentified instrumental jazz song


Container Contents


Time Content43:02 The next unidentified instrumental jazz song45:35 The next unidentified instrumental jazz song starts- a piano starts playing

lightly in the background while people are still talking.50:22 The next unidentified instrumental jazz song56:49 The next unidentified instrumental song1:00:2

9The next song. There is a vocalist. [It seems like it might be the song,

"Somebody Else is Taking My Place," but many of the lyrics aredifferent.]

1:03:05

The next unidentified instrumental jazz song

1:09:57

The next unidentified instrumental song

1:12:30


1:16:23

The next unidentified instrumental song. Background chatting can be heardwhen the song is over.

1:18:17


1:22:07


1:25:37


1:28:56


1:35:19


1:37:29

One note plays and gets cut off

1:37:30

End

Side BTime ContentStart Announcer tells the audience that the band will go on to tour South Africa,

and introduces who is playing which instrument.00:51 First unidentified instrumental song07:13 Second unidentified instrumental song11:18 The announcer [or a band member] announces that they will now hear

from their "lovely" vocalist, Marty Grosz. The audience laughs. Marty[presumably] says, "This is one of the nicest transvestite bands I've everplayed with. First couple of weeks were rough because of the garter beltchaff, but we've conquered that problem."

12:03 "How Can You Face Me Now"15:54 Next unidentified instrumental song24:06 The announcer/band member starts talking about the album Soprano Summit

and that they will now perform "Stealin' Away."31:23 The announcer/band member says they would like to perform another song

- one that is associated with a singer from Duke Ellington's band, IvyAnderson. He says, "But we have our own Ivy Anderson - Marty Grosz!"The song is, "Rose of the Rio Grande."

36:41 The announcer/performer does a run through of who is playing whatinstrument, while they play music in the background.


Container Contents


Time Content37:14 They go from announcing who's who and playing music into their next song,

which is instrumental and unidentified.51:18 Some music plays - not a song, just some random notes. People in the

audience are chatting.51:52 The next unidentified and instrumental song1:06:3

7The next unidentified and instrumental song

1:15:56

Announcer/band member explains that the arrangement they just played[name unintelligible on recording] was something that Bob took fromoriginal 1911 sheet music from a John [last name unintelligible]orchestra. He then explains that the next song is a piece called, "I HadIt, But It's All Gone Now." Sidney Bechet wrote it in 1923 and Bob[Wilber] and him recorded it together in 1958.

1:16:56

Instrumental song, "I Had It, But It's All Gone Now."

1:20:30

The next song is announced: Marty Grosz and George Duvivier playing"Swing 39"

1:26:15

Milneburg Joys

1:27:36

Vocalist starts singing

1:30:53

Next unidentified and instrumental song starts playing. Unidentified andinstrumental. You can hear faint chattering in the background.

1:37:06

The recording ends and the announcer/performer calls out, "Bob Wilber!"

1:37:11

End


The Gospel Kings of Harmony, #1 ("His Eye is on the Sparrow"), September 26, 1961

Rack number: RXH 4105Extent: 1 sound tape reel (polyester, 00:22:48) : analog, 7 1/2 ips, half track, mono ; 7 in.All selections: James Artis, Walter Davis, John Scarbough, William Moore, Clarence West

(guitar). Recorded in Philadelphia, Pennsylvania. Collector's original ID number: 146.Time ContentStart "Come On In the Prayer Room" (started at 00:00:05)00:02:

53"What a Friend We Have in Jesus"

00:05:43

"It's Cool Down Yonder (By the Chilly Jordan"

00:08:41

"I Promised the Lord That I Would Hold Out (Until He Meets Me inGalilee)"

00:11:38

"His Eye Is on the Sparrow"

00:13:37

"Nothing But the Blood of Jesus"

00:15:46

"God Is Everything to Me"

00:18:44

"What A Friend We Have in Jesus" (duplicate selection)

00:21:35

"Sit Down on the Banks of the River" (incomplete)


Container Contents


Time Content00:22:

48End


The Gospel Kings of Harmony, September 26, 1961

Rack number: RXH 4228Extent: 1 sound tape reel (00:18:43) : analog, 7 1/2 ips, mono ; 5 in.Performances by the Gospel Kings of Harmony, recorded in Philadelphia, Pennsylvania.

The vocalists are identified as James Artis; Walter Davis; John Scarbough; WilliamMoore; and Clarence West. Collector's original ID number: 207.

Archivist's note: there have been different singing groups known as the Kings ofHarmony.


The Gospel Kings of Harmony (dub copy), September 26, 1961



Bobby Hackett, #1, undated

Rack number: RXH 4206Extent: 1 sound tape reel (00:48:10) : analog, 7 1/2 ips, stereo ; 7 in.Vendor's digitization note: the program is distorted at times.


Bobby Hackett, #2, undated

Rack number: RXH 4207Extent: 1 sound tape reel (00:46:08) : analog, 7 1/2 ips, stereo ; 7 in.


Bobby Hackett and Vic Dickenson, tape #1, undated


7 in.Collector's original ID number: 130.Vendor's digitization note: crosstalk on the tape, and the program is distorted at times. On

Side A the right channel is at a low level from the start to 00:00:23.Item-ID: AFC 2011/053:SR335

Bobby Hackett and Vic Dickenson, tape #2 / Wild Bill Davison #2, November 12, 1972,December 10, 1972Rack number: RXH 4220Extent: 1 sound tape reel (Side A: 00:46:29, Side B: 00:45:33) : analog, 7 1/2 ips, stereo ;

7 in.Vendor's digitization note: the programs are distorted at times.


Halcyon, circa 1975

Rack number: RXH 4106Extent: 1 sound tape reel (backcoated polyester, 00:37:06) : analog, 7 1/2 ips, quarter

track, stereo ; 7 in.Archivist's note: David Pritchard and Pete Robinson co-founded the group Contraband.

Musicians: David Pritchard (guitar), Tom Ranier (keyboards), David Parlato (bass),John Hernandez (percussion).


Container Contents


Time ContentStart

(00:00:08)

"Halcyon Daze"

00:10:35

"Mr. Bubbles"

00:22:18

"Hui-Neng Survival"

00:30:01

"Event"

00:37:06

End


Mike Hall (original), reel #1, undated

Rack number: RXH 4215Extent: 1 sound tape reel (00:30:47) : analog, 7 1/2 ips, stereo ; 7 in.Dub copy of songs not under copyrighted. Accompanying title list.


Mike Hall (original), reel #2, undated



Mike Hall, reel #3, undated

Rack number: RXH 4217Extent: 1 sound tape reel (00:16:22) : analog, 15 ips, stereo ; 7 in.Vendor's digitization note: significant buzz from the tape.


Mike Hall, #4, undated

Rack number: RXH 4218Extent: 1 sound tape reel (00:09:36) : analog, 15 ips, stereo ; 7 in.Vendor's digitization note: the program is distorted at times, and there is significant buzz


Mike Hall ("Lord Be Merciful"), #5, undated

Rack number: RXH 4219Extent: 1 sound tape reel (00:02:59) : analog, 15 ips, stereo ; 7 in.Vendor's digitization note: the program is distorted at times.


Chico Hamilton Trio - Chet Baker - selected cuts, undated



Lionel Hampton Quartet - "The Bop Session" - Lee Konitz Trio, 1953-1975


ips, half track, stereo ; 7 in.LC engineer's notes: Lionel Hampton Quartet recordings were dubbed from various

LPs. "The Bop Session" was dubbed from the commercial recording with catalog


Container Contents


number Sonet 692 (recorded May 19-20, 1975). The Lee Konitz Trio recording wasdubbed from the commercial recording I Concentrate On You - A Tribute To ColePorter,catalog number SCS-1018 (Steeplechase Records; recorded July 30, 1974).

Side ATime ContentStart The Lionel Hampton Quartet (LH) start with an instrumental work featuring

the vibraphone. It is titled "Just One of Those Things."8:05 The next instrumental selection titled "April in Paris"14:22 The next selection called "Soft Winds"20:34 The next instrumental piece called "How High the Moon"28:09 LH play their next instrumental work titled "Hallelujah"34:34 The next selection by LH titled "Old Black Magic"41:46 "Blues for Norma" by LH49:00 The next instrumental piece called "This Can't Be Love"56:40 The next selection by LH called "Midnight Sun"1:02:5

6LH play their next selection titled "Love for Sale"

1:12:22

LH perform their next piece "Flying Home"

1:15:40

The next instrumental piece by LH titled "Stomping at Savoy"

1:26:36

The final selection for the first part of this series titled "Stardust"

1:36:39

End

Side BTime ContentStart The Lionel Hampton Quartet (LQ) start with an instrumental work titled

"Blues 'n' Boogie" featuring a saxophone solo.9:42 The second selection by LQ titled "Confirmation"18:14 LQ play "Groovin' High"25:34 The next selection titled "Lover Man"32:33 The next instrumental work "All the Things You Do"42:48 LQ play their final selection titled "Late Bird"50:58 The Lee Konitz Trio (LK) play their first instrumental work for this set titled

"Weaver of Dreams"55:28 The next selection "I Want a Little Girl."1:02:1

5LK play their next instrumental work titled "Invitation"

1:06:53

"I Remember Clifford" by LK

1:10:55

LK play their next selection called "Oleo"

1:14:57

The next selection "St. Thomas"

1:18:22

LK play their next instrumental work titled "No Greater Love"

1:23:23

The next selection "Lush Life"

1:27:04

LK play their next selection "Just One of Those Things"


Container Contents


Time Content1:30:3

2"Easy to Love" by LK

1:35:18

End


Bill Harris in concert, December 15, 1962

Rack number: RXH 4068Extent: 1 sound tape reel (polyester, 00:40:37) : analog, 7 1/2 ips, full track, mono ; 7 in.Collector's original ID number: 63.

Time ContentStart A musician plays their first guitar instrumental piece for concert listeners7:03 The next guitar instrumental piece8:55 The next selection11:35 A solo guitar performance15:01 The next guitar instrumental piece21:20 The next selection23:48 The next piece25:17 A solo guitar performance30:02 The next piece33:40 The next guitar instrumental piece37:01 The next selection40:36 End


Willie Hatcher, #1, undated

Rack number: RXH 4181Extent: 1 sound tape reel (00:32:11) : analog, 7 1/2 ips, mono ; 7 in.Vendor's digitization note: silence in the recording from 00:25:40 to 00:29:57.


Coleman Hawkins Sextet, February 22, 1965



Ted Hawkins [rough demo], circa 1986 or before

Rack number: RXH 4122Extent: 1 sound tape reel (acetate and polyester mix, 00:20:25) : analog, 15 ips, half track

and quarter track, mono ; 7 in.Collector's original ID number: 260.Archivist's note: the tape box lists the lineup of musicians as Johnny Young, vocal; Walter

Horton, harmonica; Jimmy Walker, piano. According to a slip of paper accompanyingthe tape, the solos were by Pete Welding.

LC engineer's notes: A compilation tape, taken from two different sources, in twodifferent formats. The first two cuts on the tape are identical, aside from tape speed.(one is 15 ips, the other 7.5 ips in half track format). It is an instrumental, mostlyguitar-based and in stereo. It's not a polished studio production which makes me thinkthis was some kind of advanced demo. The other four cuts on the tape are 7.5 ipsand in quarter-track stereo format (but the tracks are in mono.) I was able to identifythe performer as Ted Hawkins and are songs that appear on a 1986 LP on RounderRecords (called Watch Your Step). However, these are not the same mixes and one is avery different mix to what was released. The recordings date back to the early 1970sand were part of an album project that was completed but never released due to legal


Container Contents


issues. This may be a copy of some of the songs close to when they were recorded. Bythe time this was issued in 1986, they were remixed (or Pete had rough mixes neverintended for release). Track 1 and Track 2 are identical except for speed. Track 1 is15 ips and Track 2 is 7.5ips. They are also half-track stereo. Cuts 3 through 6 are inquarter-track stereo format and are from a Ted Hawkins LP project in the early 1970sbut not released until 1986. The mixes are different to what was issued in 1986. Theyare also in mono sound.


The Heavenly Kings, #1, July 21, 1962

Rack number: RXH 4141Extent: 1 sound tape reel (Side A: 00:42:25) : analog, 7 1/2 ips, mono ; 7 in.Archivist's note: Side B has not yet been digitized. Collector's original number: 245.Vendor's digitization note: the program is distorted at times.


The Heavenly Kings (dub copy), July 21, 1962



Erwin Helfer (solo piano), May 8, 1963


track, mono ; 7 in.Logger's note: several tunes are repeated (as listed on the tape box) and are sometimes

incomplete on the recording. Because of the stop-and-start nature of the recording, thedistinct titles have not yet been matched with the tunes on the tape. An attempt hasbeen made to recognize when distinct tunes have been played or repeated, but this issubject to revision.Time ContentStart

(00:00:05)

tune 1

00:02:10

tune 1 (second attempt; incomplete)

00:02:34

tune 1 (third attempt; incomplete)

00:02:47

tune 2 (possibly "One Step Beyond")

00:05:04

tune 3

00:07:13

tune 4

00:09:23

tune 5

00:11:36

tune 6

00:13:43

tune 7

00:16:32

tune 8 (false start)


Container Contents


Time Content00:16:

46tune 8 (second attempt)

00:18:52

tune 9 (first attempt; interrupted by phone ringing)

00:19:31

tune 9 (second attempt)

00:22:56

tune 10

00:24:44

tune 11 (first time)

00:27:07

tune 11 (second time)

00:29:15

tune 12 (first attempt)

00:30:25


00:31:38

tune 12 (third attempt, at a faster pace)

00:32:43

tune 13 (first attempt)

00:32:55


00:33:07

tune 13 (third attempt)

00:35:51

tune 13 (fourth attempt)

00:36:02

tune 13 (fifth attempt)

00:38:06

tune 13 (sixth attempt; recording ends at 00:40:32)

00:40:40

End


Erwin Helfer, circa 1960

Rack number: RXH 5540Extent: 1 sound tape reel (00:05:45) : analog, 7 1/2 ips, mono ; 5 in.Archivist's note: Includes two songs: "Four O'Clock Blues" and "One Step Beyond." Side

B has not yet been digitized, and may be blank. Collector's original ID number: 204.Vendor's digitization note: the program is distorted at times.


Bill Henderson, undated

Rack number: RXH 4076Extent: 1 sound tape reel (backcoated polyester, 00:34:20) : analog, 7 1/2 ips, quarter

track, stereo ; 7 in.LC engineer's note: unreleased/unissued Vee Jay recordings. The tape was recorded out

of relative phase and corrected in the transfer. The first track has a gap at start whereaccidental erasure occurred at some point. The audio was also over-recorded on thetape, resulting in distortion.Time ContentStart No sound between 0:08-0:42


Container Contents


Time Content0:45 Bill Henderson (BH) performs his first song titled "Please Send Me

Someone to Love"4:47 The next selection by BH titled "Sleepy/It Never Entered My Mind"7:08 BH performs "Never Will I Marry"11:03 BH performs his next song, "Hooray for Love"14:17 BH performs his next selection that may be titled "Royal Garden Blues"16:53 BH sings his rendition of "Skylark"19:29 The next selection by BH titled "I Want You to Marry Me"22:09 BH performs his next piece, title is unknown25:17 I Go for That by BH29:10 BH perform his next song, possibly titled "Don't Mess with Mr. In Between"31:51 "Yes, Indeed" by BH34:16 End


John Lee Henley interview and songs, November 30, 1965

Rack number: RXH 3213Extent: on one side of 1 sound tape reel (polyester; 00:37:50) : analog, 3/4 ips (for

interview) and 7 1/2 ips (for songs), half track, mono ; 7 in.Time ContentStart PW asks when JLH was born and when, JLH responds and mentions

he started playing harmonica when he was young, but really becamepolished in his early 30s.

00:53 PW asks what made him start playing the harmonica. JLH responds andmentions his musical influences, and that he liked hearing it as a kid.

01:30 PW asks what harmonica music JLH recalls from his childhood and if hecan still play them.

02:24 PW asks if JLH had any siblings and if they played, JLH responds that hedidn't. Then asked about his parents, JLH said they didn't either but hisfather farmed and played baseball as a pitcher.

03:14 PW asks what the nearest big town was, JLH responds and mentions that hisgrandfather didn't want to let him play music.

03:56 PW asks why JLH thinks many people, especially religious, are against theblues. JLH responds and mentions his grandfather was a preacher andconsidered it sinful if it wasn't religious music.

05:18 PW asks "he didn't approve of you playing the harp at all?," JLH talks abouthow his dad left when he was young, he never got a guitar because itwas too big and easy to find, but he could hide his harmonica in thehouse easily and would play it whenever his grandfather left the house.He says eventually his grandfather heard from others that he could playvery well.

06:40 PW asks how JLH learned to play harp, and how long it took him. JLHresponds, and explains it took him a long time, and that he figured outa lot of the harp positions by himself, and learned by ear, as well aslearning from the artist Sonny Boy.

08:35 PW asks JLH if other than teaching himself, if there were any other artiststhat he learned from, and if there were any other players he knew playedwell near him. JLH responds and mentions Rice Miller.

09:30 PW asks when JLH remembers seeing Rice Miller for the first time. JLHresponds 1938 and talks about Rice's career and how he used to imitateSonny Boy Williams and lie about being him.


Container Contents


Time Content11:57 PW asks about when he was living in Canton (spelling?), his hometown if

he remembered much music being played, places to go to hear, goodplayers, or people who recorded. JLH responds and mentions that mostrecorded music he heard growing up he didn't know who they were, butthere were good players.

13:09 PW asks if JLH could hear much blues on the radio growing up. JLHresponds no, but mentions several on record.

14:11 PW asks if there was much musical activity in Canton where he grew up,or if there were parties and places he could hear a lot of music. JLHresponds that there were many. PW then asks if there were many peoplefrom around Canton that were skilled that played nearby and if the houseparties occurred at any particular time of the year. JLH responds with afew artists, and says they were year-round.

16:36 PW asks if JLH played at many of these events, and if he played withanyone. JLH responds and mentions playing with Buddy Carr (Carl?)

17:14 PW asks when JLH came to Chicago. JLH responds (1943), around when hefound Sonny Boy. He brings up musicians he was familiar with some heknew personally, Walter, Muddy Waters and more.

19:50 PW asks if JLH ever started working professionally as a musician. JLHresponds, and says only really around 1953 he had a lot going on semi-professionally. PW mentions a man named Spires, Willy Smith, and arecord JLH played on.

20:53 PW asks if JLH recalls how many numbers were on the previouslymentioned record with Spire. JLH responds. PW talks about recordcompanies hand picking songs to put on a record during this time periodout of a set list, to figure out how many songs were cut from the recordthey are discussing.

23:50 PW asks how Melrose heard about JLH. He responds.24:14 PW asks if there were any musicians JLH worked with around town other

than Spires. He responds.25:13 PW asks how JLH ended up making his first record. JLH responds and talks

about the band members and recording in 1948.26:15 PW asks if anything happened with the aforementioned record. JLH

responds that it didn't get out of the city they were in.27:53 PW asks how much JLH got paid for making the session. JLH responds that

he never saw any money.28:53 PW recalls JLH saying he wasn't interested in doing music professionally.

JLH responds that he would have if he got a break. PW says "he wassmart enough to not have too much depend on music," JLH says hewould have if it got the chance, and that records makes the careers, andthat he saw it as more than a hobby. They talk about selling record, and itmaking it big having to do with more than just good music, but it beingthe right time as well.

31:44 PW mentions that musical fads and trends come out and they sell, andsometimes selling music is about it being the right time for the musicbeing played.

33:12 Interview cuts out - JLH performs a song on harmonica.20:10 They discuss FM's new job, driving a tractor.37:49 End


Container Contents



Dan Hicks and His Hot Licks, between June 25-28, 1970

Rack number: RXH 4075Extent: 1 sound tape reel (backcoated polyester, 00:21:35): analog, 7 1/2 ips, half track,

stereo ; 7 in.Recorded at The Fillmore West, San Francisco, California.LC engineer's note: The tape was recorded out of relative phase and corrected in the

transfer.Time ContentStart The Hot Licks perform their first piece, "Reeling Down"5:08 My Lady by the Hot Licks8:43 The next selection, title is unknown14:24 the Hot Licks perform "He Don't Care," which was featured in the Universal

movie Revolution.18:30 The next selection, "I Feel Like Singing"21:26 End


Dan Hicks and His Hot Licks (Epic Records), #1, 1970

Rack number: RXH 4596Extent: 1 sound tape reel (00:29:50) : analog, 7 1/2 ips, stereo ; 7 in.This may be a master recording.


Dan Hicks and His Hot Licks (Epic Records), #2, 1970



Dan Hicks and His Hot Licks, #3, 1970



Big Bill Hill - Hound Dog Taylor, #1, March 4, 1965

Rack number: RXH 4160Extent: 1 sound tape reel (00:32:23) : analog, 7 1/2 ips, mono ; 7 in.Collector's original ID number: 103.Vendor's digitization note: the program is distorted at times.


Big Bill Hill - Hound Dog Taylor, #2, March 4, 1965

Rack number: RXH 4161Extent: 1 sound tape reel (00:33:43) : analog, 7 1/2 ips, mono ; 7 in.Vendor's digitization note: Vendor's digitization note: the program is distorted at times.,

and there is a significant amount of hum.Item-ID: AFC 2011/053:SR276

Big Bill Hill - Hound Dog Taylor, #3 / Gi Gi de Carolo / #3, March 9, 1966

Rack number: RXH 4162Extent: 1 sound tape reel (00:29:33) : analog, 7 1/2 ips, mono ; 7 in.Vendor's digitization note: the program is distorted at times, as well as a significant

amount of buzz.


Container Contents



Big Bill Hill - Hound Dog Taylor, March 9, 1966

Rack number: RXH 4193Extent: 1 sound tape reel (00:24:47) : analog, 7 1/2 ips, mono ; 7 in.Vendor's digitization note: the program is distorted at times, and a buzzing sound can be

heard from the tape.Item-ID: AFC 2011/053:SR598

Carl Hodges #1 (Saluda, Virginia), possibly 1961

Rack number: RXH 5459Extent: 1 sound tape reel (00:38:27) : analog ; 7 in.Dub copy.


Carl Hodges, #1a, January 13, 1962

Rack number: RXH 4209Extent: 1 sound tape reel (Side A: 00:34:10) : analog, 7 1/2 ips, mono ; 7 in.Archivist's note: Side B has not yet been digitized.Vendor's digitization note: the Side A program is distorted at times.


Carl Hodges, #1b, January 13, 1962

Rack number: RXH 4210Extent: 1 sound tape reel (Side A: 00:13:58) : analog, 7 1/2 ips, mono ; 7 in.final selectionsArchivist's note: a note on the tape box indicates these are "final selections." Recorded in

Philadelphia, Pennsylvania. Side B has not yet been digitized.Vendor's digitization note: the Side A program is distorted at times.


Carl Hodges, #2, January 13, 1962

Rack number: RXH 4211Extent: 1 sound tape reel (Side A: 00:31:08) : analog, 7 1/2 ips, mono ; 7 in.Archivist's note: content includes unused material and an interview. Side B has not yet

been digitized.Vendor's digitization note: Side A's program is distorted at times, and speed fluctuations


Billie Holiday - (Reel 2114) - 120 selections, undated



Billie Holiday Story and The Colored Bands, undated



Bill Holman Orchestra, #1, undated

Rack number: RXH 4064Extent: 1 sound tape reel (polyester, 00:37:07) : analog, 7 1/2 ips, half track, stereo ; 7 in.Recorded at California State University-Northridge. Distortion in the left channel is part

of the source tape, and is not connected with the transfer.Time ContentStart The Bill Holman Orchestra (BHO) perform their first instrumental work7:34 One of the musician's introduces the orchestra


Container Contents


Time Content8:20 BHO introduces "And Thad Ain't Bad" commissioned by John Prince8:42 BHO play "And Thad Ain't Bad"16:33 The orchestra play "Visions" by Stevie Wonder22:26 BHO play an original instrumental composition titled "Time Will Tell"27:42 One of the musician's introduces each musician by the section they play in

the orchestra29:52 The orchestra play "So it Goes"37:07 End


Bill Holman Orchestra, undated


ips, quarter track, stereo ; 7 in.Recorded at California State University-Northridge.Side A

Time ContentStart The Bill Holman Orchestra (BHO) play an instrumental piece7:25 A musician introduces the orchestra8:29 The orchestra play "And Thad Ain't Bad" commissioned by John Prince16:08 BHO play "Visions" by Stevie Wonder.21:45 BHO play an original composition, "Time Will Tell"26:14 A musician introduces each person by their instrument section27:52 The orchestra play "So It Goes"32:29 End

Side BTime ContentStart The Bill Holman Orchestra (BHO) play an orchestral work7:20 A musician introduces the orchestra8:29 BHO play perform their version of "Swing Low, Sweet Chariot"14:38 BHO play their final selection titled ["Ready Knicks"]18:04 End


Bill Holman Orchestra #2 / Toshiko - Tabackin Orchestra, undated



John Lee Hooker interview, February 3, 1964


track, mono ; 7 in.Time ContentStart Pete Welding (PW) asks John Lee Hooker (JLH) a series of questions, such

as - his age, where he was born, when he started playing guitar and whenhe got his first guitar. He responds and also talks about working on afarm with his father.

00:12 PW asks JLH for information on when and where he was born, as well ashow he first became interested in music. He responds.


Container Contents


Time Content01:17 PW asks when JLH first started learning to play guitar, and if he used the

same G tuning as his father and if he played in open tuning as well. JLHresponds and talks about his father's musical style and what he learnedfrom him.

03:29 PW asks about what made JLH switch from spirituals to the blues. Heresponds and talks about spirituals being very influential to the blues andthem being very similar in certain ways, making it sound like not a hugeleap. He mentions he feels that he can express himself more through theblues.

05:00 PW asks how JLH's stepfather earned a living. He responds.05:29 PW asks if playing came easy to JLH. He responds talking about how he

doesn't have many problems competing with others because he's notplaying music that everyone plays, so it helps set him apart.

06:20 PW asks if JLH knew if other players had similar styles around him and/ orused the same G tuning his father shared with him. He responds talkingabout playing house parties and such with other musicians he grew uparound.

07:27 PW asks JLH what kind of music was played at the house parties and danceshe mentioned, if there were bands, and if any well-known blues playerscame through to these events. He responds, and also mentions that hewas doing it as more than a hobby and put everything he had in music.

09:35 PW asks JLH if he was playing any music before he played blues andspirituals/ religious music. He responds mentioning that he startedplaying around 12 and around 13 switched to spirituals, then bluesshortly after.

10:02 PW asks JLH if he played many things his stepfather played when he waslearning, if his stepfather had many pieces he played a lot, and if heplayed at many of the house parties mentioned earlier before JLH did/ ifhe had a reputation as a great local musician. He responds, and mentionsthat he plays very similarly to his stepfather but also changes it up bykeeping his music modern and having music all age demographics wouldenjoy.

13:15 PW asks how most people around him growing up earned a living. JLHresponds and says that most people were farmers and he wasn't interestedso he ran away to Memphis around the age of 14-15.

14:27 PW asks if JLH was playing much when he was in Memphis, how far hewent with school, and when he realized he had a great musical talent/gift. He responds and talks about his life in Memphis and moving toDetroit.

17:02 PW asks when JLH moved to Detroit, and about his life there. JLH respondstalking about it being easy to live and make money during the war timeand that he married while he lived there.

18:44 PW asks if 1948 is around when he cut his first record, and how he came towrite his first record. JLH responds talking about playing around Detroitwith bands, saving a lot of money making it easier to write and recordmusic and how a recording label approached him about going into thestudio because he liked him and was well received around town waswell.


Time Content23:43 PW asks if these were his first hits, and about recording several other

popular tunes the same day he first went into the studio with the recordlabel that invited him into their studio, and if he recorded with otherson those first tunes. He responds and mentions that being well receivedreally helped his musical confidence and that he recorded solo for thatfirst time.

24:40 PW asks if after his first hits if he found himself being booked in manydifferent places, and if he ended up working with bands. JLH respondsmentioning he started working with a 4-piece for around 9 years.

25:22 Interview partner Mike (last name?), asks if JLH would play his earlier solohits with the full band if the crowd requested the songs or if he wouldplay with the band to make it easier to dance to, and if he rememberedplaying with many other musicians when playing gigs that he fit wellwith, and if they made any records. JLH responds.

27:48 Mike mentioned JLH having an incredibly original sound, and asks if heever considered or played in the predominant blues style for fun like"BB King style," and that he heard BB King recordings with JLH'sname mentioned on it but wondered if was actually on the record. JLHresponds and tells him it was and that he doesn't really like the style.

29:33 Mike asks when JLH first got an electric guitar, and if he preferred oneor the other. JLH responds and tells them about how he loved playingacoustic as well because it's not such a rowdy and loud crowd as the bar,everyone sits quietly and listens.

31:13 PW asks JLH how he goes about arranging and writing his music, and if hehad to write a story. He responds.

32:52 PW mentions that he noticed JLH would sing songs about audiencemembers, and Mike asks if he ever wrote lyrics on the spot for records.JLH answered that he did both of these things quite a lot.

33:33 Mike asks JLH if he had trouble adapting covers to his style. He responds.34:40 PW asks is JLH is recording any music in town since he's there for the

interview as well. He responds.35:13 Mike asks who JLH's favorite blues singer is. He responds.36:24 Mike asks if JLH ever wanted to work with a big band. He responds and

mentions he has a tune written for a big band style.37:22 JLH pulls out guitar to play song (not included in this recording)37:56 PW asks about the background story behind some of the records on JLH's

early records. He responds and mentions some names he used were dueto record contract guidelines.

39:20 PW asks what the blues scene is like in Detroit, and about the clubs there.JLH responds and mentions Detroit not providing enough financially forhis music so he doesn't do much there anymore. They talk about therebeing a lot of younger players still around that area, and big recordcompanies there recording them.

42:09 PW mentions "There is a lot of talk about old-style blues are going to die,"and asks about the country style dying out as well. JLH responds andmentions that it's still alive and well, and that interestingly, all the collegeand younger kids seem to be very into both styles.

44:51 PW mentions JLH seems to be playing more ballads during this time period.JLH agrees and mentions that a colleague told him he does well atreaching several fields like pop, folk, blues. Etc.


Time Content45:55 PW asks who is responsible for helping JLH coming up with some album

concepts and how he writes for a more widespread audience then justone genre.

47:18 PW mentions it seems that JLH selects his material differently dependingon the location of the gig. JLH strongly agrees, and mentions the needto adapt to the audience and location. Mike, PW, and JLH talk aboutreaching Muddy Waters since JLH is in town.

48:36 Mike mentions Muddy being asked about his thoughts on a lot of youngwhite kids are learning country-blues and some of them getting a lot ofattention for it, and if the young colored kids were still interested in theblues anymore. JLH says that younger colored kids like the blues butthey feel they shouldn't listen to it because it pulls them back towardsreminders of oppression and slavery and how the blues originated, sothey push it away.

52:16 [Unknown person] asks if he thinks young colored kids are ignoring theblues and acting too cool. JLH agrees and thinks they are embarrassed ofthe roots of the blues, and that white kids are incredibly into the music.

53:36 Mike asks if JLH has an idea why white kids are so into the music andlearning it. JLH responds.

54:39 PW asks JLH "What makes the blues so different, so distinct from otherkinds of music." JLH responds and mentions "It's a feeling," as well astalks about how emotionally involved the music is.

55:32 PW says that a lot of songs do this, so what is so different about the bluesthan other music that emotes similarly. JLH responds, he said the blues is"your broke, disgusted, owe bills, losing your car, girlfriend, not havingmoney and happiness"

56:35 PW acknowledges that blues come out of sadness, but asks if there is happyblues too. JLH agrees and says happy blues is "soul blues, and soul bluesis sorry."

56:48 Mike asks what about boasting music in blues. JLH responds, then continuesto talk about qualities of blues.

59:14 [Unknown person from before] asks if younger people seem to be toorestricted and act to cool and can't seem to fully get out their emotionsand feelings in the blues or other styles in the same way because theydon't want to be vulnerable and "wear their hearts on their sleeves." JLHagrees and says the young kids love the blues, but are ashamed and don'twant to own the blues, and that the blues have gotten bigger than ever asthe years went by.

01:01:35

Mike mentions he heard someone said "There hasn't been a good or in hisopinion significant younger blues singer in 20 years" and asks aboutwhat happens when JLH, Muddy, and other greats retire. JLH says hewants to write a book about himself and other blues singers to let theyounger generation know about them so that it lives on.

01:04:33

End of content

01:04:35

End of tape


Ron Hoopes, Pat Smith, Bill Moser (Side 1); Clare Fischer (Side 2), May 1973



Container Contents


Extent: 1 sound tape reel (polyester; Side A: 00:45:00, Side B: 00:32:00) : analog, 7 1/2ips, quarter track, stereo ; 7 in.

Side ATime ContentStart The first instrumental selection by Clare Fischer (CF) and Ron Hoopes

(RH). The title is unknown.2:34 The next selection by CF and RH, title I unknown5:31 CF and RH perform their next piece10:44 The next instrumental piece18:35 The next jazz piece by CF and RH22:43 CF and RH perform their next selection29:11 The next instrumental piece33:05 CF and RH perform their next instrumental piece39:41 The next jazz instrumental piece by CF and RH44:35 End

Side BTime ContentStart Clare Fischer (CF) and Ron Hoopes (RH) perform their first instrumental

piece. The title is unknown.8:07 The second instrumental jazz selection by CF and RH17:21 The next jazz piece by CF and RH24:28 CF and RH play their next selection26:37 CF and RH perform their next piece31:50 End


Joel & Lightnin' Hopkins - Sam "Lightnin'" Hopkins / Joel Hopkins (Heritage - HLP 1001),November 19, 1959Rack number: RXH 5414Extent: 1 sound tape reel (Side A: 00:24:54, Side B: 00:21:36) : analog, 7 1/2 ips, stereo ;

7 in.Archivist's note: this is a dub of the LP recording of the two Hopkins brothers. All

performances were recorded on November 19, 1959.Vendor's digitization note: the program is distorted at times, and there is significant hum

from the tape, as well as crosstalk. Side B begins with speed fluctuations.Item-ID: AFC 2011/053:SR093

Walter Horton interview, July 31, 1967


track, mono ; 7 in.Interview location: Chicago, Illinois.Logger's note: this recording comes in on an ongoing interview. I could not find the other

part(s) of the interview. Most of the SR center on PW asking about Robert Johnson(RJ).Time ContentStart PW asks WH when he first met Robert (Johnson). WH answers that the met

in 1930 in Memphis, which was WH's hometown. He was 13 years old;RJ was 18 years old. He says that RJ was born in Colma (?) Arkansas.They talk about RJ.

02:37 PW asks what kind of person RJ was. WH answers at length. They talkabout the records RJ made. They talk about RJ's family. PW asks if RJwas "a ladies man."


Container Contents


Time Content05:57 They talk about RJ playing slide guitar. WH says that RJ taught Muddy

Waters to play slide guitar. WH talks about the places he played in1940/41. He says he moved to Chicago in 1950.

07:22 They talk some more about RJ. WH says that RJ was "a church goingman" before he started playing the blues. They talk about RJ and WHplaying together. WH says this was for about 8 years. The talk about RJ'srecords.

12:41 They talk about Robert Lockwood. PW asks about Lockwood meeting RJ.15:25 PW asks WH what else he can tell him about RJ. WH answers and say,

among other things, that RJ was kicked by a mule when he was young.18:35 End


Peg Leg Howell interview, 1966 or before

Rack number: RXH 5583Extent: 1 sound tape reel (acetate, 00:23:19) : analog, 3 3/4 ips, half track, mono ; 7 in.Archivist's note: interview with Joshua Barnes Howell (Peg Leg Howell) before his death

in 1966.Logger's note: an unidentified person (UP) interviews Peg Leg Howell (PLH). An

unidentified woman is also present and speaks on occasion. She may be Howell'swife. At the end of the tape (time 20:40) the interviewer "speaks a letter" to PeteWelding, rather than writing it.Time ContentStart PLH answers questions about himself, such as name, date of birth, where he

was born, etc. He talks about working on his father's farm, then workingat a fertilizer plant.

02:48 PLH left the farm, in 1912, because he lost his leg to a gun shot.04:55 PLH was about 35 years old when he moved to Atlanta. He learned to play

guitar n1909. He was self-taught. He made a record for Columbia in1927. They talk about the songs on the record.

07:57 PLH spent time in prison for selling whiskey.09:14 they talk about how much PLH as paid for his first record. They talk about

who PLH recorded with and some of the songs he recorded.12:50 they talk about some songs that PLH wrote and some records that he made.16:10 PLH talks about some of the other (blues) sings he knew. He talks about

what he did after he stopped recording, in the earl 1930s.18:52 PLH says he lost his other leg in 1950. He talks about why he stopped

playing and singing.20:30 PLH talks about a new record of his that is coming out after all these years.20:40 the interviewer "writes a letter" to Pete Welding, rather than actually writing

it.23:19 End


Peg Leg Howell and His Gang, circa 1927



Howlin' Wolf interview #1, August 1, 1967



Container Contents


Extent: 1 sound tape reel (polyester, 00:32:59) : analog, 7 1/2 ips, half track (onedirection only), mono ; 7 in.

Logger's note: This is the first part of a two-part interview Pete Welding conducted withHowlin' Wolf [Chester Arthur Burnett]. The interview was conducted in Chicago,Illinois. Part 2 of this interview is on SR002.Time ContentStart Pete Welding (PW) says he want to ask a couple of basic and general

questions: "Where were you born, and when and how did you get startedplaying?" Howlin' Wolf (HW) answers.

01:20 HW says he heard Charlie Patton play.02:50 HW came to like Blind Lemon's music.03:22 HW talks about some of the other musicians he heard.04:00 Discussion about Charlie Patton: HW says Charlie Patton taught him to play.

HW can play his music. They talk about Charlie Patton, his music, andwhere he played. They talk about various guitar tunings Charlie Pattonused.

09:40 HW talks about the Mississippi Sheiks.10:15 They talk about HW's progress on the guitar and the music he preferred. He

mentions Dick Banks.12:05 HW talks about the work he was doing on the plantation. They talk about

Charlie Patton's death and where he is buried.13:05 PW asks about the other musicians Charlie Patton played with.13:55 HW talks about when he started playing professionally and the places he

played. They talk about the music HW played and where he learned it.16:00 They talk about HW starting to play harmonica. He learned from Rice

Miller, who married HW's sister. [Alex "Rice" Miller, a.k.a. Sonny BoyWilliamson II]

16:40 HW says he played with Robert Johnson and other musicians. They discussRobert Johnson, his music and his death.

21:15 They talk about the kind of person Robert Johnson was.22:15 HW says that Muddy Waters may have known Robert Johnson. Muddy

Waters learned to play from Son House. They talk about Willie Brown.They talk about playing for dances.

25:30 They talk about the music of Son House. Son House and Willie Brownplayed together. PW as if Robert Johnson might have learned from SonHouse or Willie Brown.

26:28 PW asks about the music Dick Banks played.26:52 PW asks who were the musicians Howlin' Wolf most admired and got the

most from. HW says he got the most from Charlie Patton and LemonJefferson. They discuss other musicians HW heard.

29:00 PW asks when HW thinks he got something of his own going with themusic. HW talks about his first band. Some people called HW "the foot,"others called him "the bull cow." HW tells how he came to be calledHowlin' Wolf.

32:59 EndItem-ID: AFC 2011/053:SR002

Howlin' Wolf interview #2, August 1, 1967

Rack number: RXH 3141Extent: 1 sound tape reel (polyester, 00:32:52) : analog, 7 1/2 ips, half track (one

direction only), mono ; 7 in.Logger's note: this is the second part of a two-part interview Pete Welding conducted with

Howlin' Wolf in Chicago, Illinois. The first part of this interview is on SR001.


Container Contents


Time ContentStart Pete Welding (PW) asks Howlin' Wolf (HW) "where did you play with that

band?" HW responds and also says that he was doing some "radio work"during this time.

01:21 PW asks when HW switched over to electric guitar. HW responds andalso says that he went into the army in 1941. He considers himself andentertainer rather that a professional musician. After the army, he wentback to farming.

04:05 They talk about HW's radio program. HW says that the first record he cutwas on the Sun label.

06:05 PW asks when HW started recording for Chess. HW says that he alsorecorded for RPM.

08:30 PW asks when HW moved to Chicago. They discuss his experiences, e.g.,recording and paying clubs.

10:05 PW asks about people in the bands HW played with, as well as oth4erpeople he played with.

11:40 PW asks HW what he thinks about the interest in the blues that came"with the folk music thing." HW responds. They discuss HW recordsfor Chess. HW says he went to Chicago Music School "to learn hisposition." They discuss how HW uses a bass line in his recordings. HWlikes to have "his sound" different than that of other players.

14:02 PW asks HW if he was much of a "church goer." PW talks about TommyJohnson. They talk about John Lee Hooker. PW asks why the blues areso popular.

17:16 An unidentified third person asks HW about work songs. They discuss worksongs on the farm.

19:25 PW asks if it was Sonny Boy who started HW playing "the harp."20:08 PW asks when HW got his first guitar. HW says that his father bought it for

him.20:48 PW asks HW how much time he spent in Memphis. PW asks "what do you

think the blues are?" HW introduces his wife, Lily, who has walked in.22:42 PW asks if HW sings for himself or for other people. PW asks how HW

goes about "working-up" a song.24:05 The unidentified person asks HW if he ever came into contact with the

Chicago blues piano players. He responds that he got to Chicago afterthat music passed. They talk about jazz and the blues.

25:18 HW says that he has travelled around the world. PW asks how his musicwas received in Europe and elsewhere. They talk about a tour HW did in1964.

28:55 PW asks about a jazz festival in Washington D.C., in 1952, where HW wasthe only blues musician on the program. PW asks if HW has played otherlarge festivals. PW asks about HW playing at colleges.

31:07 PW asks how HW "works-up a song now-a-days." PW asks about HW'sfamily and children.

32:47 EndItem-ID: AFC 2011/053:SR003

Howlin' Wolf, August 1, 1967

Rack number: RXH 3142Extent: 1 sound tape reel (polyester, 00:22:00) : analog, 7 1/2 ips, half track, stereo ; 7 in.Logger's note: songs by Howlin' Wolf [Chester Burnett] and (his) band. The songs are not

identified, so first lines are used here instead.


Container Contents


Time ContentStart I'm Leaving You Baby, take 100:46 I'm Leaving You Baby, take 203:29 I didn't know you wuz out last night - [The title may be "I Don't know"]05:49 Oh gotta go now, there is no need to cry09:00 take 3 "Morning Again"11:57 All my life, I've been [?] hard14:10 You know I'm on my way to the big house (recorded before a live audience)22:00 End


Howlin' Wolf, 1969-1970


ips, quarter track, stereo ; 7 in.Archivist's note: Live recordings. Collector's original ID number: 239.Side AVenue: Key Largo, Chicago. Date: February 23, 1969; concluded on Side B Musicians:

Howlin' Wolf (harmonica, guitar, vocals), Hubert Sumlin (guitar), Henry Gray (piano),Calvin Jones (bass), Andrew "Blueblood" McMahon (bass on the last set), JohnnyLittlejohn (drums).Time ContentStart Howlin' Wolf speaks to someone outside of the recording microphone about

Ms. Joyce and the policeman.1:25 "Howling for My Darling"5:45 "Bluebird Blues"17:58 "Don't Deceive Me"29:05 "Suzie Mae"37:09 unidentified set closer (followed by unrecorded break)38:35 unidentified song [Howlin' Wolf's mic is not working during the first part of

then song]46:46 "It Was A Dream"57:42 "Killing Floor"1:03:3

4"How Many More Years"

1:12:43

unidentified set closer (followed by unrecorded break)

1:14:47

"Crawling Kingsnake"

1:27:10

End

Side BThe first two songs are the conclusion of the Key Largo performance; see notes for Side

A. The balance of Side B is Howlin' Wolf's performance at Big Duke's, Chicago(beginning with the song "Decoration Day"). Date: June 20, 1970. Musicians: Howlin'Wolf (harmonica, guitar, vocals), Hubert Sumlin (guitar), Lucky Lopez (guitar), WillieYoung (tenor), Calvin Jones (bass), Burl Cassell (drums). Johnny Littlejohn replacesSumlin on "Decoration Day" and "Chicken Shack," and replaces Lucky Lopez on"Bad Bad Whiskey," "Hard Luck Blues," and "You Don't Know."Time ContentStart "Worried About My Baby"10:26 "You Better Pray"


Container Contents


Time Content17:21 "Decoration Day"26:18 "Chicken Shack" [end of set]27:51 "How Many More Years"36:51 "Sitting on Top of the World"44:40 "Highway 49"51:26 "I'm the Wolf"1:01:1

1"Howling for My Darling"

1:06:31

unidentified set closer (followed by unrecorded break)

1:07:55

"Bad Bad Whiskey"

1:12:56

"Hard Luck Blues"

1:23:11

"You Don't Know"

1:31:14

End


Howlin' Wolf, reel #1, undated

Rack number: RXH 3143Extent: 1 sound tape reel (polyester; Side A: 00:31:00; Side B: 00:31:40) : analog, 7 1/2

ips, half track, mono ; 7 in.Logger's note: The songs may have been dubbed from sound discs. The songs are not

identified, so first lines are used here instead. The band is composed of a lead singer[perhaps Howlin' Wolf], harmonica, lead electric guitar, piano and drums.

Side ATime ContentStart [Rub] my pony, stab my brown mare02:57 How many more times I've gotta tell you the same thing?06:16 Baby, let me tell you what I've done done09:02 Oh well, I believe this is my last affair11:57 Oh Red, what shall I do? There is a saxophone on this cut, and maybe other

brass.14:31 They call me Howlin' Wolfman, that you found me howlin' at your door17:38 I'm getting old, I've got to look out for my older days20:26 Drive that automobile, got a man on the run23:21 Well. Come to me babe"25:48 Well, the first time I met you, you know I kissed you as a friend28:28 I'm so glad, I'm so glad, I'm so glad, I'm so glad, I don't have to ask for

anything31:00 End

Side BTime ContentStart Well I'm goin' home in [Wabesha]02:52 Oh - started cryin', oh - started cryin' over you09:13 I didn't know you wuz out last night babe14:23 I've got to change my way of livin', this life [to me] it ain't no good17:55 I'm gonna leave you, I'm goin' away20:46 All my life I've partied hard, all my life I've partied hard


Container Contents


Time Content23:02 [?]will you [?]a Jackson for me25:47 Some say you will, some say you won't28:35 Well I ain't superstitious, but a black cat just crossed my [?]31:40 End


Howlin' Wolf, reel #2, undated


track, mono ; 7 in.Logger's note: the songs may have been dubbed from sound discs. The songs are not

identified, so first lines are shown. The band is composed of a lead singer [perhapsHowlin' Wolf], harmonica, lead electric guitar, piano and drums. There may besaxophone or brass on some cuts.Time ContentStart Now, dance little baby dance, love to see you prance02:20 Well, I know what I know, got a baby04:34 Lips so sweet, her legs are (?)"06:57 Tell me darlin', may I have a talk wit (sic) you09:51 I walked all the way from Dallas, Texas13:01 Don't laugh at me baby, please don't make fun of me16:03 Well I call it to you wonder woman, I call it to you babe, gonna make you

take back the words you have said19:00 I [?] it up to the moon, got me a rocket [?]22:00 End


Howlin' Wolf, undated

Rack number: RXH 3145Extent: 1 sound tape reel (polyester, 00:25:40) : analog, 7 1/2 ips, half track, stereo ; 7 in.Logger's note: the songs may have been dubbed from sound discs. The song titles are

from the tape box. There are several different band configurations on these cuts.Time ContentStart Blue Bird03:04 Dorothy Mae05:39 Sweet Woman09:06 Mama Died and Left Me12:21 I'm Not Joking15:17 Poor Wind that Never Change18:15 Tired of Cryin'23:58 Rollin' and Tumblin'25:00 End


Howlin Wolf, #1 / Wolf CH418 A, 1975


track, stereo ; 7 in.Archivist's note: dub of Side A from the Howlin' Wolf album on Chess Records, Change

My Way. See SR008.Time ContentStart [?] madman, would you [?] a Jackson for me?


Container Contents


Time Content02:56 Please tell me God, may I have a talk with you?05:48 I've got to change my way of living, this life I'm (keepin') ain't no good09:22 I walked all the way from Dallas, Texas, [?]cab home12:37 I better go now, I better go now baby, I better go now for a get out [place]15:23 The first line is unintelligible.18:22 Some say you will, some say you won't, some say you do, some say you

don't21:25 End


Howlin' Wolf, #2 / Wolf CH418 B, undated

Rack number: RXH 3147Extent: 1 sound tape reel (polyester, 00:21:25) : analog, 7 1/2 ips, half track, stereo ; 7 in.Archivist's note: dub of Side B from the Howlin' Wolf album on Chess Records, Change

My Way. See SR007.Time ContentStart All my life, I have [had] it hard02:26 Don't laugh at me baby, please don't make fun of me05:45 I didn't know you went out last night baby08:10 Well I ain't superstitious, but a black cat just crossed my trail11:05 I'm gonna leave you, I'm going' away13:53 I'm [?] rocket up to the moon, [?] me a rocket over [?]16:48 Well I know I [?], I got a [?]19:02 Lips so sweet, her legs are [?]21:25 End


Mississippi John Hurt - concert at Oberlin College (#1 of 2), April 15, 1966


track, stereo ; 7 in.Collector's original ID number: 219.

Time ContentStart "Don't You Hear My Savior Calling"04:30 "I Shall Not Be Moved"08:43 "Nearer My God to Thee"12:08 "Baby What's Wrong With You"16:28 "It Ain't Nobody's Business But My Own"19:42 "Salty Dog"23:22 "Lovin' Spoonful"27:49 guitar tuning28:43 "Avalon Blues"32:47 "Candy Man"37:57 "You Are My Sunshine"40:46 "My Creole Belle"43:41 "C. C. Rider"47:48 unidentified guitar solo49:04 "Talkin' Casey Jones"52:56 "Lord Have Mercy"54:12 mostly applause54:50 End


Container Contents



Mississippi John Hurt - concert at Oberlin College (#2 of 2), April 15, 1966

Rack number: RXH 3240Extent: on one side of 1 sound tape reel : analog (polyester, 00:30:50) ; 7 1/2 ips, half

track, stereo ; 7 in.Collector's original ID number: 220.

Time ContentStart "That's the Way You Spell Chicken"01:08 applause01:48 "Glory, Glory Hallelujah Since I Laid My Burden Down"05:57 "Make Me a Pallet on Your Floor"10:01 "Sliding Delta"15:18 "Monday Morning Blues"20:10 "Richland Woman Blues"26:20 "Stagalee"30:50 End


Mississippi John Hurt, #1 or 2, undated



Mississippi John Hurt #3 or 4, undated



Mississippi John Hurt, 5/6, circa 1963-1966, 1966


7 in.Interview with Mississippi John Hurt, plus musical performances.Vendor's digitization note: the programs are distorted at times.Side A

Time ContentStart "Tell Him I'm Gone"02:24 "Make Me a Pallet on Your Floor"07:08 "Rubber Dolly"08:58 "Salty Dog"12:00 The interviewer chatted with JH about Uncle Bud.12:44 "My Creole Belle"14:55 JH chats about the song "Let The Mermaids Flirt With Me"16:00 "Let The Mermaids Flirt With Me"19:08 The interviewer and JH chatted about the song" Candy Man"19:38 "Candy Man"22:38 The interviewer and JH chat about Maxwell's House coffee and the song

"Coffee Blues"23:22 "Coffee Blues"26:10 "Hey Baby Right Away"28:20 The interviewer and JH chat about the song "Sliding Delta"


Container Contents


Time Content29:06 "Sliding Delta"32:14 End

Side BTime ContentStart "Casey Jones"05:44 unidentified solo guitar piece07:23 "Lazy Blues lyrics"10:10 "Beulah Land"13:22 "Mary Don't You Weep"15:42 quiet background chatter17:50 "Since I've Laid My Burden Down"22:32 "Keep On Knocking"25:45 "What A Friend We Have In Jesus"28:35 "Waiting For You"33:07 End


Mississippi John Hurt 5/6, undated



Mississippi John Hurt (Library of Congress - #1 or 2) #3, undated



Mississippi John Hurt, July 15 and 23, 1963


7 in.Archivist's note: this is a dubbed portion of recordings made at Coolidge Auditorium,

Library of Congress. See recordings SR068-SR069 in the Tom Hoskins collection,1963-1967 (AFC 2011/026). Joe Hickerson's voice can be heard at times. The tape boxback reads: J. H. 3 or 4.

Vendor's digitization note: the program is distorted at times.Side A

Time ContentStart JH sings "Will the Circle Be Unbroken" while playing the guitar to

accompany himself.03:49 Two unidentified men mention a few songs to JH and ask if he knows

those songs. Songs mentioned: "Down by the River Side," "Jack ofDiamonds," "Jesus make up my dying bed," "I Know His Blood CanMake Me Whole." (The interviewer's voices are very quiet which makesit hard to hear clearly what songs they are discussing.)

08:25 JH sings an unidentified tune accompanied by the guitar.10:00 The interviewers mention about albums made by Gotham Records. One of

them ask if JH remembers songs about flood and hurricanes. JH sayshe heard a song but he can't play it. He reflects on Bessie Smith's song"Backwater Blues."


Container Contents




Time Content12:00 The interviewers asks about several songs JH composed in York and

mentions Avalon Blues is one of them. They inquire JH about hisoriginal ideas of the song and guitar part before recording it in NewYork. The men then ask how JH compose the guitar part to accompanythe song. JH answers he has the melody first and then makes up theguitar parts as the song develops.

14:22 JH tells stories of his encounter of a large mud snake, nicknamed "stingingsnake" in the country side. The interviewers ask if JH ever sees pythonsand it prompts JH tell more his personal stories. JH talks about ways todeal with the snakes.

31:06 EndSide B

Time ContentStart JH plays an unidentified melody on the guitar.00:38 The interviewers says that one of the guitar strings is tight and adjust it for

JH. The same unidentified melody continues and leads to a song whichopens with lyrics: "Poor boy, long way from home."

03:05 JH plays and sings "Frankie and Albert," which opens with lyrics: "Frankiewas a good girl, everybody knows. She paid one hundred dollars forAlbert's suit of clothes. He's her man, and he did her wrong."

08:50 The interviewers discuss several song with JH. Songs mentioned include"Poor Boy Long Ways from Home," "Let the Mermaids Flirt with Me,"and "Waiting for a Train."

09:52 JH sings a song which opens with lyrics: "All around the water tank, leakingin the rain. A thousand miles away from home, waiting for a train."

11:50 Talking.12:48 JH sings an incomplete song: "Climb above the mountain, give me a load of

cane, to make me a bit lazy, sweet old life it takes."14:06 JH sings an incomplete rendition of "Salty Dog."15:16 The interviewers mention "Blue Harvest Blues" and ask JH how his

composed the song "Salty Dog." JH answers his second cousin gavehim some ideas about it and another song called the Chicken song.

17:58 JH sings the "Chicken Song."20:48 The interviewers prompt JH to sing "Funky Butt."23:27 The interviewers and JH discuss several songs: "When That Great Ship

Went Down," "Oh Mary Don't You Weep," and others. They ask JH ifhe remembers any party songs or cheering songs. JH thinks of the song"Sunshine" and plays it.

27:02 JH sings "You are my Sunshine"29:26 The interviewers and JH discuss several church services songs:" Jesus is My

Everything," Running for my life. The tape ended abruptly while theydiscuss the railroad songs.

32:10 EndItem-ID: AFC 2011/053:SR635

J.B. Hutto & the Hawks, June 1966

Rack number: RXH 5512Extent: 1 sound tape reel (00:17:11) : analog, 7 1/2 ips, stereo ; 7 in.Collector's original ID number: 56.Archivist's note: dub of Side 1 of the 1967 LP (recorded June 1966), and released as a CD

on Hightone in 1995.Vendor's digitization note: the program is distorted at times.


Container Contents



Ice Water Slim and The Fourth Floor / The Lou Carter Singers, undated

Rack number: RXH 5406Extent: 1 sound tape reel : analog ; 7 in.Dubs of commercial recordings.


Bill Jackson interview, January 21, 1962


mono ; 7 in.Time ContentStart BJ says he was born in Granite, Maryland on February 25, 1906. There were

5 children in his family. He started playing guitar when he was 15 yearsold. He talks about learning to play. Jim fuller was his first teacher. Hetalks about Fuller. BJ started playing for house parties.

03:01 PW asks about the social structure and industries in Granite, Maryland. BJresponds. Most music was played at house parties. BJ talks about themusic they played in the early 1920s.

06:20 They talk about Jimmy Rogers and railroad songs. BJ says that a lot of themen worked for the B & O (Baltimore and Ohio) railroad. BJ gives someexamples of group railroad songs. The songs set the rhythm for the work.This extended in to the 1930s, when machines took over much of the(formally) manual work.

10:30 They talk about the song "John Henry" and speculate as to whether JohnHenry was a real person. B.J. talks about the song "Ida Red." He saysthat every work gang had a lead man who set the rhythm. They discussthe selection and role of the lead man.

13:18 B.J. says that he worked for the B & O railroad in 1921 and 1922. He startedas a water boy and became a spiker. BJ says that the railroad providedliving quarters for the gang.

14:30 PW asks if much music making was going on. BJ says yes, then explains.PW asks about a Maryland style of blues. BJ says there is and explains.

18:19 RJ talks about a song he wrote, "Long Steel Rail." He talks about a banjoplayer who wrote a song inspired by honey bees. PW says that songs ofthis type are like a "social chronicle."

20:20 RJ talks about the songs "Careless Love" and "Troublin' Mind."22:35 RJ says that he's been living in his home since 1927. They talk about a

situation, with his manager and a recording company. They talk aboutrecords, playing styles, and the artists who made the records.

29:10 They talk about people learning new songs from records and changing themround to suit their own musical style. PW asks if there were any peoplein the area who had a musical influence on other musicians. BJ responds.

32:15 PW asks if there was strong separation blues songs and sacred songs. BJsays yes, mixing the two was frowned upon. They discuss this at length.

35:36 BJ says that he expects a new interest in the blues among the youngergeneration. They talk about blues, blue grass, and country music. BJtalks about jazz. PW talks about jazz musicians.

44:53 EndItem-ID: AFC 2011/053:SR339

George "G.P." Jackson, December 10, 1972



Container Contents


Extent: 1 sound tape reel (Channel 1: 00:12:07, Channel 2: 00:12:09) : analog, 3 3/4,mono ; 3 in.

Archivist's note: performances by George G.P. Jackson and James Crockett. The tape wassent to Welding by West German blues fan Harmut M. Munnich (see accompanyingletter, dated December 10, 1972).

Channels 3 and 4 have not yet been digitized.Vendor's digitization note: the programs are distorted at times, and also have speed

fluctuations, and significant buzzing and hum from the tape.Item-ID: AFC 2011/053:SR260

Milt Jackson Quintet / Quartet (BN BLP 5011) - alternate takes / Lou Donaldson; Jackson; J.Lewis; P. Heath; K. Clarke, circa 1951-1952Rack number: RXH 4142Extent: 1 sound tape reel (00:20:10) : analog, 7 1/2 ips, stereo ; 7 in.Archivist's note: alternate takes of cuts on the 1952 album Wizard of the Vibes (Blue Note

5011).Vendor's digitization note: problems with the quality of the source recording include

phasing and speed fluctuations from the tape. The Side A program is distorted attimes.


Milt Jackson Quintet / Quartet - issued and unissued material / BLP - 5011, circa 1952


7 in.Archivist's note: includes issued and unissued material from Wizard of the Vibes (Blue

Note 5011).Item-ID: AFC 2011/053:SR659

All Star Bags - Milt Jackson (Blue Note), undated



Ice House #1 spliced dubs, undated

Rack number: RXH 4698Extent: 1 sound tape reel (Side A: 00:39:44) : analog, 7 1/2 ips, stereo ; 7 in.Archivist's note: the program is distorted at times. Side B has not yet been digitized.


Illinois Jacquet / G.A. 315-B, undated



Ahmad Jamal trio, recorded live, circa 1981


ips, quarter track, stereo ; 7 in.Collector's original ID number: 56. Personnel: Jamal (piano), Sabu Adeyola (bass),

Payton Crossley (drums); probably Gary Burton (vibraphone).Item-ID: AFC 2011/053:SR600

Jazz Recordings / 1. Chick Corea - Gary Peacock / 2. Lee Konitz - Martial Solal, Part I,undatedRack number: RXH 5461Extent: 1 sound tape reel : analog, 7 1/2 ips, 2 track, stereo ; 7 in.Collector's original ID number: 58.


Container Contents



Jazz Recordings, undated

Rack number: RXH 5464Extent: 1 sound tape reel : analog ; 7 in.Archivist's note: the tape seems to have been reused, and the previous recording(s)

incompletely recorded over. The first few seconds of the recording, and a fewinstances after, are moments from an earlier recording. More than one selectionfeatures a clarinet, and a man's voice can be heard speaking occasionally.

Collector's original ID number: 61.Item-ID: AFC 2011/053:SR560

"Downbeat" (jazz show), undated



Professor Clarence Johnson and Sister Mabel Washington, possibly July 13, 1961

Rack number: RXH 3237Extent: on one side 1 sound tape reel (acetate and polyester, 00:18:04) : analog, 7 1/2 ips,

full track, mono ; 7 in.Collector's original ID number: 212. Logger's note: compilation of songs by Professor

Clarence Johnson (PCJ) and Sister Mabel Washington (SMW). PCJ plays guitar andsings. SMW sings. Philadelphia, Pennsylvania. See SR100.Time ContentStart "Precious Lord Take My Hand" - vocal04:42 unidentified song - PCJ and SMW vocal07:01 first line of song, "On the Bright Side Somewhere" - PCJ and SMW vocal09:17 unidentified song - SMW vocal12:39 first line of song - "I Wanna Go Back with Him" - PCJ and SMW vocal14:49 "God will Take Care of You" [?] - PCJ and SMW vocal18:04 End


Clarence Johnson and Mabel Washington, reel #1 / # 428, July 13, 1961

Rack number: RXH 4213Extent: 1 sound tape reel (00:31:55) : analog, 7 1/2 ips, mono ; 7 in.Vendor's digitization note: the program is distorted at times.


Professor Clarence Johnson and Sister Mabel Washington, 2, July 13, 1961

Rack number: RXH 3238Extent: on one side of 1 sound tape reel (acetate and polyester, 00:41:45) : analog, 7 1/2

ips, full track, mono ; 7 in.Archivist's note: A song list appears on the tape box. Also, according to the tape box,

unused material from the second session, October 24, 1961, was tacked onto the endof this recording. Collector's original ID number: 213. See SR099.Time ContentStart talking and preparation01:45 [perhaps "Walking in Jesus's name"] PCL and SMW04:50 talking and preparation07:50 unidentified song - SMW10:54 talking and preparation16:17 Well It's No Body's Fault but Mine - PCJ19:09 talking and preparation


Container Contents


Time Content23:09 first line - "If We Ever Meet Again This Side of Heaven" - PCJ27:41 preparation, then unidentified guitar solo by PCJ32:11 talking and preparation34:10 [perhaps "the Old Camp Ground"] - PCJ and SMW36:10 talking and preparation37:43 [perhaps "Drink from the Fountain"] - PCJ and SMW39:55 [perhaps "Drink from the Fountain"] second time - PCJ and SMW41:45 End


Clarence Johnson and Mabel Washington, probably July 13, 1961

Rack number: RXH 4074Extent: 1 sound tape reel (polyester, 00:01:25) : analog, 7 1/2 ips, half track, mono ; 7 in.

Time ContentStart Clarence Johnson and Mabel Washington sing "Meeting on the Old

Campground"01:23 End


Professor Clarence Johnson and Sister Mabel Washington (Heritage HLP-1010 / 2 ), July 13,1961; October 24, 1961, October 24, 1961Rack number: RXH 5465Extent: 1 sound tape reel (00:47:21) : analog, 7 1/2 ips ; 7 in.All selections: Clarence Johnson, vocals and guitar; Mabel Washington, vocals. All songs

are duets unless specified otherwise. Recorded in Philadelphia, Pennsylvania. The firstseven songs (except "Jesus Will Remember Me") were recorded on July 13, 1961. Allother songs were recorded on October 24, 1961. This tape is a dub copy of selectionsfor Heritage LP HLP-1010. The tape box indicates the first seven songs are from Side1 (of the LP), and the next ten songs are from Side 2.Time ContentStart

(00:00:01)

"Go To That Land"

00:03:21

"Prayer Changes Things" (solo by Mabel Washington)

00:06:45

"I Don't Know Why (But I'll Find Out Bye and Bye)"

00:09:31

"Going to Sit Down on the Banks of the River"

00:12:11

"Saviour, Don't Pass Me By" (solo by Clarence Johnson)

00:15:57

"Jesus Will Remember Me" (solo by Clarence Johnson)

00:20:02

"Ninety-Nine-and-a-Half Won't Do"

00:22:39

"Come Over Here, Lord, The Table Is Spread"

00:24:39

"Take Your Burden to the Lord (And Leave It There)"

00:26:56

"You're Gonna Need Somebody On Your Bond" (solo by Clarence Johnson)


Container Contents


Time Content00:29:

52"Get Right, Church, And Let's Go Home"

00:32:01

"I Heard My Mother Call My Name in Prayer" (solo by Mabel Washington)

00:35:30

"I Shall Not Be Moved"

00:38:37

"Trouble In This Land Will Soon Be Over" (solo by Clarence Johnson)

00:40:40

"Let Your Light Shine On Me" (solo by Clarence Johnson)

00:43:02

"I'm Gonna Sail Like A Ship on the Ocean"

00:45:04

"Down Here, Lord, Waiting On You"

00:47:21

End


Hopson Johnson #1, undated

Rack number: RXH 4183Extent: 1 sound tape reel (00:47:51) : analog, 7 1/2 ips, mono ; 7 in.Archivist's note: Side B has not yet been digitized.Vendor's digitization note: speed fluctuations at the beginning and end of Side A.


Rev. LeDell Johnson (part 1 of 2), September 8, 1966

Rack number: RXH 4230Extent: 1 sound tape reel (00:06:28) : analog, 3 3/4 ips, stereo ; 5 in.Collector's original ID number: 200.Logger's note: story of a devil child (continued on SR346). Informants are identified as

Bonnie Wood, Alice Chur[?]cian, Helen [?], and Melanie Taylor. Collected by MelanieTaylor for Folklore 105 (a folklore class).

Vendor's digitization note: there is phasing from the source recording.Item-ID: AFC 2011/053:SR346

Rev. LeDell Johnson (part 2 of 2), September 8, 1966

Rack number: RXH 4231Extent: 1 sound tape reel (00:04:02) : analog, 7 1/2 ips, stereo ; 5 in.Collector's original ID number: 201. Story of a devil child (continued from SR345).Vendor's digitization note: the program is distorted at times.


Lonnie Johnson, #1, 1927-1932

Rack number: RXH 3148Extent: 1 sound tape reel : analog, 15 ips, two track, mono ; 7 in.LC engineer's note: dubbed from various commercial recordings."Go Back to Your No Good Man" (W-152264-2; Col. unissued), July 12, 1932"Tin Can Alley Blues" (W81588 A-A, OK 8324), October 31, 1927"Away Down in the Alley Blues" (W-400279A; instrumental), July 1928"South Bound Water" (W-80742-B, OK 8446), April 25, 1927"Lonesome Ghost Blues" (W-81215B, OK 8505), August 11, 1927





Container Contents


Extent: on side of 1 sound tape reel (polyester, 00:16:04) : analog, 15 ips, half track,stereo ; 7 in.

LC engineer's notes: "Sweet Potato Blues" is incomplete. Tape ran out before song wasfinished. The song is continued, from the beginning, on SR011. Dubbed from variouscommercial recordings.Time ContentStart "Four Hands Are Better" (W-80815 B; piano and guitar instrumental,

unissued), April 30, 192703:40 "Roamin' Rambler Blues" (W-81220-B, OK 8497; vocal and guitar), August

12, 192706:52 "St. Louis Cyclone Blues" (W-81503 B, OK 8512; vocal and guitar),

October 3, 192710:07 "Stomping 'Em Along Slow" (W-400278-B; guitar solo), February 21, 192813:19 "Sweet Potato Blues" (W-82053 A-A, OK 8677; guitar and piano),

December 13, 192716:04 End



Rack number: RXH 3150Extent: on one side of 1 sound tape reel (polyester, 00:16:05) : analog, 15 ips, half track,

stereo ; 7 in.LC engineer's note: dubbed from various commercial recordings. Track 1 of this file is the

last song from SR010 that was incomplete on that tape. As on the previous tape, thelast track, Track 6, is incomplete. The tape again ran out before the song was finished.And also again, the song is continued, from the beginning, on SR012.Time ContentStart "Sweet Potato Blues" (W-82053 A-A, OK 8677; guitar and piano),

December 13, 192703:17 "Low Land Moan" (W 82043A, OK 8677), December 12, 192706:43 "Woke Up With the Blues in My Fingers" (W-80816A; unissued), April 30,

192710:05 "Love Is Just A Song" (W 152263, Col. unissued; guitar and piano), July 12,

193213:15 "A Broken Heart That Never Smiles" (W 80765 BB; guitar and piano), April

27, 1927Item-ID: AFC 2011/053:SR012



stereo ; 7 in.LC engineer's note: dubbed from various commercial recordings. Track 1 of this file is

the last song from SR011 that was incomplete on that tape. All songs on this tape arecomplete.Time ContentStart "A Broken Heart That Never Smiles" (W 80765 BB; guitar and piano), April

27, 192703:33 "Blues in G" (W 400280 A; guitar solo), February 21, 192806:36 "Broken Levee Blues" (W 300391A-A; guitar), 192810:10 "I Love You, Mary Lou" (W 81188 B-B; guitar, unissued), August 5, 192713:30 "Way Down That Lonesome Road" (W 400490 A-A, OK 8574; guitar),

March 13, 1928


Container Contents


Time Content16:27 End




stereo ; 7 in.LC engineer's note: dubbed from various commercial recordings.

Time ContentStart "Bitin' Flea Blues" (W 81797 A-A; guitar), November 9, 192703:36 "Stay Out of Walnut Street Alley" (W-81221 A-A; guitar), March 13, 192807:00 "Mean Old Bedbug Blues" (W-81214 A-A; guitar), August 192710:10 "Baby Will You Please Come Home" (W 80745 B-B, OK 8484; two

guitars), April 25, 192713:33 End




stereo ; 7 in.LC engineer's note: dubbed from various commercial recordings.

Time ContentStart "Treat 'Em Right" (W-80743-BB, OK 8484; two guitars and vocal), April

25, 1927?3:38 "Wrong Woman Blues" (W 400493A-A, OK 8601; guitar and vocal), March

13, 19286:42 "Sweet Woman, You Can't Go Wrong" (W-81189B-B, OK 8512; guitar and

vocal), August 5, 19279:40 "Fickle Mama Blues" (W 81216A-A, OK 8505; guitar and vocal), August

11, 192712:59 "Life Saver Blues" (W-81801 B-B, OK 8557; guitar and vocal), November

9, 192716:20 End


Lonnie Johnson, #1, undated



Lonnie Johnson, #2, undated



Lonnie Johnson Blues Album (Jazz Society LP-14) / Sonny Boy Williamson - RCA (French)130-238, circa 1955-1956Rack number: RXH 5377Extent: 1 sound tape reel : analog ; 7 in.The Lonnie Johnson album was released circa 1955, and the Sonny Boy Williamson

album was released in 1956.Item-ID: AFC 2011/053:SR361

Pete Johnson: boogie woogie and jazz pieces (played on piano), September 1940

Rack number: RAA 58384


Container Contents


Extent: 1 sound tape reel (00:18:29) : analog, 15 ips, mono ; 10 in.Tape box spine reads: John Regulis Aid II GZ01-F. The original was received at AFC on

a 7-inch tape reel. and was wound onto a 10-inch reel post-digitization. Dub of theoriginal recording.

Vendor's digitization note: the program is distorted at times.Time ContentStart unidentified piano piece #102:09 unidentified piano piece #205:14 a brief conversation between Pete Johnson and an unidentified person about

recognizing the piano piece just performed as "Moonglow."05:23 unidentified piano piece #309:25 unidentified piano piece #4, singing joined in the middle15:15 unidentified piano piece #518:29 End


Pete Johnson, St. Louis, August 1954


ips, quarter track, stereo ; 7 in.This tape may be a copy, or an original tape for recordings that appear on the commercial

release St. Louis Parties of July 20 and August 1, 1954, recorded at private parties.Side A

Time ContentStart Pete Johnson (PJ) plays his first boogie-woogie piano piece3:44 PJ performs his second piece with voice and piano accompaniment10:27 PJ performs his next instrumental piano selection22:27 PJ plays his next selection33:30 The audience members ask PJ to play the previous selection again34:21 An audience member request PJ play "St. Louis Blues," PJ accepts and plays

that selection next42:41 An audience member suggest the next piano piece for PJ to play. Unclear

from the recording the title of the suggested piece. PJ plays the pianoselection.

50:15 Conversation from the audience members51:06 PJ slowly begins his next piece performing over top of the talking audience

members. Can clearly hear his piano piece by 51:3455:29 The next piece by PJ56:59 The next song with voice and piano accompaniment, the song may be titled

"Boogie Woogie Man"59:42 Conversation from the audience members1:00:3

6PJ sings and plays his next song

1:03:12

PJ performs an instrumental piano selection

1:06:25

The next instrumental piece

1:09:13

The audience members discuss what year the last piece was composed. PJdiscusses how he learned the tune from the previous piece.

1:13:08

The next selection with solo piano


Container Contents


Time Content1:19:0

8Someone in the audience suggests PJ perform "the sugar song" (informal).

PJ obliges.1:21:4

0The audience converses among one another

1:22:28

PJ performs his next boogie-woogie piano piece

1:27:18

PJ plays and sings his next song

1:30:22

The next selection with voice and piano

1:33:57

The next piece

1:35:16

The next selection by PJ

1:36:38

PJ plays an instrumental piano piece

1:39:58

PJ plays his next piece

1:42:38

The audience try to get Bill to sing while PJ accompanies

1:46:06

Bill joins in singing while PJ plays the piano

1:48:45

PJ plays he next selection with solo piano

1:56:33


2:02:59

The final selection of part one of this concert

2:05:50

End

Side BTime ContentStart Pete Johnson (PJ) performs a medley of solo piano works12:00 PJ plays a piano piece17:36 The next instrumental selection by PJ25:40 PJ performs his next piano piece32:47 PJ plays a piano selection36:12 The next instrumental selection44:04 PJ performs a piano piece53:00 Conversation from the audience53:48 No audio sound55:02 PJ plays his next piano piece1:02:0

3Conversation from the audience

1:02:44

The next selection by PJ with voice and piano accompaniment titled "HowLong, How Long"

1:07:02

A reprise of "How Long, How Long"

1:08:11

PJ performs his next piano piece


Container Contents


Time Content1:09:5

3PJ plays a piano piece

1:13:12

PJ performs one of his boogie-woogie piano pieces

1:21:09

PJ begins to play his next instrumental selection, the audience interrupts andhe starts playing again at 1:22:12

1:24:15

PJ performs one of his boogie-woogie pieces

1:28:10

The next song with a whistling and humming melody and pianoaccompaniment

1:32:53

The next solo piano piece

1:36:19

PJ plays a piano piece

1:40:11

PJ plays one of his boogie-woogie piano selections

1:42:23

The next selection

1:46:48


1:50:09

The next solo piano piece

1:53:59

PJ's final piano selection from this recording

1:57:20

End


Robert Johnson / blues dubs / Cannon's Jug Band / Memphis Minnie and Her Jug Band,undatedRack number: RXH 5578Extent: 1 sound tape reel : analog ; 7 in.


Signifyin' Mary Johnson interview, July 26, 1967

Rack number: RXH 4073Extent: 1 sound tape reel (polyester, 00:28:30) : analog, 7 1/2 ips, quarter track, mono ; 7

in.Logger's note: Pete Welding conducts an interview with blues singer Mary Johnson.

Time ContentStart Pete Welding (PW) asks Mary Johnson (MJ) where she was born and what

year. She responds and says was born in Eden Station, Mississippi. Shedoes not say the year of her birth.

0:53 MJ explains what it was like growing up and the games she played suchas catching crawfish and cooking mud balls. She cannot remember thenames of the rhyme games she used to play.

3:45 MJ discusses her Native American ancestry on her mother's side and Creoleancestry on her father's side.

4:58 MJ remembers listening to live jazz and blues music when she was youngersuch as "Rainy Day Blues."

5:34 MJ tells PW string bands used to play blues music for dance events. Theyplayed on guitars, saxophones, drums, etc.


Container Contents


Time Content7:37 MJ discusses how her mother was very strict and did not allow her to listen

to blues music or hang out with boys.11:23 PW asks MJ was she still in school or working when she moved here

(doesn't specify where "here" is located) when she was fifteen years old.12:53 PW asks MJ how she got into blues singing and she answered that it was

through her husband. PW backtracks and asks her when she got marriedto her husband. She married in 1917 in Chicago when she was 17. Shemet him at Jazz land, a place she used to go dancing.

14:40 MJ discusses her husband Lonnie's singing career17:16 PW asks MJ who suggested that she start recording blues music18:19 MJ explains she was entertainer before she started recording records in 192819:10 PW asks, "How did you come to write them (your albums)? What was the

idea you had?"20:05 PW asks MJ how she composed "Black Man Blues"20:50 MJ explains where she was entertaining (night clubs) and what the

entertainment consisted of (singing)21:47 MJ discusses the environment of St. Louis when she was growing up. There

were many musicians and night clubs available23:25 PW asks MJ if she feels a member of the church should or should not sing

blues music24:18 PW asks MJ "How did you get the (nick)name signifying Mary?"25:22 MJ explains why she believes blues music is a popular genre. She says

blues music is a feeling that allows you to think about how you weremistreated.

27:52 PW asks MJ why she gave up performing and writing music in 1934 and1935

28:30 EndItem-ID: AFC 2011/053:SR633

Floyd Jones (dub), undated



Idella Jones - Big Joe Williams, undated

Rack number: RXH 4114Extent: 1 sound tape reel (00:26:06) : analog, 7 1/2 ips, full track, mono ; 7 in.

Time ContentStart "Talkin' About You" (duet; start at 00:00:06)00:03:

00"See You in the Spring"

00:06:42

"New York Central Line"

00:09:40

"Joe"

00:13:47

"Packin' Up"

00:16:59

"Love Me Baby"

00:20:17

"My Baby's Gone"


Container Contents


Time Content00:23:

18"61 Highway"

00:26:06

End


Idella Jones - Big Joe Williams, reel #2, August 20, 1963

Rack number: RAA 58382Extent: 1 sound tape reel (acetate, 00:21:21) : analog, 15 ips, full track, mono ; 7 in.Archivist's note: the original tape was overpacked on a 7-inch reel, and during digitization

was wound onto a 10-inch reel. Songs composed and sung by Idella Jones. Music byBig Joe Williams. Collector's original ID number: 157Time ContentStart "Talkin' About You" (duet; starts at 00:00:05)00:02:

59"See You in the Spring"

00:06:39

"Eliga"

00:11:06

"New York Central Line"

00:14:01

"Joe"

00:18:09

"Drinking of the Wine, Wine, Wine"

00:21:21

End


Quincy Jones Orchestra, undated


7 in.Vendor's digitization note: the program is distorted at times.


Buell Kazee, undated

Rack number: RXH 4184Extent: 1 sound tape reel (00:26:29) : analog, 7 1/2 ips, mono ; 7 in.Collector's original ID number: 80.Vendor's digitization note: the program is distorted at times.


Peck Kelley and Lynn "Son" Harrell, undated



Kennedy Corrido dubs, undated



Kennedy Songs (dubs) / Insert, undated



Container Contents



George Kennedy and Jimmy Walker #1, October 6, 1962

Rack number: RXH 4185Extent: 1 sound tape reel (Side A: 00:23:37) : analog, 7 1/2 ips, mono ; 7 in.Archivist's note: Side B has not yet been digitized.Vendor's digitization note: the Side A program is distorted at times, and there are speed

fluctuations.Item-ID: AFC 2011/053:SR160

"In Concert" - B.B. King (November 23, 1973); Bobby Bland (December 14, 1973); Ike andTina (December 14, 1973), November 23, 1973, December 14, 1973Rack number: RXH 4043Extent: 1 sound tape reel (polyester, 00:34:00) : analog, 7 1/2 ips, half track, stereo ; 7 in.Archivist's note: the ABC-TV show "In Concert" featured concert performances that were

recorded live and subsequently broadcast. The dates given are probably broadcastdates.Time ContentStart B.B. King (BK) performs "Every Day I Have the Blues"1:35 The next instrumental selection4:35 BK performs "How Blue Can You Get (Downhearted)"7:03 The next selection by BK titled "To Know You Is To Love You"10:29 BK introduces his band11:57 BK performs his last selection at this concert called "Somebody Loves You"14:07 Bobby "Blue" Bland (BB) performs "Turn on Your Lovelight"16:56 BB performs "Stormy Monday Blues"21:54 BB introduces his band24:53 BB and his band perform "Drifting Blues"28:40 Tina and Ike Turner perform "I Smell Trouble"34:00 End


B.B. King - unissued Chess sides, undated

Rack number: RXH 4045Extent: 1 sound tape reel (backcoated polyester, 00:09:38) : analog, 7 1/2 ips, half track,

stereo ; 7 in.Time ContentStart "Don't Keep Me Waiting"2:20 "Recession Blues"4:41 "Tickle Britches"7:15 "Don't Break Your Promise"9:38 End


Bob Kirkpatrick, undated

Rack number: RXH 4118Extent: 1 sound tape reel (acetate, 00:30:35) : analog, 7 1/2 ips, full track, mono ; 7 in.Archivist's note: live performance, in front of an audience.

Time ContentStart An unidentified man introduces Bob Kirkpatrick (as Robert Kirkpatrick;

starts at 00:00:16)00:00:

23"Sad, Sad Blues"


Container Contents


Time Content00:04:

27unidentified song #1

00:08:09

unidentified song #2

00:11:18

"Sweet Little Angel" (plus spoken introduction)

00:17:17

unidentified song #3

00:20:19

"Stormy Monday" (plus spoken introduction)

00:30:35

End


Know Your Jazz #1, 1956

Rack number: RXH 4721Extent: 1 sound tape reel : analog ; 7 in.Publisher's catalog number ABC 115. Probably dubbed from the vinyl record. See SR482

for the same content.Item-ID: AFC 2011/053:SR482

Know Your Jazz #2, 1956

Rack number: RXH 4722Extent: 1 sound tape reel : analog ; 7 in.This seems to have the same content as SR481.


Lee Konitz - Stan Kenton - Rolf Billberg - Warne Marsh - Ted Brown, undated



Rubin Lacy church service #1, August 7, 1966


track, mono ; 7 in.Logger's note: this is the first of four recordings of the Rev. Lacy (pastor) and the

congregation of Union Baptist Church. See also SR108, SR109, and SR110. Therecording quality of this SR is such that both spoken word and singing are verydifficult to understand.Time ContentStart Unintelligible talking00:47 singing, unidentified hymn02:17 RL reading from (the bible)03:20 RL preaching04:25 RL leads singing of an unidentified hymn06:33 RL preaching, singing in background12:40 piano, unidentified hymn14:52 piano, unidentified hymn16:55 RL and congregation responsively read the 23rd psalm17:55 piano, unidentified hymn. RL calls for an offering.22:00 piano, unidentified hymn25:06 piano, unidentified hymn


Container Contents


Time Content27:42 RL talking28:14 End





Time ContentStart RL preaching07:03 piano, unknown hymn13:30 piano, unknown hymn18:10 piano, unknown hymn, RL talking21:66 End





Time ContentStart RL talking00:58 piano, unknown hymn02:26 segue to "Amazing Grace"04:35 RL talking06:50 RL preaching32:29 End (RL's preaching not yet finished; continued on SR110)





Time ContentStart RL preaching (continued from SR109). Piano in the background.07:28 RL and congregation sing unidentified hymn.10:06 RL recites "The Lord's Prayer" then prays. Congregation humming and

singing in the background.13:09 unidentified hymn16:12 RL talking, singing in background.16:45 unidentified hymn with piano21:54 unidentified hymn with piano24:00 RL talking about taking a picture24:33 End


Rev. and Mrs. Rubin Lacy, August 6, 1966


track, mono ; 7 in.


Container Contents


Interview location: Ridgecrest, California.Time ContentStart RL and ML sing ("Trying to Make Heaven My Home")00:56 RL and ML sing ("Let Jesus Lead You")04:19 RL and ML sing [first line] "All the Way, All the Way Lord"07:57 RL and ML sing [first line] "Oh Tell Me How You Felt When You Came

Out of the Wilderness" [take 1]10:22 RL and ML sing [first line] "Oh Tell Me How You Felt When You Came

Out of the Wilderness" [take 2]11:07 RL and ML sing [first line] "Oh Don't Worry About Me, Oh Don't Be

Uneasy" [take 1]13:41 RL and ML sing [first line] "Oh Don't Worry About Me, Oh Don't Be

Uneasy" [take 2]16:07 RL and ML sing [first line] "Hold to God's Gonna Changing Hands"20:02 End


Lazy River - rough mixes, undated



George Lewis Band, reel #2 of 3, circa 1953-1954

Rack number: RXH 4115Extent: 1 sound tape reel (polyester, 00:32:50) : analog, 7 1/2 ips, half track stereo ; 7 in.The full name of the group is the George Lewis Ragtime Jazz Band of New Orleans.

This may be a dub copy of The Miami Folk Arts Society Presents The George LewisRagtime Jazz Band of New Orleans from the Oxford Series, v. 14, 2nd half. Recordedin front of a live audience. Part of a concert series. Collector's original ID number: 66.

LC engineer's note: the tape is out of relative phase, which was corrected during transfer.The audio quality is very poor, yet is obviously in true stereo.Time ContentStart

(00:00:08)

Dr. John Ball is introduced, and he talks about the band and their music.Presentation of gifts to members of the band.

00:06:19

Life membership cards for the Miami Folk Arts Society presented.

00:09:19

George Lewis (?) announces "Just a Little Walk With Thee" and the bandperforms the song, in memory of Walter Jackson.

00:18:24

"South Rampart Street Parade"

00:21:24

unidentified tune

00:25:41

"Walking With the King"

00:30:21

"Ice Cream" (ends abruptly)

00:32:50

End


Container Contents



Meade Lux Lewis, undated

Rack number: RXH 4144Extent: 1 sound tape reel (Channel 1: 00:15:34, Channel 2: 00:15:51, Channel 3:

00:15:57, Channel 4: 00:15:49) : analog, 15 ips, quarter track, mono ; 7 in.Item-ID: AFC 2011/053:SR609

Meade Lux Lewis / Willie The Lion Smith - Piano Album / #8, undated



Library concert, #1 of 3 - Frank Chace, Johnny Mandel, Marty Grosz, Joe Levinson, WayneJones, Bunky Green Quintet, May 4, 1963Rack number: RXH 3683Extent: on one side of 1 sound tape reel (polyester, 00:38:12): analog, 7 1/2 ips, half

track, mono ; 7 in.Time ContentStart several false starts, then unidentified song02:00 unidentified song02:30 false start, then unidentified song06:47 unidentified song08:11 unidentified song10:49 unidentified song (fragment)11:05 unidentified song11:58 unidentified song (fragment)12:20 unidentified song14:31 unidentified song20:02 blank, except for a piano fragment20:41 talking, the unidentified song24:53 unidentified song27:45 unidentified song31:18 unidentified song35:07 unidentified song38:12 End


Library concert, #2 of 3 - Bunky Green Quintet, Joe Daley Trio, May 4, 1963


track, mono ; 7 in.Time ContentStart blank00:34 unidentified jazz tune07:40 unidentified jazz tune13:28 unidentified jazz tune24:40 unidentified jazz tune36:10 blank36:43 unidentified jazz tune46:39 unidentified jazz tune48:40 End


Library concert, #3 of 3 - Joe Daley Trio (conclusion), May 4, 1963



Container Contents


Extent: on one side of 1 sound tape reel (polyester, 00:08:12): analog, 7 1/2 ips, halftrack, mono ; 7 in.Time ContentStart blank00:21 unidentified jazz tune08:12 End


Shorty Rogers and His Giants, live at The Lighthouse, circa 1962

Rack number: RXH 5440Extent: 1 sound tape reel (Channel 1: 00:28:47, Chanel 2: 00:31:40) : analog, 7 1/2 ips,

mono ; 7 in.Collector's original ID number: 67.Archivist's note: channels 3 and 4 have not been digitized, and may have no content. The

tape box lists two songs ("Greensleeves" and "Tadd's Delight"), and has the words"lighthouse" and "jazz." These live recordings probably were made at The Lighthouse,a jazz club in Hermosa Beach, California. Towards the end of the first program a manintroduces the band members: Lou Levy (piano), Gary Peacock (bass), Larry Bunker(drums), and Gary LeFebvre (tenor sax and flute). While the band itself is not namedthese musicians constituted the lineup for Shorty Rogers and His Giants, circa 1962.

Vendor's digitization note: the program is distorted at times. Channel 2 has audio break-uptowards the end of the program.


"Lion" - Joie Cook Gorton - Laurence Sarezky - Rick Kurshner - Richard Johnson, undated

Rack number: RXH 4180Extent: 1 sound tape reel (00:36:08) : analog, 7 1/2 ips, stereo ; 7 in.According to accompanying documentation these songs were recorded in Sarezky and

Kurshner's living room.Item-ID: AFC 2011/053:SR097

Lightnin' Hopkins interview, undated


ips and 7 1/2 ips, half track, mono ; 7 in.LC engineer's notes: Side A - interview and music; Side B - mostly blues tracks. On Side

A, the speed changes constantly. On Side B the speed changes from 3 3/4 ips to 7 1/2ips at 01:07:55:00, then goes back to 3 3/4 ips at 01:19:16:15.

Side ATime ContentStart getting ready00:51 Start of the interview of LH by PW. LH says he was so small that he had to

get up on a truck with his guitar in order to be seen when he performed.02:30 LH says that he was born on March 15, 1912. He says that when he

was eight years old, he left home with a guitar around his neck. Heinitially went to Alabama and Mississippi. He also went to St. Louis andChicago. He left brothers and sisters behind. He says that his mother isstill alive.

05:30 PW asks LH why he thought he was a good guitar player when he wasright years old. LH responds. He says he played sometimes in the streetswhen he was a young man. He talks about some of the musicians he met,including Lonnie Johnson and Howlin' Wolf.


Container Contents


Time Content07:45 PW asks LH if he remembers any blues singers coming through his part

of the country when he was young. LH replies Bessie Smith but notMa Rainey. He says he spent most of this time in Houston, Texas. Hedeveloped his own guitar style. He travelled a lot.

09:20 PW ask what was it that made LH feel he wanted to play music. LHresponds. He says that he cannot read music. He says all of his brothershad guitars and played. They had a family band. He says that he alsoplayed piano and organ, and a little bit of harp (harmonica).

11:21 PW asks about the records LH made in the last 4 or 5 years. LH answers.He says he first recorded in Los Angeles. He talks about his experiencemaking records. He says that he's made about 100 records.

13:50 PW asks LH what he did when he stopped playing on the streets, how didhe make his living. LH answers. He says he was in jail for a while forfighting.

17:30 They talk about a scar on LH's leg from having to wear a ball and chain. LHsays he had to work on a road gang.

18:19 They talk about LH's marriages and his wives.19:30 PW asks LH if he thinks he's made things better for people by playing his

guitar. LH answers.20:56 Automobile Blues25:25 Portions of several unidentified songs, including "Freight Train."31:19 unidentified songs.36:52 unidentified song (perhaps "Duncan and Brady")40:22 unidentified songs45:22 unidentified songs48:57 End

Side BTime ContentStart "Nothin' But the Blues" - Lightnin' Hopkins02:00 "Don't Think Cause Your Pretty" - Lightnin' Hopkins [There is a short

"pause" in this track, i.e., no sound.]04:28 "Lightnin's Boogie" - Lightnin' Hopkins06:58 "Life I Used To Live" - Lightnin' Hopkins09:40 "Sick Feelin' Blues" - Lightnin' Hopkins11:51 "Evil Hearted Woman" - Lightnin' Hopkins14:29 "Tough Times" - John Brim16:16 "Gary Stomp" - John Brim19:20 song and musicians are not identified22:03 "All My Love in Vain" - Sonny Boy Williamson II24:44 "Don't Start Me Talkin'" - Sonny Boy Williamson II27:17 "Boppin' With Sonny" - Sonny Boy Williamson II29:38 "No Nights by Myself" - Sonny Boy Williamson II32:32 song and musicians are not identified35:18 "Dust My Broom" - Elmore James and Sonny Boy Williamson II38:01 "Stagger Lee" (Part One) - Archibald40:05 "Stagger Lee" (Part Two) - Archibald42:24 song and musicians are not identified44:49 song and musicians are not identified47:30 song and musicians are not identified50:16 song and musicians are not identified


Container Contents


Time Content52:53 "Blues for My Cookie" - Lightnin' Hopkins55:21 "Sittin' Down Thinkin'" - Lightnin' Hopkins57:59 "My Baby's Gone" - Lightnin' Hopkins01:00:

38"Lonesome In Your Home" - Lightnin' Hopkins

01:03:17

"Lightnin's Special" - Lightnin' Hopkins

01:05:41

"My Little Kewpie Doll" - Lightnin' Hopkins

01:07:55

song and musicians are not identified

01:11:51


01:19:16


01:23:22

End


Mance Lipscomb, #1, April 25, 1965


track, mono ; 7 in.Time ContentStart ML says that he was born in Brazos County, Texas on April 9, 1895. His

father was a farmer and he was also a farmer. He talks about his youth.01:36 PW asks about brothers and sisters. ML responds.02:33 ML says that his father was a sharecropper. PW asks if there were other

types of farming arrangements. ML answers and they discuss ML'sexperience.

06:20 PW asks if things got easier because of "scientific farming methods." MLanswers. HE talks about the owners of large tracts (farms) of land.

09:13 They talk about Tom Moore, who is mentioned in an old song. ML firstheard this song in 1938 or 1939. ML talks about the lyrics of the song.

14:50 ML's nephew, T. Lipscomb, and Lightnin' Hopkins wrote additional versesto the song. They used the name Tim Moore on the record. ML talksabout the Moore brothers. He talks about Hopkins's record.

17:00 ML mentions that he was discovered by Chris Strachwitz. PW asks aboutthe difference between a songster and a blues singer. ML says he playsmany types of music in many different venues, so he is a songster.

18:52 PW asks where ML picked up the songs he has. ML says that he was borninto a musical family and learned songs at home. They talk about ML'sfather, a fiddle player. They talk about the song "Cotton Eyed Joe."

21:00 They talk about nicknames. ML's father nicknamed him Bordy (?) Glen [hisgiven name was Beau De Glen Lipscomb].

22:53 PW asks ML when he became interested in music. ML says that he startedplaying when he was about 14 years old. He played for dances.

24:20 PW asks how ML got interested in playing guitar. ML answers. He says helearned guitar from two old men. The first song he learned was "SugarBabe." The next song was "Take Me Back." He mentions Blind Lemonand two brother from whom he learned.


Container Contents


Time Content28:03 PW asks how ML learned his songs. ML answers. He says the music runs in

his family. ML discusses some of the songs he made up.31:00 ML asks how ML got his first guitar. ML answers. He talks about the first

piece he learned to play on the guitar, "Sugar Babe." They talk aboutguitar tuning. PW plays some and then ML plays.

35:10 ML talks about Mexicans coming to Texas to pick cotton. He learned somemusic from them. He talks about learning music via "open air."

38:05 ML says that he will not play a song in public until he has learned itperfectly. He does not change songs, he plays them the way he learnedthem. He talks about Lightnin' Hopkins.

43:51 ML tunes his guitar and plays a blues instrumental.45:29 ML plays and sings "Darktown Strutters Ball."47:23 PW asks where ML heard that song. ML answers.48:04 ML plays "Missouri Waltz."49:33 PW asks ML if he was in the First World War. ML answers that he had too

many dependents, six, so did not serve.51:16 ML plays and sings "Alabama Jubilee."53:02 ML says that this was a tough piece to play.53:30 ML plays "Alabama Jubilee" again.54:03 PW asks how ML figures out songs like that. ML answers. He plays a little

bit in several keys.56:15 ML plays and sings; the first line is "I done had my fun."58:23 ML performs a convict song; the first line is "I asked my Captain for the

time of day."1:00:5

5PW and ML talk about convicts. ML learned this song from a former

convict.1:03:1

0End


Mance Lipscomb, #2, April 25, 1965


mono ; 7 in.Time ContentStart PW and ML discuss why ML plays many types of music, unlike Lightnin'

Hopkins who plays only blues. They agree that music has to have afeeling, a foundation. They talk about why, in the 1920s or so, only blueswere recorded on race records.

05:29 ML plays and sings "Sugar Babe."06:50 ML says the "Sugar Babe" was the first old song he learned to play. He plays

and sings two versions of "I'm Out and Down."10:23 ML plays an unidentified song with a rock and roll beat.12:42 SL plays and sings a song he calls "You Can Knock me Down, I Slow Drag

Up again."14:32 PW asks what kind of things ML would play back in Texas. ML responds by

playing and singing "Ain't Gonna Do You No More Cherry Bowl" whichis also called "Shake, Shake Mama, Buy You a Diamond Ring."

16:37 PW and ML talk about the dances at which ML played. ML talks about hisfather playing fiddle at dances. They talk about harvesting, picking, thecotton crop.


Container Contents


Time Content19:54 ML sings and plays, first line: "I got the dust new morning, new morning in

my life."22:30 blank22:50 End


Johnny Littlejohn, February 4, 1969

Rack number: RXH 5457Extent: 1 sound tape reel (00:10:52) : analog, 7 1/2 ips, stereo ; 7 in.Logger's note: possibly unissued recordings. Includes the songs "Keep On Running,"

"She's Too Much," "When I Think About My Baby," and "I Had A Dream."Vendor's digitization note: the program is distorted at times.


Little Walter, undated



Little Walter #1, undated
















Rack number: RXI 5103Extent: 1 sound tape reel : analog ; 7 in.


Little Walter, vol. 2, undated



Little Walter - dub of material from Chess, undated



Container Contents



Confessin' the Blues - Little Walter (Chess CHV 416), 1974

Rack number: RXH 4730Extent: 1 sound tape reel : analog ; 7 in.Stereo dub of the album.


Little Walter - High Temperature/File #1A / master file #8525, undated

Rack number: RXH 4148Extent: 1 sound tape reel (00:05:10) : analog, 7 1/2 ips, stereo ; 7 in.Noted on accompanying documentation as a tape copy.


Edu Lobo - Sylvia Telles - Trio Tamba, undated



Edu Lobo - Monica Zetterlund - Lennie Tristano - etc., undated



"The Lonesome Train," 1944

Rack number: RXH 5404Extent: 1 sound tape reel (00:25:08) : analog7 1/2 ips, mono ; 7 in.Archivist's note: a dub recording (from a sound disc) of a radio broadcast of this cantata

on the time following Abraham Lincoln's assassination, and the response from variousgroups and individuals. Burl Ives and Pete Seeger are featured singers.

Vendor's digitization note: the program is distorted at times, and there is significant humfrom the tape.


Louisiana Red, #1 of 2, March 4, 1977

Rack number: RXH 3693Extent: on one side of 1 sound tape reel (backcoated polyester, 00:17:42) : analog, 7 1/2

ips, half track, stereo ; 7 in.Time ContentStart first line: "I'm a Lightning bug Mama, watch out, I'm gonna light on you"02:53 first line: "Hey Lordy Mama" the rest is unintelligible06:23 first line: "Alabama train, Alabama train, take me home, Alabama train"09:46 first line: "Ride on...I left my home in Vicksburg, started travelling north"14:20 first line: "You gonna miss me baby one of these days, you gonna miss my

sweet lovin' in your ..."17:42 End


Louisiana Red, #2 of 2, March 4, 1977


ips, half track, stereo ; 7 in.Time ContentStart first line: "Woke up this mornin', (?) was gone, woke up this mornin', (?) was

gone, I ain't have no lovin', my baby was gone."03:50 first line: "I had trouble, I had trouble all my days"


Container Contents


Time Content07:10 first line: "Well, I haven't any money, you know pretty baby I was once a

star"11:16 first line: "Well I came up here to (?) and I gotta help my family the best I

could"15:36 first line: "Oh sometimes I wonder what my family gonna do"21:16 End


"Maid Went to Dublin" - Bob Gibson, circa 1956

Rack number: RXH 5542Extent: 1 sound tape reel (Channel 1: 00:02:04, Channel 2: 00:05:28) : analog, 7 1/2 ips,

stereo (Channel 1) and mono (Channel 2) ; 3 in.Vendor's digitization note: the program is distorted at times, and there is crosstalk from the

tape.Side ABob Gibson sings and accompanies himself on the banjo.

Time ContentStart

(00:00:02)

"Maid Went to Dublin"

00:02:04

End


(00:00:06)

"Katie Cruel" - unidentified woman, accompanied by guitar

00:02:15

"So Early in the Spring" - unidentified woman, accompanied by banjo

00:05:28

End


Warne Marsh - Lennie Tristano - Lee Konitz, undated



Warne Marsh Quartet / Cal Tech #1, April 29, 1975


ips, half track, stereo ; 7 in.Archivist's note: recorded at Winnett Lounge, Caltech (California Institute of

Technology), Pasadena, California.Archivist's note: see also SR105 and SR106LC engineer's note: The tape has sticky shed and had to be baked, then transferred in

reverse due to extreme oxide shedding at the head of the reel. As a result the first tenminutes of the file sounds very muffled with lots of audio dropouts. Eventually theaudio clears up to a much better sound.


Container Contents


Time ContentStart unidentified song08:22 unidentified song17:50 getting ready for the next tune18:35 unidentified song26:00 End




ips, half track, stereo ; 7 in.See archivist's note for SR104.

Time ContentStart If You Could See Me Now08:39 getting ready for the next tune09:14 untitled improvisation on an improvisation19:47 unidentified song28:28 End




ips, half track, stereo ; 7 in.See archivist's note for SR104.

Time ContentStart unidentified song07:51 unidentified song15:26 unidentified song23:27 The band is introduced.24:30 "Subconsciously" by Lee Konitz33:12 End


Warne Marsh, October 25, 1972


quarter track, mono ; 7 in.LC engineer's notes: Includes an aircheck of "Just Jazz," hosted by Ed Beach. WRVR-FM,

New York. The recording is of Side B, right track. The left track is blank.Side A

Time ContentStart A narrator (N) introduces the band members. N states this recording takes

place in New York between 1949-1969.0:54 Warne Marsh (WM) plays "When Your Lover is Gone" on saxophone.5:55 N states this audio was recorded in the band's living room. Riverside

Records picked up the recordings and issued them in the 1950s and againin the late 1960s. Joe Albany (pianist) Warne Marsh (alto saxophone)and Bob Whitlock (bass and mic) were a part of Clifford Brown's album,"Daahoud."

7:08 JA, WM and BW play an instrumental selection recorded in Los Angeles1957 titled "One Life" [?]


Container Contents


Time Content13:02 N explains background information about the next composition and how it is

the only original in the set. N announces the musicians for the next song.14:30 The jazz musicians perform "Background Music" by WM for Atlantic

Records in 1955.17:28 N announces the musicians playing the next piece titled "Cross Kurt" [?]. It

was recorded for Capital Records in 1949.18:22 "Cross Kurt" [?] by the jazz band.21:17 N announces the next piece "Marshmallow" based on [Cherokee's?]

harmonies recorded in 1949. The title of the set is named at 22:11.22:26 The jazz band plays the next selection titled "Marshmallow."27:25 N discusses the piece "Long Gone" from the set titled "Free Willing"

recorded in 1955. N introduces the instrumentalists.29:32 End

Side BTime ContentStart The announcer (N) introduces the next piece titled "Never Knew"0:34 The jazz band play "Never Knew"5:41 N announces the musicians for the next piece recorded in Los Angeles 19567:06 The jazz band play an improvisation of their next instrumental piece, "I

Remember April"10:48 N announces the next piece, "Simply One March" [?] recorded by Atlantic

Records in January 195811:47 The band play "Simply One March" [?]17:08 N informs the next piece was arranged by Clare Fischer titled "Lenny's

Pennies" recorded in Los Angles 1968 by Atlantic Records18:27 The jazz musicians play "Lenny's Pennies"25:46 N gives a brief history of the music from this set dated between 1949 to

1969. He announces the musicians for the last time.27:29 The final instrumental jazz selection for this recording29:33 End


Warne Marsh/Gary Foster/Clare Fischer/Paul Ruhland/John Tirabasso, #1 of 3, undated

Rack number: RXH 5372Extent: 1 sound tape reel : analog, 7 1/2 ips, 2 track, stereo ; 7 in.Dub. SR510, SR511, and SR512 may all come from the same session at Clare Fischer's

house that produced the album Report Of The 1st Annual Symposium On RelaxedImprovisation, released on Revelation Records (1973). The album was recorded onMay 9, 1972.



Rack number: RXH 5373Extent: 1 sound tape reel : analog, 7 1/2 ips, 2 track, stereo ; 7 in.Dub. See note for SR510.



Rack number: RXH 5374Extent: 1 sound tape reel : analog, 7 1/2 ips, 2 track, stereo ; 7 in.Dub. See note for SR510.


Container Contents



George McCoy interview, July 28, 1967


track, mono ; 7 in.Logger's note: Pete Welding (PW) interview with the blues musician George McCoy

(GM), who often recorded with his sister Ethel, and sometimes with his sister Ruby.McCoy and his sisters were related to Memphis Minnie, whom he refers to here as hiscousin. In addition to McCoy and Welding, an unidentified man can be heard in thebackground, occasionally helping McCoy with answers. An unidentified woman canalso be heard in the background (possibly McCoy's mother).Time ContentStart [Heavy static, PW's voice very faint.]00:23 [Static] GM speaking, giving the years that he and his sisters were born

[Ruby 1917, GM 1921, and Ethel 1923] in Booneville, Mississippi.01:25 [Static] GM talks about their father moving them to Mobile, Alabama, and

then St. Louis, Illinois. Their father became acquainted with Big JoeWilliams in St. Louis.

03:17 GM says that Joe Williams' guitar was in "that G tuning." PW then asks howGM learned to play guitar

04:17 PW asks where GM and his sisters learned their songs. This leads GMtalking about how his mother would tell them riddles, and stories aboutwitches.

07:27 PW asks about GM's father, who died in 1963.08:32 PW asks how long it took GM and his sisters to become proficient on the

guitar.09:45 GM talks about his father learning the song "Where was the Sun on Some

Old Rainy Day," from Rube [?] Marshall.10:59 GM talks about the song "Cyclone Blues."12:10 GM talks about writing a song called "Short Haired Woman." GM makes

reference to Lightnin' Hopkins having a similar song with differentwords.

13:35 GM talks about learning to play harmonica after Joe Williams gave him onewhen he was 13.

15:42 [PW leaves the tape running while he goes to get the songs GM played "theother night." It is unclear, but seems to be a list of song titles that GMplayed at a previous meeting.]

16:10 PW and GM discuss the songs GM played "the other night." These songsinclude: "Rising Sun Blues," which GM says he learned from his cousinOliver Jumper: "Heavy Hipped[?] Mama," which GM says his cousinMemphis Minnie "made that"; and "Childhood Sweetheart," which GMsays his sister [does not specify which one] wrote with Chuck Berry.

20:00 PW asks GM about being related to Memphis Minnie, and living inMemphis during the depression.

22:55 GM talks about his sister Ruby.23:58 GM talks about early career with the gospel group the Master Harmonizers.25:26 PW asks GM about how he writes his blues songs.26:32 End


George and Ruby McCoy (with Big Joe Williams), undated

Rack number: RXH 4133Extent: 1 sound tape reel (Side A: 00:55:23) : analog, 3 3/4 ips, mono ; 7 in.


Container Contents


Archivist's note: Side A seems to have been dubbed from other tapes. It seems all threeperformed on all songs where Ruby sings the vocal part. She may not perform on thesongs where George or Joe sang the vocal part. Side B has not yet been digitized.Collector's original number: 116.Time ContentStart

(00:00:02)

"Shine On" (Ruby McCoy, vocal)

00:03:29

"Rising Sun, Shine On" (Ruby McCoy, vocal)

00:06:43

"Oh Mary" [Black Mary] (Ruby McCoy, vocal)

00:11:11

"Come On, Be My Chauffeur" -- false start (Ruby McCoy, vocal)

00:11:50


00:12:22


00:15:02


00:15:17

"Freight Train Blues" (George or Joe, vocal)

00:18:22

unidentified ["Mean Mistreater"?] (George or Joe, vocal)

00:21:23

unidentified ["Mean Mistreater"?] (George or Joe, vocal)

00:24:27

"Roll Me Baby" -- false start (George or Joe, vocal)

00:24:29

"Roll Me Baby" (George or Joe, vocal)

00:28:00

unidentified (George or Joe, vocal)

00:29:53


00:32:32


00:34:48

"Penitentiary" (Ruby McCoy, vocal)

00:37.52


00:40:31

"The Girl I Love She Got Long Black Curly Hair" (George or Joe, vocal)

00:42:57

"Honey Bee" (George or Joe, vocal)

00:44:56

"Ain't It Lonesome" -- false start (Ruby McCoy, vocal)

00:45:21

"Ain't It Lonesome" -- false start (Ruby McCoy, vocal)

00:47:27

"Pig Meat on the Line" (George or Joe, vocal)


Container Contents


Time Content00:50:

04"Black Dog" (George or Joe, vocal)

00:52:16

unidentified (Joe, vocal)

00:55:21

End


George and Ethel McCoy #1, undated

Rack number: RXH 4134Extent: 1 sound tape reel (Channel 1: 00:21:16) : analog, 7 1/2 ips, quarter track, mono ;

7 in.Archivist's note: only the first channel has been digitized to date. Collector's original ID

number: 90.Vendor's digitization note: the Channel 1 program is distorted at times.

Time ContentStart

(00:00:02)

"Beautiful Dream" [also known as "Childhood Sweetheart"] (Ethel, vocal;George, guitar)

00:02:08

"Upon the Mountain" (George, vocal)

00:04:59

"Looking for My Baby" [also known as "Pig Meat on the Line"] (George,vocal)

00:07:31

"Where Did You Stay Last Night" (George, vocal)

00:10:33

"Roll Me Baby" (credited to George and Ethel; George sings the vocal part)

00:13:09

"Heavy Hip Mama" (credited to Ethel and George; Ethel sings the vocalpart)

00:15:38

"Late Hours at Midnight" (credited to George and Ethel; George sings thevocal part)

00:18:33

"Ain't Gone Worry Me No More" (Ethel and George, vocals)

00:21:16

End




7 in.Archivist's note: Only the first channel has been digitized to date. A photocopied note

from Clarence Johnson accompanies the recording, with a photocopied drawing(possibly by Welding) stapled to it. Collector's original ID number: 76.

Vendor's digitization note: Audio cuts in and out for the first four minutes of the programon channel 1. The Channel 1 program is distorted at times.


Container Contents


Time ContentStart

(00:00:02)

"Shine On" (Ethel and George, vocals)

00:03:40

"Black Snake Blues" (George, vocal)

00:06:50

"Long Ways from Home" (George, vocal)

00:09:26

"Receiving Blues" (Ethel, vocal)

00:12:20

"Let's Talk It Over One More Time" (George and Ethel, vocals)

00:14:40

"One Rainy Day" (George, vocal)

00:17:10

"Wrecking Blues" (George, vocal); at 00:19:18 there seems to be an audiobreak like a repaired splice that lost audio, from that point Ethelcontinues the song

00:20:21

"V-8 Blues" [?] (cuts off)

00:20:47

unidentified (George, vocal)

00:23:03

gap in the audio, until 00:23:52

00:23:53

"What's Easy for Two Is so Hard for One" (Ethel, vocal)

00:26:15

"Rocky Mountain" (George, vocal)

00:28:43

"Shine On, Rising Sun" (George and Ethel, vocals); the song cuts off

00:29:46

End




7 in.Archivist's note: Only the first channel has been digitized to date. Collector's original ID

number: 77.Vendor's digitization note: the Channel 1 program is distorted at times.Both Ethel and George play guitar on these songs.

Time ContentStart

(00:00:02)

"St. Louis Twister" (Ethel, vocal)

00:02:06

"Shine On" (George and Ethel, vocals)

00:05:15

"St. Louis Twister" (Ethel, vocal)


Container Contents


Time Content00:07:

16"Brickhouse Blues" (George and Ethel, vocals)

00:09:42

"Noon Day Blues" (George and Ethel, vocals)

00:12:41

End


George and Ethel McCoy #1, July 25, 1967

Rack number: RXH 4137Extent: 1 sound tape reel (Side A: 00:28:27) : analog, 7 1/2 ips, mono ; 7 in.Archivist's note: Side B has not yet been digitized. Collector's original number: 89.


George and Ethel McCoy #2, July 25, 1967



Ruby McCoy / Jesse Walker #1, October 10, 1964

Rack number: RXH 4129Extent: 1 sound tape reel (acetate, 00:29:00) : analog, 7 1/2 ips, full track, mono ; 7 in.Archivist's note: song numbers assigned by the archivist. Possibly recorded in Chicago.

Collector's original ID number: 120.Songs 1 through 6: Jesse Walker (vocal); Big Joe Williams (guitar).Songs 7 through 12: Ruby McCoy (vocal); Big Joe Williams (guitar).

Time ContentStart

(00:00:09)

1. "Have Mercy"

00:03:07

2. "Searching for My Baby" (take 1)

00:06:01

3. "Searching for My Baby" (take 2)--more like a false start

00:06:55


00:08:23


00:10:55

6. "Long-Haired Baby"

00:13:17

7. "Black Mary" [9-string guitar]

00:16:49

8. "Penitentiary Blues" [9-string guitar]

00:19:42

9. "Rising Sun, Shine On" (take 1) [6-string guitar]

00:20:17

10. some between-take noodling on guitar

00:20:37

11. "Rising Sun, Shine On" (take 2) [6-string guitar]


Container Contents


Time Content00:22:

4712. "Lonesome Blues" [9-string]

00:25:13

13. "Chauffeur" (three fragments)

00:25:13

14. "Bumble Bee Blues"

00:29:00

End


Ruby McCoy - Theodore "Blind Blues" Darby - Big Joe Williams, #2, October 10, 1964

Rack number: RXH 4130Extent: 1 sound tape reel (00:26:29) : analog, 7 1/2 ips, mono ; 7 in.Collector's original ID number: 171.Archivist's note: song numbers assigned by the archivist.Songs 1 through 3 - McCoy (vocal), Williams (guitar). Songs 4 through 9 - Darby (vocal

and guitar), Williams (guitar). The title "God Moved in the Wind" appears as "GodMoves in the Wind" on the tape box. There is talk between the songs throughout therecording, including comments and cues from Pete Welding.Time ContentStart

(00:00:01)

1. "Chauffeur Blues" - several false starts

00:01:09

2. "Meningitis Blues"

00:03:30

3. "Blues in the Evening"

00:05:55

4. "Back South Blues"

00:08:17

5. "Decoration Day Blues" (false start at 07:53)

00:12:00

6. "God Moved in the Wind" (false starts at 00:10:47, 00:10:53, 00:11:01,and 00:11:34)

00:15:24

7. "My House Burned Down"

00:19:43

8. "Vee-Eight Ford" (false starts at 00:19:02, 00:19:12, and 00:19:28)

00:24:04

9. "Deceiving Blues"

00:26:29

End


Ruby McCoy - Theodore "Blind Blues" Darby - Big Joe Williams, #3, October 10, 1964

Rack number: RXH 4131Extent: 1 sound tape reel (00:32:03) : analog, 7 1/2 ips, mono ; 7 in.Collector's original ID number: 172.Archivist's note: song numbers assigned by the archivist.All songs - Darby (vocal), Williams (guitar). It is unclear on which songs Darby plays

guitar. There is talk between the songs throughout the recording, and more false starts,plus comments and cues from Pete Welding.


Container Contents


Time ContentStart

(00:00:01)

"Jet Black Woman" [?]

00:01:35

"Deceiving Blues"

00:04:46

"Pokino Blues" (take 1)

00:07:20

"Pokino Blues" (take 2)

00:10:52

"Rollin' and Tumblin'" (fragment)

00:12:37

"Lawdy Lawd Worried Blues"

00:18:36

"She Thinks She's Slick" (take 1)

00:21:28

"She Thinks She's Slick" (take 2)

00:24:32

"Heart Trouble Blues"

00:27:36

"Back Water Blues" (with Ruby McCoy, vocal)

00:32:03

End


Ruby McCoy - Theodore "Blind Blues" Darby, #4, October 10, 1964

Rack number: RXH 4132Extent: 1 sound tape reel (00:19:59) : analog, 7 1/2 ips, mono ; 7 in.Collector's original ID number: 173.Archivist's note: song numbers assigned by the archivist. Recorded in Chicago.All songs - Darby (vocal), Williams (guitar). There is talk between the songs throughout

the recording, and more false starts, plus comments and cues from Pete Welding.Time ContentStart

(0:00:01)

1. "Stackolee"

00:03:38

2. "Trouble in Mind"

00:06:49

3. "Preachin' the Blues" (McCoy, vocal; includes false start)

00:09:24

4. "Here's My Hand" (breaks off)

00:10:07

5. "Here's My Hand" (false start)

00:11:12

5. "Here's My Hand" (false start)

00:11:23

6. "Here's My Hand" (McCoy and Williams, vocals)


Container Contents


Time Content00:14:

257. "T.B. Blues" (false start)

00:14:32

8. "T.B. Blues" (McCoy, vocal)

00:16:43

9. "Shine On, Rising Sun" (McCoy, vocal; song breaks off after a fewmeasures)

00:17:03

10. "Shine On, Rising Sun" (McCoy, vocal; Darby interrupts and Weldingstops the song)

00:17:43

11. "Low Mellow" (Darby, vocal; false start)

00:17:48

11. "Low Mellow"

00:19:59

End


Fred McDowell: "Louise" and interview, February 24, 1964


mono ; 7 in.Time ContentStart Pete Welding (PW) asks Fred McDowell (FM) a series of questions, such as

- his age, where he was born, when he started playing guitar and when hegot his first guitar. He responds and also talks about working on a farmwith his father.

03:06 PW asks FM where he went when he left the farm. He responds.04:11 PW asks if the was anyone FM "got a lot from" while he was learning to

play guitar. FM responds "Raymond Paine" (spelling?) and explains. Hetalks about his uncle.

05:55 FM tells how he got his first guitar. He tells about the jobs he had when hewas in Memphis. He talks about moving to Michigan.

08:00 PW asks where FM learned the songs he sings. He responds.09:26 PW asks how "Mr. Lomax" [Alan] came to meet FM. He responds.20:48 PW asks about "other fellows" with whom FM played. He responds.10:52 PW asks Mrs. McDowell "where are you from?" She responds and talks

about her life. She says that she sings only church songs. She talks abouta group with which she sings.

12:53 PW asks FM if he has any brothers or sisters. He responds.13:24 An unidentified man asks FM about records he may have listened to and

learned songs from. He responds.14:40 PW asks if there are any other singers or guitar players from whom FM

learned to play or sing. He responds. They talk about house parties.16:16 PW asks where FM learned different guitar tunings. He responds and

demonstrates "Spanish tuning" on his guitar. They discuss which songsare played in which tuning. FM demonstrates. They discuss severalsongs.

20:10 They discuss FM's new job, driving a tractor.20:39 End of recorded content.20:48 End of tape


Container Contents



Fred McDowell interview #1, March 24, 1968


track, mono ; 7 in.Archivist's note: this is the first part of a three-part interview Pete Welding conducted with

Fred McDowell. The complete interview is on SR064, SR065, and SR066; dub copiesare on SR336 and SR337.Time ContentStart Pete Welding (PW) and Fred McDowell (FM) discuss telling jokes and

stories. FM heard some of them from Eli Green and different people. FMtells a few jokes.

00:54 FM tells a joke about a man on a train.01:45 FM tells a joke about a man and dumplings.02:20 FM tells a joke about dogs, rabbits and foxes at a dance.03:50 FM tells a story about a man named John wrestling a bear. PW tells another

story about John and a bear.05:15 FM tells a story about John being quick.07:12 FM tells a story about John praying for food. A mocking bird appears.08:25 FM talks about being raised by an uncle. The uncle did not tell FM bed time

stories, but he did tell him about slavery times.11:35 FM talks about marriage and wives, on the plantation, during slavery times.12:00 FW asks what the uncle did after slavery was abolished. FM responds.14:33 FM talks but his grandfather, named Max Stone.15:30 FM talks about his uncle "picking on a guitar." FM "Picks on" the same

guitar.19:00 PW asks about the time after the war when the slaves were free. FW

responds and talks about a white man, named Jim Knox, giving his unclea start.

20:45 PW asks how people "made it" after slavery. FM replies.24:40 FM talks about the job he has now.27:32 FM talks about his wife and his wife's mother.28:40 FM talks about his current job in a service [gas] station.30:48 FM talks ab out how he was raised, and how children are raised today. He

talks about how he raised his son.33:12 End





Time ContentStart Fred McDowell (FM) talks about how he was raised, strict and loved. He

talks about his aunt and uncle.03:45 FM talks about playing music in the early days. He tells about a typical

party. He discusses some "bad men" who came to parties.08:40 FM tells a story about building a levee in Tennessee. At a party one night,

there was a big fight.


Container Contents


Time Content13:40 Pete Welding (PW) asks about fish fries and selling food at parties. FM

responds. He says they sold store bought liquor at parties when theycould get it.

16:15 PW asks how it was arranged for musicians to play at a party. FM respondsand tells what it was like to play at a party, e.g., no money, free drinks,play all night.

18:25 FM talks about people growing and raising what they ate.19:00 PW asks where FM was living during the time he was playing at fish fries.

FM responds.10:38 PW asks how old FM was when he got married and how he came to get

married. FM says it was "spite work." He explains, and talks about hiswedding and marriage. He caught his wife cheating.

26:56 PW asks when FM stopped playing at parties. FM mentions his mother. Hetalks about jobs he had. He tells the story of how he found his mother.His mother's husband was good to him. They lived on a farm.

32:16 EndItem-ID: AFC 2011/053:SR066




Time ContentStart Fred McDowell (FM) continues talking about playing in the [town?] where

he was living with his mother and step farther. He talks about two localbrothers (unnamed) who played guitar and fiddle in the area. FM tellshow he became popular to the extent that he was taking [gigs] away fromother local musicians. At this time, he was being paid to play.

03:10 Pete Welding (PW) asks if the dances (e.g., parties) were different than theywere in [Rockville?] FM replies. He talks about the dances the peopledid.

04:29 PW asks when FM gave up playing for parties. FM says he went to NewAlbany and stayed for about a year and a half. He worked at farming. Hetalks about his sister who was living in [Como]. FM moved to [Como],got married and lived there. This was 1941.

07:57 FM talks about his draft status. He did not go into the army. He spent thewar years in [Como].

09:00 FM talks about how the "big white men" ran things the way they wanted to.11:38 PW asks if FM was playing at this time. FM says he quit playing and "went

to the church."13:07 PW asks when FM resumed playing. PW asks about when Lomax (Alan)

found FM in [Como] in 1959. FM replies. He talks about being recordedby Lomax.

17:35 PW asks what FM thought when he heard himself on the Lomax recordings.FM responds that it was wonderful.

18:54 PW asks if FM was still playing at parties in 1959. FM says that he hadgiven up playing at parties. He'd just play "now and then." At the timeof this recording (1968), he still picks up the guitar and plays once in awhile, for himself. FM talks about the songs he likes to play.


Container Contents


Time Content21:09 FM says that, at home, he does not have a record player but does have a

television. He talks about the television as part of the break-up with hiswife. He talks about why the marriage failed.

28:22 FM says he started a new life after his wife left him.29:36 End



Rack number: RXH 3206Extent: 1 sound tape reel (polyester; 00:35:54, 00:10:25, 00:36:00, 00:32:35) : analog, 3

3/4 ips, quarter track, mono ; 7 in.Side A, left channel

Time ContentStart Pete Welding (PW) asks if Raymond [Paine] played around there too. He

also asks about [Sandy McKenna]. Fred McDowell (FM) responds. Hetalks about cutting records.

02:55 PW asks FM about when he was 14 or 15 years old, borrowed a guitar,learned from [Sandy McKenna] and was teaching himself to play guitar.FM responds that it did not take him long to learn to play. He talks aboutthis and demonstrates by playing guitar.

04:04 FM plays and sings a bit of a song to demonstrate. PW calls the tune "Papa'sLittle Angel Child." FM continues by demonstrating different "time" onthe guitar.

05:46 PW asks how old FM was when he started singing at dances. FM says thathe was young. He'd have to slip out of the house to play at night. FMtalks about playing at parties and dances.

08:15 PW asks how long it was after FM started to play that FM recognized thathe was pretty good. FM responds. He talks about the "friends" he metthrough his playing.

10:18 PW asks if FM started playing at dances, even though he did not have hisown guitar. FM responds and talks about the first guitar(s) he owned. Hetalks about, and demonstrates, how he tests a guitar before buying it.

12:15 PW asks FM if he was going to school or working in the early days ofplaying guitar. FM responds that he was working "on the farm." Hemoved to Memphis with his uncle.

13:44 PW asks FM where he was born and where he had been living. FM respondsthat he was born in [unintelligible] Tennessee. He talks about his parents.They died when FM was very young. He was raised by his uncle. Theymoved to Memphis when FM was very young. Later they moved backto "the country." His uncle was Tom McDowell. His father was JimmieMcDowell. His mother's name was [Ida].

16:46 They talk about FM moving back to the farm and learning to play guitar.They moved several times and moved back to Memphis. Then, theymoved back to the country. FM moved to Michigan to live with his sister.

18:20 PW asks if FM enjoyed playing at dances and what he liked about it. FMresponds that he liked to dance and to play. FM talks about playing andsinging without a microphone.

19:58 PW asks if FM generally played by himself or if other instruments wereinvolved. FM responds. He says he was paid $3 or $4 to play at a dance.This was good money in the 1920s. They talk about Charlie Patton. FMplayed Patton's guitar.

25:18 They talk about FM playing in Cleveland, Michigan.


Container Contents


Time Content25:40 FM says he picked cotton and played guitar. An unnamed man gave FM his

guitar when he bought a new guitar.28:43 In 1928, after Thanksgiving, FM left Michigan and joined the church. He

"did not play guitar for no body." After about 2 years he started playingagain. They talk about why you cannot play blues if you belong to thechurch. They discuss this. They talk about singing "church songs," i.e.,spirituals.

35:54 EndSide A, right channel

Time ContentStart Fred McDowell (FM) and Pete Welding (PW) are talking about a song FM

learned from Perce Jackson when he was young, before he even startedplaying guitar. FM plays and sings the song. The first line, and most ofthe lyrics, is unintelligible.

03:30 FM says that Perce was an old man when he (FM) was young. Perce playedthe song all the time. Perce said the story was true. FM was paying thesong at a café in Memphis where a man heard him. This, unidentifiedman, said that the song was about his daughter. This took place inthe time that FM got his first guitar (from a white man). FM and PWcontinue talking about the song.

07:25 PW asks if Perce did other songs. FM responds that he did not know. Hesays Perce played with the guitar on his lap and used a pocket knife as aslide. FM then remembers another song Perce did. They continue talkingabout the story in the first song.

09:40 PW asks if "this guy named Perce was considered a pretty good musicianaround there." FM responds that he was pretty good. They talk abouthim.

10:25 EndSide B, right channel

Time ContentStart Fred McDowell (FM) talks about when he was 14 or 15 years old. He

mentions being recorded by Alan Lomax. The person he first learnedfrom was Vandy McKenna; says McKenna was an old man and a reallygood guitar player. He played a regularly strung guitar left-handed. FMsays that the first song he learned was "Big Fat Mama with the [????] OnYour Bones." FM bought a guitar and taught himself to play this song.

02:59 Pete Welding (PW) asks if FM has heard music prior to this. FM repliesthat it was spirituals and old blues that his uncle, James Shields, played.FM talks about other people his uncle played with. He mentions a song,"Poor Boy a Long Way from Home." FM says he was born in 1904.

05:12 PW asks in FM's youth at what kind of affairs would you hear music andwhat kind of music were you likely to hear? FM responds that it wouldbe dance music and blues. FM talks about the songs and music he plays.

08:10 PW and FM talk about what it takes for the blues to be genuine and honest.They talk about how FM goes about creating a new blues song. They talkabout FM making the guitar another voice in the song.

12:15 PW asks where FM got the idea to have "the guitar notes talk." They talkabout Vandy McKenna's guitar style. FM plays some music on his guitar.They talk about guitar tunings.

17:07 FM plays a song, [the first line is not intelligible]. He says it is the secondpiece he learned.


Container Contents


Time Content19:06 PW and FM talk about McKenna. FM says he was "the best musician

around there." Ed Looney always played (bass-line on guitar) back up forMcKenna.

20:22 PW asks what other pieces McKenna played. FM responds and plays a song,first line - "I've been Talking all Night Babe." FM demonstrates theguitar part.

22:44 PW and FM talk more about McKenna. They talk about some of the othermen who played around this time, when FM was 14-15 years old.

25:15 FM mentions his mother and says she asked him to stop playing the blues.FM talks about having to borrow guitar to play at dances and parties.

27:46 They talk about various guitar tunings the FM uses. He demonstrates. Hementions some of the songs he plays in each tuning.

32:36 PW picks a song on the guitar. He asks FM for the name of the song. FMdoes not recall it.

33:40 PW asks what FM liked about McKenna's music. FM replies that he likesthe word and the music. FM picks another song, [the first line is notintelligible].

Side B, left channelTime ContentStart Blank00:12 Pete Welding (PW) and Fred McDowell (FM) talk about blues songs and

spirituals. They talk about why one can't play or sing blues in church.06:86 PW cannot understand why one cannot play blues in church. PW says that

church going people feel blues are a sinful music. FM responds. He talksabout his relationship to [his] God.

10:50 PW says that he believes FM feels good when he sings the blues. FMresponds.

13:40 PW asks FM how he would explain, to someone, what the blues are. FMresponds.

15:18 PW asks how FM puts a blues feeling into words. FM responds. He playsguitar and sings.

20:58 PW says that FM has a gift for music. He asks if FM hears differently fromother people. FM responds. He talks about practicing.

21:50 PW asks if FM went to church when he was being raised by his uncle. FMtalks about growing up with restrictions. He talks about his uncle.

25:15 FM says that he has always travelled alone. This is the main reason that hehas never been in trouble or in jail.

25:05 PW brings up a musician named [Roebuck "Pops" Staples?]. PW saysthat church music and blues use the same notes and chords. The onlydifference is the words. FM agrees. He plays guitar. They discuss bluesand church music.

27:58 PW talks about the old church music. He says that in the 1920s and 1930sthe songs became influenced by jazz and gospel music evolved. FMagrees. PW compares a James Brown concert to a gospel music concert.FM says that he feels good playing both church music and the blues.

32:35 EndItem-ID: AFC 2011/053:SR336

Fred McDowell interview 4A, March 15, 1968


mono ; 7 in.


Container Contents


Archivist's note: this tape was dubbed from the 4-track original. See the note for SR064.Time ContentStart PW and FM talks about FM started playing guitar. He says he was about

14 years old. He says that he learned to play from a left-handed guitarplayer named Vandy McKenna.

05:25 They talk about the place FM could play when he was starting out. They talkout the kind of music FM plays and the lyrics he sings. They talk aboutthe blues as songs of emotion.

08:50 They discuss how FM puts a song together. FM talks about how he makeshis guitar sing, or talk.

13:20 FM tunes his guitar ad plays. FM and PW talk about guitar tunings. FMsings his version of "Big Fat Mama." He says this was the first piece thathe learned.

17:13 FM plays and sings another song. PW and FM discuss the person fromwhom FM learned this song.

20:23 They talk about another song that McKenna played. FM retunes his guitar.He picks out and sings a bit of that song. PW asks about McKenna andFM responds. They talk about some other musicians. FM mentions AlanLomax coming through, making recordings.

26:55 FM says that, when he was starting out, he did not have his own guitar. Theydiscuss how he still learned to tune and play the guitar. They talk aboutseveral different guitar tunings. FM demonstrates.

32:40 PW asks what attracted FM to a song and playing. FM responds anddemonstrates.

35:55 PW asks if Raymond [Cane] played in the area where FM played. He asks if[Cane] played with McKenna. FM replies.

38:40 PW asks FM how quickly he learned to play guitar. FM responds anddemonstrates on his guitar.

44:00 PW asks how soon after he learned to play that FM realized he had a gift.FM responds. He says that he started playing at dances, even though hehad no guitar of his own. He talks about how he selects a guitar. He talksabout his family and growing up.

54:15 PW asks FM if he enjoyed playing at dances. FM responds at length. Hesays that he had a good singing voice. He says that he made good moneyplaying at dances (especially compared to picking cotton). FM talksabout being given a new red guitar.

1:05:10

End


Fred McDowell interview 4B, March 15, 1968

Rack number: RXH 4222Extent: 1 sound tape reel (polyester, 00:52:10) : analog, 7 1/2 ips, half track, mono ; 7 in.See the note for SR064.

Time ContentStart FM says that he quit playing for about two years. He joined a church and

so was not permitted to play the blues. He explains. FM and PW discussthis. They talk about singing church songs.

05:55 FM and PW discuss church songs and the blues at length. FM mentionsBlind Lemon. FM had to give up the blues in order to be a churchmember. PW says that he finds this to be a very hard concept tounderstand. FM picks at his guitar. PW mentions several bluesmen asexamples.


Container Contents


Time Content12:50 They discuss the blues being sinful music. FM talks about his faith and

beliefs.17:30 FM says that he feels good when he plays the blues. He explains.20:27 PW asks FM how he would explain the blues to someone who has not heard

the blues. FM does so. He plays guitar and sings.26:30 FM says that you get to feeling good after playing. PW asks if FM hears

music differently than other people. FM says "No." PW asks if FM wentto church when he was a youngster. FM answers "No" and explains.

31:03 FM says that he is a loner. He never travelled with anybody, so stayed outof trouble. FM and PW go back to talking about church music and theblues. PW talks about gospel music coming into the church. He mentionsAretha Franklin.

36:45 PW talks about James Brown and the Blind Boys of Alabama. FM says thatsome people just want him to play guitar and not sing.

39:24 They talk about a song FM learned from Percy Jackson. FM plays and sings,falsetto, several verses. They discuss the song.

44:20 PW asks FM when he played in Memphis. FM says that he does notremember, then says that it was after he got his first guitar. Theycontinue discussing the Percy Jackson song.

46:45 PW ask FM if heard other songs from Percy Jackson. FM answers "yes" buthe can't remember any of them. FM says the names of his parents. Theytalk about musicians FM heard early in his life.

49:16 The recording volume drops so low that the conversation becomesunintelligible. FM plays guitar and sings but the volume is so low thatthe song cannot be identified.

52:10 EndItem-ID: AFC 2011/053:SR469

Fred McDowell #1, November 12, 1966

Rack number: RXH 4709Extent: 1 sound tape reel (00:19:31) : analog, 7 1/2 ips, stereo ; 7 in.Archivist's note: Milestone dub, Side A. Received edited, with the voice on the left

channel, and guitar on the right channel.Vendor's digitization note: the program is distorted at times.


Fred McDowell #2, November 12, 1966

Rack number: RXH 4710Extent: 1 sound tape reel (00:18:26) : analog, 7 1/2 ips, stereo ; 7 in.Milestone dub, Side B. Received edited. Collector's original ID number: 30.Vendor's digitization note: the program is distorted at times.


Fred McDowell - dub #1, March 17, 1968

Rack number: RXH 4711Extent: 1 sound tape reel (00:30:21) : analog, 7 1/2 ips, stereo ; 7 in.According to the tape box notes, this is an "insurance copy." Collector's original ID

number: 156.Vendor's digitization note: the program is distorted at times.


Fred McDowell - dub #2 - 155, March 24, 1968



Container Contents


According to the tape box notes, this is an "insurance copy." Collector's original IDnumber: 155.


Fred McDowell - dub #3, undated

Rack number: RXH 4713Extent: 1 sound tape reel (00:20:03) : analog, 7 1/2 ips, stereo ; 5 in.Dub of unused material. Collector's original ID number: 119.Vendor's digitization note: the program is distorted at times.


Fred McDowell #4 - copy, undated




Fred McDowell - film track, undated

Rack number: RXH 5521Extent: 1 sound tape reel (00:11:45)) : analog, 7 1/2 ips, stereo ; 7 in.Archivist's note: the recording of McDowell ends at 00:03:52, and at 00:03:54 the

recording starts partway into the song "Waiting for the 103," by Dan Hicks andHis Hot Licks. The tape seems to have been reused to record McDowell, whichincompletely taped over the prior recording. The end of the tape features part of adubbed recording of "Jimmy the Talking Dummy."


Lester McFarland interview, May 8, 1966

Rack number: RXH 3233Extent: 1 sound tape reel (polyester; 01:36:00) : analog, 3 3/4 ips, half track, mono ; 7 in.Interview location: Chicago, Illinois. Logger's note: Pete Welding (PW) interviews Lester

McFarland (LM). A man named Harlan (H) [the rest of his name is unknown]participates in the interview. Mr. McFarland is a blind musician. He performed ashalf of the duo Mac and Bob {Robert Gardner]. This SR appears to be the second partof the interview; see SR234 for the balance of the interview.Time ContentStart LM discusses several people and where they are. He talks about "going on

the air" in 1925. He says the he and Bob (Robert Gardner) went to schooltogether.

01:18 PW asks LM how he got interested in music. LM says he started playingpipe organ when he was about three and a half years old. He was achurch organist when he was 9 years old. He majored in music at theKentucky School for the Blind in Louisville. After graduating, he taughtmusic for four years. Bob Gardner (BG) suggested that the two of themmake a harmony team and do some barnstorming. They started singingin schools.

05:54 LM and BG went to Knoxville, Tennessee and did a lot work in churches.They would not perform unless they were paid. They started singing onthe radio in Knoxville. They played mandolin (LM) and guitar (RG). Theresponse was so good that they were invited back and paid.


Container Contents


Time Content08:54 LM says he used to yodel. He learned it "from a kid in school." A talent

scout heard them and asked if heh would make some records for theBrunswick label. They got $150 for their first record, October 1926, andno royalty. That record turned out to be their biggest seller.

10:48 LM says that Brunswick was "doggone nice" to them. LM and BD headlinedtheir Hillbilly Catalog. He says that as Mac and Bob contract withBrunswick ended, other companies made them offers. Brunswick alwaysresponded with a higher offer. They stayed with Brunswick through theyears.

11:45 LM says that Mac and Bob came to radio station WOS in Chicago. He talksabout their contracts and how their records lead to personal appearances.He says they had wonderful success with both radio and records. PWasks about a recording session in Atlanta, Georgia. LM says it was inabout 1929. He talks about cutting records to a wax master.

17:50 PW Asks about a recording of "The Royal Telephone." LM says that it isa religious song which he learned from Mrs. Pearl Hughes. They talkabout other record he made, some were solo and some were with RG.

21:38 PW asks about a Joe Turner song that LM recorded. LM Says that it is anold blues, which he played on the piano. LM talks about "Midnight onthe Stormy Deep" which he learned from a school mate. He say that helearned "Are You Tired of Me Darling" from the same person.

24:20 LM discusses other musicians who were on the radio. He talks about theblues and where he got some of the songs he played and recorded. Hesays there is a story behind most every song he recorded.

26:04 LM is asked about "Tennessee Jail Bird." He talks about George Pennington.He also talks about a song called "Black Sheep."

27:52 PW asks about a song "The Murder of J.D. Markham." LM talks about it andexplains the background of the song. The also talk about the song on theflip-side of the record.

29:09 PW asks about the traditional song LM recorded. LM responds at length.They talk about a man named Charlie Oakes, who was collected by theLibrary of Congress.

32:37 They talk about a man named George Reneau who recorded "The NewMarket Rag." LM says he made some recordings with Reneau, but notunder his real name. They talk about Reneau's recordings. They talkabout "Blue Ridge mountain Blues." They talk about the recording LMmade with Reneau.

37:20 PW asks LM how long he has lived in Chicago. LM talks about the townsand cities where he lived and the radio stations on which he played. Hementions the Linder Twins, Connie and Bonnie. He says that he cameback to Chicago in 1939 and has been there ever since.

39:46 PW asks if there was much singing in LM's family as he was growing up.LM responds. PW asks if there were musicians around when LM wasgrowing up. LM answers. LM talks about the pump organ on which helearned to play.

42:38 LM says he learned that he had absolute pitch (a.k.a. perfect pitch). Theydiscuss this. They talk about some musicians breathing between phrases.They talk about Ernest Tubb.

45:28 They talk about a session Roy Acuff did in about 1929.48:28 H asks about a recording session LM did in about 1928. LM says that it was

1927. He talks about other recording sessions.


Time Content50:20 LM talks about the first time he heard a mandolin on a recording. He says

he is self- taught on the mandolin. He says that as a child he played oldtime fiddle, which is tuned the same way as a mandolin. He says thathe started playing guitar when he was 9 years old. He talks about thevarious instrument combinations used on his records.

53:30 LM talks about his mandolins.54:40 H asks an unintelligible question. They talk about where H learned several

songs. They talk about Pearl Hughes. LM talks about composing for arecording contract.

56:27 LM asks if PW and H saved any of his old recording session. They talkabout this.

1:00:05

LM talks about his relationship with Brunswick Records. PW asks about aspecific Recording Director. LM answers.

1:03:25

PW asks if LM had any difficulty acclimating himself to the recordingsituation. LM answers at length. He says that in order to relax betweenrecordings he'd play the piano.

1:05:36

PW asks about LM's musical training when he was a student. LM respondsthat he was considered the best musician in the school, but hisdeportment was the worst.

1:07:35

LM talks about the instruments he plays.

1:08:55

LM is asked what music he plays for his own relaxation. He answers andmentions that he likes Lawrence Welk's arrangements. He says he likesclassical music. For himself, he plays almost anything on a piano. Hetalks about a music teacher.

1:12:45

LM talks about the songs that he likes to perform. He does a recitation fromthe song "Old Shep." He talks about Red Foley.

1:17:17

PW asks about LM's song composition. LM responds and gives someexamples.

1:21:18

H asks Robbie Luther and other musicians LM may have worked with.

1:24:40

H asks bout a harmonica player who accompanied LM on a recording. LManswers. He talks about accompanying other musicians where he had todo as little as possible so as not to be recognized on the record.

1:29:00

H asks about LM's version of "On Top of old Smokey." LM and H talk aboutvarious version of that song. They talks about "Sadie Ray."

1:31:09

PW asks LM where he got "The Birmingham Jail." LM responds. They talkabout "21 Years." They talk about Johnnie Oakes.

1:36:00

End


Lester McFarland: stories, tales, and songs, May 8, 1966

Rack number: RXH 4116Extent: 1 sound tape reel (acetate, 00:15:43) : analog, 7 1/2 ips, full track, mono ; 7 in.Archivist's note: At least two men apart from McFarland are part of the conversation.

See the notes for SR095. Contains racist and sexually explicit language and jokes.Collector's original ID number: 81.


Bob McGuire #1 (Sony), December 26, 1976



Container Contents



Bob McGuire #2 (Sony), December 26, 1976



Mariachi Tapatio - Los Tres Vaqueros - Hermanos Martinez-Gil - Jorge Negrete y suMariachi - Orquesta Del Castillo, undatedRack number: RXH 4601Extent: 1 sound tape reel (Side A: 00:24:12, Side B: 00:24:03) : analog, 7 1/2 ips, half

track, mono ; 7 in.Dubs of commercial recordings by various ensembles. The tape box spine label reads

"Baden Powell Tamba Trio."Vendor's digitization note: the program is distorted at times, and there is significant hum


Topelo Mealey, March 24, 1963



Meltzer's Choice, undated

Rack number: RXH 5557Extent: 1 sound tape reel (Channel 1: 01:15:51, Channel 3: 01:16:25) : analog, 3 3/4 ips,

mono ; 7 in.Archivist's note: dubs of country music songs, as performed by various artists. The subject

matter of most songs is death and heaven. Channels 2 and 4 were not digitized.Vendor's digitization note: the program is distorted at times, and there is significant hiss

from the tape.Channel 1 includes dubbed recordings of The Delmore Brothers, Hank Thompson, and

possibly others.Channel 3 includes dubbed recordings by Jack Cardwell and others.


Memphis Minnie, circa 1940s-1950s

Rack number: RXH 5442Extent: 1 sound tape reel (00:35:35) : analog, 15 ips, stereo ; 7 in.Archivist's note: the test tone is followed (at 00:00:16) by dubbed commercial recordings

of Memphis Minnie.Item-ID: AFC 2011/053:SR811

Memphis Minnie / unidentified male singer, undated

Rack number: RAA 59348Extent: 1 sound tape reel (00:33:25) : analog, 15 ips, full track, mono ; 10 in.Title supplied by the archivist.Memphis Minnie sings the first seven songs, accompanied variously by guitar and piano.

The unidentified male singer accompanies himself on guitar.Vendor digitization note: Reversed audio during the last half the tape, edited to play back

normally. The program is distorted at times, and there is hiss from the tape.The first seven songs performed by Memphis Minnie.


Container Contents


Time ContentStart

(00:00:07)

"Down in New Orleans" (false start)

00:00:16

"Down in New Orleans"

00:03:16

"Stinging Snaksre Blues"

00:06:18

"Dirty Mother For You"

00:09:14

"You Can't Give It Away"

00:12:27

"Call the Fire Wagon"

00:14:54

"Keep Your Big Mouth Closed" (ends at 17:41)

00:17:41

No music or discernible audio until 00:23:30.

00:23:30

"Jack Rabbit Blues"

00:26:16

First lines: "Lying in my lonesome bedroom/tired of sleeping by myself"

00:30:29

"Roll Me Baby" (first take)

00:32:18

"Roll Me Baby" (second take; incomplete)

00:33:08

"Roll Me Baby" (third take; incomplete)

00:33:25

End


Memphis Minnie (dubs), undated

Rack number: RAA 59351Extent: 1 sound tape reel (00:22:22) : analog, 15 ips, full track, mono ; 10 in.Title supplied by the archivist. All songs performed by Memphis Minnie (except

as noted), who accompanies herself on the guitar. Piano accompaniment by anunidentified musician.

Vendor's digitization note: the program is distorted at times, and there is hiss and print-through from the tape.Time ContentStart "Don't Want No Woman" - Kansas Joe McCoy and Memphis Minnie00:03:

16"Chickasaw Train Blues"

00:06:37

"Crazy Cryin' Blues"

00:10:07

"Keep It To Yourself"

00:12:58

"Hole in the Wall" - Kansas Joe McCoy and Memphis Minnie


Container Contents


Time Content00:16:

12"Moaning the Blues"

00:19:20

"Sylvester and His Mule"

00:22:22

End


Memphis Slim interview, January 19, 1960

Rack number: RXH 3214Extent: 1 sound tape reel (acetate; Side A: 00:32:50; Side B: 00:32:50) : analog, 7 1/2 ips,

half track, mono ; 7 in.Side A

Time ContentStart Esmond Edwards (EE) asks where and when Memphis was born. He

responds Memphis in September 3, 1915, when asked when he startedplaying he jokes September 4, 1915. Then says he must've been 7 or 8.

00:56 EE asks if he ever took lessons, or learned on his own. He responds.01:10 EE asks when he left Memphis, and if he worked with bands. He responds

1931, and jokes that he "never worked with bands, bands worked withhim."

01:50 EE asks when he started working professionally. Memphis said he startedaround 1935.

03:01 EE asks who influenced Memphis and his piano style. He mentions hisfather, Roosevelt Sykes.

05:52 EE asks if he plays any other instruments. Memphis modestly mentionsguitar and bass.

06:10 EE asks what musicians he ran into when "hoboing around." He responds.10:52 EE asks Mrs. McDowell "where are you from?" She responds and talks

about her life. She says that she sings only church songs. She talks abouta group with which she sings.

08:39 EE asks how Memphis came to write his piece "Every Day," if he was thefirst person to record it, and what label he recorded it with. He respondsand mentions a tune named "Angel Child" was the track on the flip-sideof "Every Day."

11:07 EE asks what the common instrument group is Memphis likes to write forand play with. He responds.

13:01 EE asks how Memphis came to arrange his Folkways date. He responds, andmentions Alan Lomax.

14:14 EE asks what he does throughout the year musically, if he's touringfrequently, etc. Memphis responds, mentions tour-mates, and places he'sbeen recently.

15:44 EE asks if Memphis thinks blues singers are going to get more popularrecently because of a boost in popularity of folk songs. Memphisresponds.

16:44 EE asks Memphis to tell him about his family. He talks about his wife andchildren, as well as how his youngest daughter is already writing music.

18:21 EE asks how Memphis writes his songs or gets his ideas out. He responds.19:22 EE asks how many songs he has written. He responds.20:22 EE asks if Memphis is a member of ASCAP or BMI. He responds BMI.


Container Contents


Time Content20:29 EE asks if he has and plans for the future. Memphis mentions going

overseas, possibly Europe, and talks about getting many offers to playinternationally after playing Carnegie Hall.

23:03 EE asks what artists do in Chicago do, if there are enough clubs for peopleto play or if they just live there. Memphis responds, talking about thenew acts he competes with there.

24:56 EE asks why Memphis thinks many musicians gravitate to Chicago. Heresponds, and talks about a guitar player he used to play with that startedhis own band but didn't really get anywhere because "he's not a leader."Memphis talks about finding musicians who get angry that the composerdoesn't know how to read and write down music that went to Harvard,etc. He also talks about one of his bands always splitting money evenlyand being fair towards each other.

31:04 EE mentions he thinks Memphis's audience is about to be a lot more vast,and that the best days of his musical field are ahead, and that whenhe started becoming known to a lot of new people because he startedpublishing songs through folk labels.

32:50 EndSide B

Time ContentStart EE asks how far Memphis went with his education. He responds (high

school), and brings up learning a lot hoboing around at a young ageplaying music.

01:50 EE asks if there was any segregation amongst hobos after Memphis brings itup. He responds that there wasn't any.

03:23 EE asks how long Memphis hoboed for. Memphis responds "quite sometime," and talks more about it and some amusing incidents that happenedwhile doing so.

07:03 EE mentions hoboing to places where he had heard of great piano playersand he would challenge them to battles. They mention most people heplayed with and challenged were self-taught like Memphis.

09:44 Memphis talks about trying school and thinking it spoiled his music, soit just played and learned himself. EE and Memphis mention musicseeming wrong academically, but when it sounds good it doesn't matter.

11:38 Memphis mentions he wants to make his next album on organ, playing itsimilarly to piano without having a background practicing on organ.

12:47 EE and Memphis talk about California being a great town for the bluesscene, shortly after they mention New York not being a good town forblues singers. Memphis mentions if someone had a blues club there itwould do well.

15:25 EE and Memphis talk about people not wanting to give blues a chance inNew York, and the younger generation trying to push away their roots.

16:14 The two continue talking about how they think blues and jazz are verysimilar, mentioning Count Basie, the term soul being thrown around inbetween genres, modern musicians being ashamed to show they reallylike blues, Cannonball Adderley, blues making a comeback during a jazzera and more.

18:41 EE asks what Memphis thinks of modern jazz, Sonny Rollins, Coltrane, etc.They talk about their opinions on Jazz, Blues, Folk music, and Rock N'Roll.

22:28 EE says "Maybe there is more sincerity in the blues, rock n' roll ismanufactured" etc.


Container Contents


Time Content25:11 EE asks the last name of a previous band member Memphis had in the 50s.

He responds.26:41 EE asks Memphis to tell him a little about his fellow musician Willy

(Willie?), and if he is self-taught. He responds and talks about their bandand that once they started making money the split because they began toargue.

29:55 EE and Memphis two talk for a bit about booking managers and etc. beingthe reasons bands fall apart.

30:50 They both talk about musicians reading reviews and finding out peoplereally liked them on albums and etc., they go off as a solo act and don'tmake out as well, and that being a common issue.

32:37 End of content32:50 End of tape


Elmon Mickle, Side A, undated

Rack number: RXH 4704Extent: 1 sound tape reel (00:17:28) : analog, 7 1/2 ips, stereo ; 7 in.Collector's original ID number: 232.Vendor's digitization note: the program is distorted at times.


Elmon Mickle, Side B, undated

Rack number: RXH 4705Extent: 1 sound tape reel (00:20:12) : analog, 7 1/2 ips, stereo ; 7 in.Collector's original ID number: 78.Vendor's digitization note: the program is distorted at times.


Somebody Hoo-Doo'd The Hoo-Doo Man - Driftin' Slim & His Blues Band / Side A #1,circa 1968-1969Rack number: RXH 4706Extent: 1 sound tape reel (00:17:59) : analog, 7 1/2 ips, stereo ; 7 in.Archivist's note: dub recording. Elmon Mickle recorded variously under the names

Drifting Slim and Model T Slim. See SR467.Vendor's digitization note: the program is distorted at times.


Somebody Hoo-Doo'd The Hoo-Doo Man - Driftin' Slim & His Blues Band / Side B #2,circa 1968-1969Rack number: RXH 4707Extent: 1 sound tape reel : analog, mono ; 7 in.Archivist's note: according to the tape box information, this recording is meant to be a dub

of Side B of a commercial recording. See SR466Vendor's digitization note: the tape is blank.


Midnight Special, #1, undated

Rack number: RXH 5504Extent: 1 sound tape reel : analog ; 7 in.Possibly the TV show, "Midnight Special." See SR625.


Midnight Special, #2 (Chuck Berry - Bo Diddley), undated

Rack number: RXH 5503Extent: 1 sound tape reel : analog ; 7 in.See the note for SR626.


Container Contents



Big John Henry Miller, undated

Rack number: RXH 4188Extent: 1 sound tape reel (00:21:47) : analog, 7 1/2 ips, mono ; 7 in.Archivist's note: Collector's original ID number: 117.Vendor's digitization note: the program is distorted at times.


Big John Henry Miller #2, undated

Rack number: RXH 4189Extent: 1 sound tape reel (00:42:34) : analog, 3 3/4 ips, mono ; 7 in.Archivist's note: Collector's original ID number: 118.Vendor's digitization note: the program is distorted at times, and the recording has a

significant amount of buzz.Item-ID: AFC 2011/053:SR152

"In Concert": Steve Miller Band, February 1, 1974

Rack number: RXH 4035Extent: 1 sound tape reel (polyester, 00:18:14) : analog, 7 1/2 ips, half track, stereo ; 7 in.Archivist's note: February 1, 1974 was probably the broadcast date. See the notes for

SR151.Time ContentStart "The Joker"3:23 "Sugar Babe"7:04 "Kow Kow (Calculator)"10:54 "Living in the U.S.A."00:18:

14End


#4 Charlyne Milsar / Rev. Hopson Johnson, undated


fluctuations from the tape.Item-ID: AFC 2011/053:SR570

Roberto Miranda, possibly November 23, 1975



Mississippi Blues: Arthur Weston, David Edwards, Coot Venson, Big Joe Williams, undated



Mississippi Sheiks, undated



Communication (Red Mitchell Sextet) Europa Film 2 - LP set / EFG -402 5 090, 1974



Container Contents



George Montgomery's album The Blues in St. Louis, vol. 1: Daddy Hotcakes (BVLP 1080-A), 1961Rack number: RXH 4617Extent: 1 sound tape reel (00:16:11) : analog, 15 ips, stereo ; 7 in.Archivist's note: the album was recorded in 1961, and assigned the Bluesville catalog

number BVLP 1080, but not released. Folkways released the album at a later date.Logger's note: see SR377 for Side 2.Vendor's digitization note: the program is distorted at times. A flange broke while

transferring content.Time ContentStart An unidentified song. Lyrics: "I ain't got no one now baby, when I am

broken down, none of my friends won't come around. Yes I met a strangewoman, just about half past two. Nothing but the strange women blues."

03:13 An unidentified song accompanied by guitar, harmonica and otherinstruments. Lyrics: "how about my women, she is awesome, she is thesweetest women I've ever seen"

05:59 An unidentified song. Lyrics: "Well I've been to Memphis....you can walk onthat part now, ain't no got single dime"

10:05 An unidentified song. Lyrics: "I left down late last night baby...pull mywindow shade low, when you see me leave out, baby please don't youcry....nothing but that sunshine blue."

12:59 An unidentified song. Lyrics: "Every time I leave town baby, I can find youworry about someone"

16:11 EndItem-ID: AFC 2011/053:SR377

George Montgomery's album The Blues in St. Louis, vol. 1: Daddy Hotcakes(BVLP 1080-B), 1961Rack number: RXH 4618Extent: 1 sound tape reel (00:17:03) : analog, 15 ips, stereo ; 7 in.Logger's note: See the notes for SR376.Vendor's digitization note: the program is distorted at times.

Time ContentStart George Montgomery plays guitar while chatting with people.02:05 An unidentified song. Lyrics: "I am down from the country"03:57 An unidentified song. Lyrics: "Corrine Corrine, why didn't you call home

last night, you call me this morning when the star was shining"06:27 An unidentified song. Lyrics: "Please don't you say it to my grandmother

now, yes I love my grandmother Pana, I don't want you to answer hernow"

09:00 An unidentified instrumental piece by guitar and harmonica.10:51 An unidentified song. Lyrics: "I ride my horses to many places and go

home...I got a new saddle...saddle horse blues"14:06 An unidentified song. Lyrics: "Yes I got my woman and she surely is very

nice to me"17:03 End


Jelly Roll Morton, December 1938



Jelly Roll Morton Jazz Man Piano Solos; 1938, undated



Container Contents


Extent: 1 sound tape reel : analog ; 7 in.Dubbed from different commercial discs.


Muddy Waters interview, August 25 or 29, 1964


track, mono ; 7 in.Archivist's note: the tape box says August 25, and the tape log says August 29.

Time ContentStart PW asks some "simple questions." MW says that he was born in Rollin'

Fork, Mississippi on April 4, 1915. MW talks about his family. He saysthat his father was a guitar player. However, he learned to play guitarfrom Scott Bomana. MW talks about his early family life and his earlymusical life. He says that he was "diggin'" the records of Robert Johnsonand Son House, who he also saw in person.

03:05 MW says that he started playing harp [harmonica] when he was about 13years old. He talks about his father. MW says he could easily see andhear other musicians.

06:25 PW asks about what MW could listen to on the radio. H replies that helistened to blue on phonograph records. He talks about listening toRobert Johnson records. He says he heard Son House live. They talkabout the "Mississippi Delta sound."

09:45 PW asks when MW first got a guitar. MW says that he was about 17 yearsold. He expands on this. They talk about guitar tunings. They talk aboutthe Library of Congress recordings made by Alan Lomax in 1942.

12:13 PW asks about the community in which MW grew up. MW responds. Hesays he did not get much schooling. He says that the best blues singerscame from the church. He mentions St. Louis and Chicago.

15:03 PW asks about the circumstances around Alan Lomax's recordings made in1942. MW responds at length. He says that Lomax recorded more of hissongs then was released on the LC records. PW and MW discuss MWreleasing a record of the remaining songs.

18:50 PW asks what prompted MW to move to Chicago in 1943. MW answers atlength. He also talks about his experience in St. Louis. They talk aboutpre-was blues (old style) and post war blues.

20:45 PW asks MW if he was working on material of his own. MW responds.They talk about MW's early recordings.

22:25 MW came to Chicago in 1943. PW asks how he "found the scene" there.MW responds at length. They talk about records from that period. Theytalk about the musicians playing in the city at that time.

26:22 PW and MW talk about the places MW played and the musicians playing atthat time.

31:00 PW asks when MW made the change to amplified guitar. MW says that hedid this when he came to Chicago. They talk about this at length. Theytalk about a bass player. They talk about MW's recoding from this time.

35:13 PW and MW talk about making the "post-war blues sound." They talk about"the beat" and electric instruments. They talk about a MW song that is"perfect in its own way."

40:20 MW talks about touring in "the early years." They talk about changes in themusic business over the years. They talk about popular music and theblues coming together.


Container Contents


Time Content43:01 They discuss young [black] people running away from classic blues. MW

says that real blues is what he made on his fist records. They talk aboutMW's tours to England. He mentions The Rolling Stones. They talkabout world-wide interest in the blues.

47:50 EndItem-ID: AFC 2011/053:SR555

Muddy Waters, reel #1, undated















Muddy Waters Live At Montreaux, June 28, 1974

Rack number: RAA 59322Extent: 1 sound tape reel (01:38:23) : analog, 7 1/2 ips, half track, stereo ; 10 in.


Gerry Mulligan and Bob Brookmeyer Play Phil Sunkel's Jazz Concerto Grosso (AFC-225),Side A, October 14, 1957Rack number: RXH 5410Extent: 1 sound tape reel : analog ; 7 in.Archivist's note: the LP was released in 1958. See SR549 for Side B.


Gerry Mulligan and Bob Brookmeyer Play Phil Sunkel's Jazz Concerto Grosso (AFC-225),Side B, October 15, 1957Rack number: RXH 5411Extent: 1 sound tape reel : analog ; 7 in.See the note for SR548.


Mulligan Ind. Garrick. De Morales. Gullin 1 / Pepper 2, undated

Rack number: RXH 5579Extent: 1 sound tape reel : analog ; 7 in.Dubbed from commercial recordings.


Charlie Musselwhite interview #1, June 28, 1968



Container Contents


Extent: 1 sound tape reel (polyester; Side A: 00:42:30; Side B: 00:24:20) : analog, 7 1/2ips, half track, monos ; 7 in.

LC engineer's note: The audio on this tape seems to have survived by accident. It appearsthe tape was recorded in the half track format, but blanked over by being recordedwithout audio in the quarter track format. As a result, the original audio is 'between thetracks,' resulting in very low-level, very hissy audio. Also, the audio on the tape is splitbetween tracks, with the first half of the tape recorded at 3 3/4 ips on track one, andthe second half recorded at 7 1/2 ips on track two.

Side ATime ContentStart PW and CM talk about CM's years as a child in Mississippi.02:04 CM says he was raised in Memphis. He says he was interested in hill-billy

music, blues and spirituals. Radio was his major source of the music heheard. He says he really liked Stephen Foster songs.

04:26 CW talks about the music he heard on both "white" radio stations and"Negro" radio stations.

06:15 PW asks CM about the first blues he heard. A B.B. King recording was (oneof) the first blues songs he remember hearing.

07:38 [The audio drops out.]08:46 [The audio returns, barely.] CM says his that his father gave him his guitar.

His father played hill-billy music. He talks about his father's band. CMsays that there was no segregation in music.

11:12 CM talks about when he first started playing guitar and harmonica. He'd goto the library and read about Memphis musicians. He talks about some ofthe songs he learned.

14:20 CM talks about some of the musicians who lived in his neighborhood (inMemphis). One if these people was Johnny [?]. A Negro musician he hadcontact with was [?] Chambers. Through Mr. Chambers he met a numberof other musicians.

16:28 CM talks about buying used phonograph records.17:00 CM talks about meeting and hanging out with Will shade. He talks about

listening to music in clubs in West Memphis18:28 CM says he moved to Chicago the back to Memphis. He talks about his

(non-musician) jobs.19:55 CM talks about going to blues clubs in Chicago. He went to see and hear

musicians like Muddy Waters and Howlin' Wolf.25:20 PW asks CM when he really applied himself to music. CM responds. He

also talks about drinking and being very sick.28:08 PW asks CM when he decided he could earn his living as a musician. CM

responds. He talks about some of the musicians he met and/or playedwith.

32:06 CM talks about some of the clubs in which he played. He mentions some ofthe musicians with whom he played and/or had influence on him.

36:47 CM talks about a band he was in (with Mike). He left because Mike washolding him back. He formed a band with Ray and Johnny.

38:33 PW asked CM where he got his "stuff." CM answers. He talks aboutimproving his technique.

39:10 PW asks what happened after CM stopped working with Johnny. CMresponds. He talks about going to California. He talks about makinga record for Sam charters.

42:30 EndSide B


Container Contents


Time ContentStart Track 1: Unidentified blues song. Unidentified male performer with guitar.04:27 [audio drops out]05:10 Track 2: Unidentified blues song. Unidentified male performer with guitar.07:41 End of Track 2.08:27 Track 3: Unidentified blues song. Unidentified male performer with guitar.11:17 End of Track 3.11:55 Track 4: Unidentified blues song. Unidentified male performer with guitar.15:03 End of Track 4.15:56 Track 5: Unidentified blues song. Unidentified male performer with guitar

and piano.19:03 End of Track 5.19:23 Track 6: Unidentified blues song. Unidentified male performer with a band.22:17 End of Track 6.23:09 Track 7: Unidentified blues song. Unidentified male performer with a band

(jug band sound).24:20 End


Charlie Musselwhite interview #2, June 28, 1968

Rack number: RXH 3186Extent: 1 sound tape reel : analog, 3 3/4 ips ; 7 in.LC engineer's note: the tape is completely blank.


Louis Myers - Eddie Taylor - Sam Lay - Ernest Johnson and Little Walter: early 60s tape #3Live, 1968, February 16, 1971Rack number: RXH 4610Extent: 1 sound tape reel (Channel 1: 01:34:35, Channel 2: 00:23:54, Channel 3:

01:27:06) : analog, 3 3/4 ips, quarter track, mono ; 7 in.Archivist's note: the fourth channel has not yet been digitized.Logger's note: Dub recording. The Side A source recordings were live, and Side B source

recordings are studio albums.Vendor's digitization note: the program is distorted at times.Channel 1

Time ContentStart a male voice singing along with the band. Song #1 which opens with lyrics:

"Somebody helps me with my troubles, oh love, with these blues."04:12 a male voice singing along with the band. Song #2 which opens with lyrics:

"Once upon a time, down the 47th street in Chicago."07:46 a male voice singing along with the band. Song #3 which opens with lyrics:

"I am gonna move."11:33 a male voice singing along with the band. Song #4 which opens with lyrics:

"Lord have mercy....when I've done somebody wrong."16:29 an unidentified piece played by the band.19:18 a male voice singing along with the band. Song #5 which opens with lyrics:

"Put on your red dress baby, we are going out tonight" ["High HeelSneakers"]

22:28 a male voice singing along with the band. Song #6 which opens with lyrics:"Every sweet married women, she got a back door."

26:14 a male voice singing along with the band. Song #7 which opens with lyrics:"Yes tomorrow night, hey baby everything is alright."

29:33 a male voice singing along with the band. Song #8 which opens with lyrics:"Annalie I want you for my own."


Container Contents


Time Content33:43 an unidentified piece played by the band. The sound quality is poor.35:38 a male voice singing along with the band. The sound quality is poor. Song

#9 which opens with lyrics: "oh baby you don't have to worry."39:14 a male voice singing along with the band. The sound quality is poor. Song

#10 which opens with lyrics: "I don't need you."43:04 a male voice singing along with the band. The sound quality is poor. Song

#11 which opens with lyrics: "I want to know if you will miss me, I wantto know if you will kiss me."

46:27 a male voice singing along with the band. The sound quality is poor. Song#11 which opens with lyrics: "You don't have to work, I am your slave."

49:44 a male voice singing along with the band. The sound quality is poor. Song#12 which opens with lyrics: "I don't want much."

52:04 a male voice singing along with the band. The sound quality is poor. Song#13 which opens with lyrics: "You never know how much I love you."

55:00 a male voice singing along with the band. The sound quality is poor.Song #14 "Johnny B. Goode" which opens with lyrics: "Deep down inLouisiana close to New Orleans."

57:10 a male voice singing along with the band. The sound quality is poor. Song#15 which opens with lyrics: "Rock it baby, you rock me all night long."

01:02:09

a male voice singing along with the band. The sound quality is poor. Song#16 which opens with lyrics: "Once there is a man goes crazy aboutwomen wear her dress tight."

01:05:23

an unidentified piece played by the band. The sound quality is poor.

01:09:37

a male voice singing along with the band. Song #17 "Black Snake" whichopens with lyrics: "There is a mean black snake hanging around mybaby's door."

01:12:20

a male voice singing along with the band. Song #18 "You Got Me Running"which opens with lyrics: "You got me runnin', you got me hidin', you gotme run, hide, hide, run."

01:15:38

an unidentified singer singing along with the band. Song #19 which openswith lyrics: "I am going home to see my baby."

01:20:33

an unidentified singer singing along with the band. Song #20 "I'm YourHoochie Coochie Man" which opens with lyrics: "The gypsy woman toldmy mother before I was born."

01:24:36

an unidentified singer singing along with the band. Song #21 "Work Song"which opens with lyrics: "Breaking up big rocks on the chain gang,breaking rocks and serving my time."

01:28:26

an unidentified singer singing along with the band. Song #22 "Call It StormyMonday" which opens with lyrics: "They call it stormy Monday butTuesday's just as bad."

01:31:50

an unidentified singer singing along with the band. Song #23 "I Can't Losewith the Stuff I Use" which opens with lyrics: "I can't lose with the stuffI use baby, No, I can't lose with the stuff I use baby. If I keep on winnin'I'll be rich someday maybe."

01:34:35

"I Can't Lose with the Stuff I Use" stopped abruptly at the end of the tape.

01:34:35

End

Channel 2


Container Contents


Time ContentStart an unidentified singer singing along with the band. Song #24 "Forty Days

And Forty Nights" which opens with lyrics: "Forty days and forty nightslike a ship out on the sea."

03:30 an unidentified singer singing along with the band. Song #25 "Unchain MyHeart" which opens with lyrics: "Unchain my heart, baby let me be, helpme, set me free."

06:08 an unidentified singer singing along with the band. Song #26 "Little RedRooster" which opens with lyrics: "Well, I got a little red rooster too lazyto crow for day."

09:10 an unidentified song. The melody and lyrics are unrecognizable because ofthe poor sound quality.

12:26 an unidentified song. The lyrics are unrecognizable because the guitaroverpowers the voice.

15:31 an unidentified man interviewed an unidentified singer. The faint sound oftalking makes it hard to understand the context.

17:58 an unidentified song about San Francisco. The lyrics are unrecognizablebecause the guitar overpowers the voice.

21:15 an unidentified man interviewed an unidentified singer. The faint sound oftalking makes it hard to understand the context.

22:38 an unidentified song. The lyrics are unrecognizable because the guitaroverpowers the voice. The song ends abruptly.

23:54 EndChannel 3

Time ContentStart an unidentified singer singing along with the band. Song #27 which opens

with lyrics: "You don't know me yes I know."03:28 an unidentified singer singing along with the band. Song #28 which

opens with lyrics: "Every married woman, I believe, has to have somebackdoor friend."

07:25 an unidentified singer singing along with the band. Song #29.11:03 an unidentified singer singing along with the band. Song #30.13:42 the song stops abruptly.14:10 an unidentified singer singing along with the guitar. Song #31 which opens

with lyrics: "You've all been to prison all year of 1910....I saw lot of deadmen down the road"

16:53 an unidentified man interviewed the unidentified singer about the song thathe just played. He answers that the song is about himself long time agoand talks about the person who wrote this song.

19:20 an unidentified singer singing along with the guitar. Song #32 which haslyrics: "San Francisco for the start...please don't be a bad boy, you willcrowd your mind."

22:28 conversation about the song about the prison and the composer's other songs.23:57 an unidentified singer singing along with the guitar. Song #33 which has

lyrics: "stop in the valley"25:13 the song ends abruptly. Second half of a different song starts.26:44 an unidentified singer singing along with the band. The voice is far away

from the microphone which makes it hard to hear the lyrics.29:38 the song ends abruptly. Start of a new song played by a band.33:47 an unidentified singer singing along with the guitar. Song #34 which has

lyrics: "Mama she doesn't love me"


Container Contents


Time Content39:05 an unidentified singer singing along with the band. Song #35 which has

lyrics: "I don't care where you go"43:48 an unidentified singer singing along with the band. Song #36 which has

lyrics: "I wanna say something to you, I care how you feel."49:53 talking about singing the next song called: "My Baby."50:44 an unidentified singer singing along with the band. Song #37 "My Baby"

which has lyrics: "Oh yes I know she loves me, kisses me and hugs me."54:22 audience requesting songs55:24 an unidentified singer singing along with the band. Song #38 which has

lyrics: "I am going back down south, I will be back."59:47 the song stops abruptly59:58 another recording starts. An emcee announces Earl Hooker and the big band

is going to perform.01:00:

36Earl Hooker and the big band perform a song #1 which opens with lyrics:

"Do you swear to tell the truth?"01:02:


"So long, I hate to see you go."01:05:


"She is fine"01:08:

10an unidentified piece played by the band.

01:11:17

an unidentified piece played by the band.

01:14:01

an unidentified singer singing along with the band. Song #39 which haslyrics: "I got to keep moving. My luck got to change someday. I got to beon my way."

01:16:30

an unidentified singer singing along with the band. Song #40 which haslyrics: "I got double trouble"

01:19:10

an unidentified singer singing along with the band. Song #41.

01:21:49

an unidentified singer singing along with the band. Song #42. The soundquality is poor.

01:24:10

an unidentified singer singing along with the band. Song #43. The soundquality is poor.

01:27:06

End


Sam Myers, undated

Rack number: RXH 4232Extent: 1 sound tape reel (Side A: 00:38:04) : analog, 3 3/4 ips, mono ; 5 in.Archivist's note: 10 songs; recorded live, probably in a recording studio. This copy was

made at 3 3/4 ips; the source recordings were made at 7 1/2 ips for the first few songsand 15 ips for the rest. Side B has not yet been digitized.

Vendor's digitization note: the program is distorted at times, and there is also feedback onSide A from the tape.


J. Brewer, circa mid-1960s



Container Contents


Archivist's note: probably Jimmy (James) Brewer. This tape seems to be a dub ofrecordings made in a studio, but not yet produced for commercial release.

Vendor's digitization note: the program is distorted at times, and there is significant hissfrom the tape.


Romeo Nelson interview, February 9, 1964


track, mono ; 7 in.Logger's note: this SR is an interview with blues and boogie-woogie piano player Iromeio

"Romeo" Nelson (RN). The interview is conducted by Pete Welding (PW) and anotherman, whom PW identifies as "Mr. Halpner" or "Mr. Halpern" (H). Recorded inChicago, Illinois.Time ContentStart [Begins mid conversation.] PW asks RN about his early life.00:44 H asks RN about when his interest in the piano began, and which players

he remembered. A player named Wendell or Window is mentioned,referencing walking bass piano. Lonnie Johnson and Clarence Williamare also mentioned.

01:59 PW asks RN more background questions. RN mentions an uncle, JimNelson, who played music.

04:26 RN: "East St. Louis, that's where my music started."05:40 H asks about the players RN knew in St. Louis.06:59 H asks about the house parties/rent parties that RN used to play.08:56 RN brings up a piano player named K.D. Red [?]. He then goes on to talk

about learning to play piano in a saloon. This prompts PW to ask howlong it took RN to learn how to play.

11:11 PW asks about RN's first chance to make a record. RN mentions beingsigned by Mayo Williams.

12:06 RN talks about recording "Dying Mercy" with Tampa Red, and then goes onto discuss his relationship with Red.

15:30 Tom Dorsey is mentioned.16:32 H asks about Charlie Spand.17:49 PW asks about Pinetop [Pinetop Perkins, most likely].19:45 PW asks RN where he got inspiration for his own songs.22:00 They discuss how RN supported himself during the depression after making

two records in the late 1920s.24:54 PW asks RN about why he gave up playing music.26:37 PW asks RN about what kinds of songs he would play at house parties.27:43 RN mentions Red Nelson.28:48 PW asks about other musicians who played house rent parties, Blind Blake

and Lemon Jefferson are mentioned in the following discussion.31:42 H asks how much playing house parties payed.34:11 PW asks RN about Pinetop's playing style.35:30 End


3rd annual "A Night in New Orleans," held at Caltech (reel #1 of 3), October 20, 1975

Rack number: RAA 59294Extent: 1 sound tape reel : analog, 15 ips, 4 track ; 10 in.The tape box includes the following information: Barney Bigard; Britt Woodman; Jimmy

Jones; Ray Leatherwood; Nick Fatool / Caltech Concert.


Container Contents


Other recordings from this event are included on SR137, SR749, SR757, SR758, andSR817, with further details noted for SR817 relevant to all recordings from the event.



Rack number: RAA 59295Extent: 1 sound tape reel : analog, 15 ips, 4 track ; 10 in.Archivist's note: other recordings from this event are included on SR137, SR749, SR756,




Rack number: RAA 59296Extent: 1 sound tape reel : analog, 15 ips, 4 track ; 10 in.Archivist's note: other recordings from this event are included on SR137, SR749, SR756,



Nimitz-Harris ABC 205-A, June 15, 1977

Rack number: RXH 4728Extent: 1 sound tape reel : analog ; 7 in."Nimitz" is Jack Nimitz. "Harris" may be Gene Harris. This recording may have been

intended for commercial release but not actually released. See SR489.Item-ID: AFC 2011/053:SR489

Nimitz-Harris ABC 205-B, June 15, 1977

Rack number: RXH 4729Extent: 1 sound tape reel : analog ; 7 in.See note for SR488.


No Legs Sam, #1, October 31, 1961

Rack number: RXH 4234Extent: 1 sound tape reel (00:15:41, 00:15:37, 00:15:38, 00:15:27) : analog, 7 1/2 ips,

mono, quarter track ; 7 in.Live performance, including jams and conversation. According to the note on the tape

box, "when One-Leg Sam lost his leg, he renamed himself No-Legs Sam." See SR350.Collector's original ID number: 198.

Vendor's digitization note: the program is distorted at times, and there is significant humfrom the tape.


No Legs Sam, #2, October 31, 1961


00:18:39, Channel 4: 00:37:18) : analog, 7 1/2 ips, quarter track, mono ; 7 in.Collector's original ID number: 199.Archivist's note: one file (00:37:18) is a recording of a 1961 Charleston radio show (on or

near October 31). See the notes for See SR349.Vendor's digitization note: the program is distorted at times, and there is significant hiss

from the tape. Channel 3 source audio cuts in and out (reflected in the file).Item-ID: AFC 2011/053:SR668

Red Noryo and His Sextet, + Quintet / Jimmy Raney, undated



Container Contents



One-Leg Sam, undated


7 in.Side A: church service. Side B; One-Leg Sam performs, live. Collector's original ID

number: 197.Vendor's digitization note: the program is distorted at times, and there is significant hiss

and hum from the tape, and warble on Side A.Item-ID: AFC 2011/053:SR689

Sonny Osborne, 5-String Hi-Fi (Deresco LP-19), 1956

Rack number: RXH 5566Extent: 1 sound tape reel : analog ; 7 in.Archivist's note: 5-String Hi-Fi was released in 1956. Sonny was one of the Osborne

Brothers.Item-ID: AFC 2011/053:SR205

Johnny Otis, #1, 1970

Rack number: RXH 4088Extent: 1 sound tape reel (acetate, 00:31:20) : analog, 7 1/2 ips, full track, mono ; 7 in.Live recording, at Ash Grove (music club, in Los Angeles, California). Accompanying set

list and notes suggest this could be the second show.Time ContentStart The Boss of the Blues Big Joe Turner performs "Shake, Rattle and Roll"3:07 Big Joe Turner performs the beginning of "T.V. Mama"3:58 Margie Evans performs "Ode to Billie Joe" featuring a trombone solo by

Gene "Mighty Flea" Conners10:04 Johnny Otis introduces the band members11:14 Delmar "Mighty Mouth" Evans sings a piece titled "The Watts Breakaway"14:14 Delmar Evans performs "Going Back to L.A" with Shuggie Otis playing

guitar16:24 Margie Evans and Delmar Evans perform a duet, the title is unknown

["Don't Stretch This Thing Too Far"]19:54 Eddie "Cleanhead" Vinson most likely performs his song "Cleanhead &

Cannonball." He is accompanied by the saxophone.24:33 Johnny Otis describes the R & B vocal duet "Don and Dewey" who were

popular in the 1950's. [By the date of this recording, Don calls himself"Sugarcane" Harris.]

26:44 Sugarcane Harris performs a blues song31:14 End


Johnny Otis, #2D, 1970

Rack number: RXH 4090Extent: 1 sound tape reel (acetate, 00:25:00) : analog, 7 1/2 ips, half track, stereo ; 7 in.Live recording. Accompanying set list.

Time ContentStart Sugarcane Harris and a vocalist (most likely Johnny Otis or Delmar "Mighty

Mouth" Evans) perform "C.C. Rider"5:08 Johnny Otis tells the audience about "Sugarcane" Harris' new album that

was scheduled to debut a month after this recording5:54 Johnny Otis performs "Willie and the Hand Jive" with "Sugarcane" Harris

accompanying him


Container Contents


Time Content11:24 Johnny Otis announces the next performer, Aaron "T-Bone" Walker, who he

states created and innovated the tangy electric blues songs of the era11:47 Aaron "T-Bone" Walker performs "Woman, You Must Be Crazy"23:50 Aaron "T-Bone" Walker begins another selection24:05 End


Johnny Otis, #3B, 1970

Rack number: RXH 4091Extent: 1 sound tape reel (acetate, 00:16:12) : analog, 7 1/2 ips, full track, mono ; 7 in.Live recording. Recording may include the finale. Accompanying set list.

Time ContentStart Johnny Otis or Delmar "Mighty Mouth" Evans performs the beginning of

"You Better Look Out"0:50 Margie Evans and Delmar Evans perform a duet; the title is "Don't Stretch

This Thing Too Far"3:39 A blues selection, the title is unknown6:22 The next blues selection13:30 A duet with most likely Margie Evans and Delmar Evans16:12 End


Johnny Otis, #4A, 1970

Rack number: RXK 4092Extent: 1 sound tape reel (acetate, 00:34:00) : analog, 7 1/2 ips, full track, mono ; 7 in.Live recording. Accompanying set list.

Time ContentStart Big Joe Turner performs a blues song3:08 Big Joe Turner performs another blues selection7:49 "Shake, Rattle and Roll" by Big Joe Turner13:17 Margie Evans performs "Ode to Billie Joe" featuring a trombone solo by

Gene "Mighty Flea" Conners19:43 Margie Evans and Shuggie Otis perform a song titled "Going Down Slowly"26:12 Delmar "Mighty Mouth" Evans performs "You Better Look Out"30:27 Margie Evans and Delmar Evans perform "Don't Stretch This Thing Too

Far"32:57 The recording begins to glitch34:00 End


Johnny Otis, #5E, 1970

Rack number: RXH 4093Extent: 1 sound tape reel (acetate, 00:18:25) : analog, 7 1/2 ips, full track, mono ; 7 in.Live recording. Accompanying set list.Archivist's note: Shuggie Otis is the son of Johnny Otis.

Time ContentStart Shuggie Otis performs "Shuggie's Boogie" played in G Major4:31 Don "Sugarcane" Harris performs "C.C. Rider"10:50 Sugarcane Harris, Shuggie Otis and Johnny Otis perform "I Got the Walking

Blues"12:29 Jim Bradshaw plays a harmonica solo in the previous piece "I Got the

Walking Blues"


Container Contents


Time Content15:13 Margie Evans and most likely Delmar "Mighty Mouth" Evans perform a

solo. The title is unknown17:40 Johnny Otis announces all the performers from the Johnny Otis show18:25 End


Johnny Otis interview #1, April 21, 1971


track, mono ; 7 in.Copy (as per the tape box).

Time ContentStart False start. Go to time 02:10.02:10 Pete Welding (PW) asks Johnny Otis (JO) how he first got interested in

black music. JO responds.05:20 JO talks about Otis "Count" Matthews, a piano player, putting together

a band of teenagers, the West Oakland House Rockers. JO was thedrummer. He was about 17 years old at the time. He talks about RobertJohnson ant the big bands.

11:08 JO talks about a group of white kids, he knew from high school, who alsoformed a band. The leader was Willard Marsh. JO talks about and adultband lead by "Uncle" Ben Watkins.

12:25 PW asks how young musicians got the necessary experience to progress. JOresponds. He toured with several bands in the mid-west.

20:07 JO and Preston Loved formed the Otis-Love Band. JO spoke with Nat"King" Cole. He moved to Los Angeles to play in a night club houseband. After a while he formed his own band, which became the houseband.

23:35 In 1941 JO went to Omaha and stayed there until 1943. He describes theband he played with. From there he went to Los Angeles. He describesthe band he led in Los Angeles.

27:22 JO describes where and how he got his musical charts. PW asks about jamsessions. JO responds.



Rack number: RXH 3161Extent: on one side of 1 sound tape reel (polyester, 00:35:11) : analog, 7 1/2 ips, full

track, mono ; 7 in.Copy (as per the tape box).

Time ContentStart Pete Welding (PW) asks Johnny Otis (JO) about the attitude of swig

musicians towards the blues. JO responds. They talk about thedifferences between the blues and Rhythm and Blues (R & B).

07:00 JO talks about race music and black music. He talks about the difficultygetting recorded.

16:50 They talk about the genre which came to be called Blues and Rhythm.JO talks about T-Bone Walker and other musicians from Texas andOklahoma. They talk about small, west coast record labels. They talkabout music clubs in the late 1940s. Thursday night was talent shownight.


Container Contents


Time Content22:02 In 1948 JO put together an R & B package and went on the road in

California. In 1949 he went on the road nationally. He was recording.They talk about the role of radio and black music.

28:10 They talk about JO's national tours. The first one was in 1946. Jo talks aboutplaying in tobacco warehouses.

32:18 PW asks about the effects of rock and roll and R & B on Black and Whiteaudiences. JO responds.

25:11 EndItem-ID: AFC 2011/053:SR023


Rack number: RXH 3162Extent: on one side of 1 sound tape reel (polyester, 00:21:34) : analog, 7 1/2 ips, full

track, mono ; 7 in.Archivist's notes: Copy (as per the tape box). Notes enclosed in the tape box indicate a

tape dubbed from various commercial recordings, but may include three selections thatare improvisations. These notes may belong with another recording.Time ContentStart Johnny Otis (JO) talks about recording for a white audience and a black

audience.01:58 Pete Welding (PW) asks JO what he sees as the difference between the

music scene now and when he got started. Jo responds. He talks aboutcurrent recording artists whose music he likes.

04:58 JO talks about commercials recording companies like Motown.10:24 JO says that the only new musical art form for the last 300 years has been

American black man's music. JO says that racism is deeply woven intothe fabric of American life.

17:10 JO talks about contemporary white performers who play the blues. PW joinsin with his opinions.

21:34 EndItem-ID: AFC 2011/053:SR024

Johnny Otis Show - "Live from the Ash Grove," #1, July 12, 1972


track, stereo ; 7 in.LC engineer's note: "These tapes contain an 'off the mixing board,' full-stereo recording

of a live KPPC broadcast from the legendary Ash Grove club in Los Angeles of aJohnny Otis R & B Revue that should be noted and listened to. The sound qualityis incredibly good, as are the performances. There is no date for the show I couldfind, but circumstantial evidence place this recording close to KPPC's end as an"underground" rock, jazz, and pop station in 1971. On a side technical note, Johnnykeeps mentioning the broadcast is being made in Quadraphonic (four-channel) sound,and while it was technically possible and was being experimented with at the time bynumerous FM stations, the sound doesn't betray any evidence of SQ encoding so it'sdoubtful this particular remote broadcast was truly mixed and broadcast in the format."Time ContentStart Johnny Otis introduces the show and Big Daddy Rucker.01:12 Big Daddy Rucker - "Knock on Wood"04:48 Big Daddy Rucker - (unknown)08:40 Big Daddy Rucker - "Turn on Your Light"11:27 Johnny Otis introduces Marie Adams and Three Tons of Joy


Container Contents


Time Content12:06 Marie Adams and Three Tons of Joy - "Dust My Broom"15:15 Marie Adams and Three Tons of Joy - "Jimmy Reed Medley"19:11 Marie Adams and Three Tons of Joy - "Little Bitty Pretty One"22:03 Marie Adams and Three Tons of Joy - "Hitch Hike"23:41 Johnny Otis introduces Gene "The Mighty Flea" Connors24:03 Gene "The Mighty Flea" Connors - The Preacher's Blues"29:45 Johnny Otis talks about the show.30:10 End



Rack number: RXH 3166Extent: on one side of 1 sound tape reel (00:30:10) : analog, 7 1/2 ips, 2 track, stereo ; 7

in.LC engineer's note: "The contents of this tape are the same as [SR024], but this sounds

like a poorly made copy of an actual off-air aircheck whereas [SR024] sounds like atape made right off the mixing board."




track, stereo ; 7 in.See LC engineer's note for SR024.

Time ContentStart Johnny Otis introduces the next song.00:17 Johnny Otis - "Linda Lu"03:07 Johnny Otis - "Black Night"06:55 Johnny Otis - "Willie and the Hand Jive"10:05 Johnny Otis introduces the members of the band.11:19 Shuggie Otis - (unidentified instrumental)15:49 Shuggie Otis - "Little Red Rooster"26:21 End




stereo ; 7 in.This may be a copy of the recording made live at Ash Grove (music club, in Los Angeles,

California).LC engineer's notes: the reel consists of two different tape stocks spliced together.

Empirically, they appear to be Scotch-3M 208 and a non-backcoated BASF/AGFAvariant.Time ContentStart Delmar "Mighty Mouth" Evans (DE) performs "Linda Lu"3:14 DE performs a blues piece; the title is unknown7:00 DE performs "Willie and the Hand Jive"10:15 DE introduces the band11:26 Shuggie Otis performs an instrumental piece on guitar16:01 Shuggie Otis performs another song with vocals and guitar27:01 The Otisettes: Stony, Peaches, Sugar and Honey perform "Proud Mary"


Container Contents


Time Content29:43 The Otisettes perform another song titled "Take You a Lit Bit Higher"31:38 The Otisettes introduce themselves32:11 The Otisettes perform the beginning of "Dedicated to the One I Love"33:00 End




track, stereo ; 7 in.See LC engineer's note for SR024.

Time ContentStart Johnny Otis introduces the Otisettes.00:30 The Otisettes - "Proud Mary"03:19 The Otisettes - "I Want to Take You Higher"05:12 The Otisettes - oldies medley ["Dedicated to the One I Love," "Will You

Love Me Tomorrow," "My Guy"]10:07 The Otisettes - "Stand!"11:48 The Otisettes - "Shake"13:20 unidentified song - Johnny Otis and The Otisettes15:38 Johnny Otis closes the show.16:30 End


Johnny Otis Show, undated

Rack number: RXH 5517Extent: 1 sound tape reel : analog ; 7 in.Dub.


Johnny Otis Show, undated

Rack number: RXH 5518Extent: 1 sound tape reel : analog ; 7 in.Dub of "Country Picking."


Junior Parker, undated

Rack number: RXH 5553Extent: 1 sound tape reel : analog ; 7 in.Duke singles for use as reissues.


Pepper [on reel] [probably Art Pepper], undated

Rack number: RXH 4612Extent: on one side of 1 sound tape reel (00:14:59): analog, 15 ips, stereo ; 7 in.Logger's note: performance by a jazz ensemble.

Time ContentStart The band plays an unidentified piece.07:32 The band plays an unidentified piece.14:59 End


Art Pepper (continued), undated



Container Contents



Pepper (concluded) [Art Pepper?] Red Mitchell / Warne Marsh / Lee Konitz, undated



Art Pepper Quartet, undated



Art Pepper Quartet, undated



Art Pepper Quartet - dubs #1, undated

Rack number: RXH 5532Extent: 1 sound tape reel : analog ; 7 in.All dubs have been issued as commercial recordings.


Art Pepper Quartet - dubs #2, undated

Rack number: RXH 5519Extent: 1 sound tape reel : analog ; 7 in.The dubs were unreleased.


Art Pepper, undated

Rack number: RXH 5537Extent: 1 sound tape reel : analog ; 7 in.Dubs of unissued material


Art Pepper #1, undated



Art Pepper #2, undated



Art Pepper Quartet - Art Pepper Quintet - Shorty Rogers and His Giants - Bud Shank-ShortyRogers - Shelly Manne and His Men, undatedRack number: RXH 5390Extent: 1 sound tape reel : analog ; 7 in.Dubs from various commercial recordings.


Oscar Pettiford - Orchestra, undated



Flip Phillips / Del Staton, undated



Container Contents


Vendor's digitization note: the program has distortion, hiss, and hum from the source tape.The end of the recording cuts off abruptly.


Edith Piaf special, KPEK, undated



Piano album / Side D, undated

Rack number: RXH 5409Extent: 1 sound tape reel : analog ; 7 in.Includes works by Phineas Newborn, Bud Powell, Billy Taylor, and Tommy Flanagan.


Rod Piazza Band - "Live" at The Boiler Room, April 30, 1977


analog, 7 1/2 ips, quarter track, stereo ; 7 in.Recorded at The Boiler Room, Claremont, California. Recorded and produced by Pete

Welding. Rough mix from master tapes, for audition purposes. See SR174 and SR175.Collector's original ID number: 223.

Logger's note: Rod Piazza sings and plays harmonica, George Phelps and Hollywood Fatsplay guitar, Larry Taylor plays bass and Dick Innes plays drums.

Side ATime ContentStart Rod Piazza (RP) plays and sings "Rockin' Daddy"4:54 The second song by RP titled "Mean Old World"8:37 RP and the band perform "Take a Walk with Me"12:55 RP performs "My Babe"16:07 RP and the band play their last piece called "Third Degree"20:50 End

Side BTime ContentStart An explanation of the amount of Hz [hertz] needed for operating the

machine0:51 Rod Piazza (RP) plays and sings his first titled "Ooh Baby (Everything

Gonna Be All Right)5:13 RP performs his next piece called "Key to the Highway"9:09 RP performs "Mellow Down Easy"12:46 The next song by RP titled "Standing Around Crying"17:14 RP performs "Goin' Down Slow"20:57 End


Rod Piazza, George Phelps, Hollywood Fats, Larry Taylor, and Dick Innes, undated


analog, 7 1/2 ips, quarter track, stereo ; 7 in.See the notes for SR173; see also SR175. Collector's original number: 224.Side A

Time ContentStart Rod Piazza (RP) performs his first song with his band, the title is unknown4:33 The second selection by RP titled "Key to the Highway"


Container Contents


Time Content8:31 PR performs "Mellow Down Easy"12:09 PR performs ["Look How You Got Me Standing Around"]16:40 The next selection by PR20:25 End

Side BTime ContentStart Rod Piazza (RP) performs his first song with his band4:55 The second piece by RP, title unknown8:40 RP performs his next piece, "Take a Walk with Me"13:00 RP performs "My Babe"16:13 The final piece20:59 End


Rod Piazza Band - "Live" at The Boiler Room, reel #4, April 30, 1977

Rack number: RXH 4058Extent: 1 sound tape reel (acetate master tape, 00:17:20) : analog, 15 ips, half track,

stereo ; 7 in.See SR173 and SR174.

Time ContentStart Rod Piazza (RP) performs his first song8:44 The second instrumental piece by RP, title is unknown12:52 RP introduces the band13:30 The last instrumental selection by RP17:20 End


Rod Piazza and The House Rockers (dub copy), undated



Rod Piazza (dub copy), undated



Rod Piazza Band - at the Boiler Room, Claremont, California - Transfer #1, undated

Rack number: RAA 59335Extent: 1 sound tape reel : analog, 15 ips, 2 track, stereo ; 10 in.











Container Contents



Rod Piazza #1 (set 1), April 30, 1977

Rack number: RAA 59343Extent: 1 sound tape reel (Channels 1-4: 00:39:21 each; mix-down: 00:39:28) : analog,

15 ips, four-track, mono ; 10 in.Archivist's note: SR806, SR807, and SR808 were recorded live, probably in a Los

Angeles music venue. Personnel: Rod Piazza: vocal and harmonica; George Phelps,guitar; Hollywood Fats, guitar; Larry Taylor, bass; Dick Innes, drums. The song titlesfollow, as much as possible, the titles as announced during the performance. SeeSR173, SR174, and SR175.

This is a log of the mix-down.Time ContentStart

(00:01:23)

"Aw Baby, Gonna Miss Me When I'm Gone"

00:06:06

"Key to the Highway"

00:10:35

"Boom Boom - Out Go the Lights"

00:15:07

"Third Degree"

00:21:04

"Rockin' Daddy"

00:25:58

"Mean Old World"

00:29:49

"It Should've Been Me, Darlin'"

00:33:28

"Tighten Up On Me Baby"

00:38:43

Audio ends

00:39:28

End


Rod Piazza #1 [sic] (sets 2 and 3), April 30, 1977


15 ips, four-track, mono ; 10 in.See the archivist's note for SR806. See also SR173, SR174, and SR175.This is a log of the mix-down.

Time ContentStart

(00:00:22)

"Too Late"

00:06:44

"You're Looking Good Tonight"

00:10:07

"You Better Watch Yourself"


Container Contents


Time Content00:12:

56Unidentified instrumental blues song

00:16:36

A brief glitch in the audio, where a very brief clip from a song performed bythe same band can be heard

00:16:38

"My Baby Don't Stand No Cheating" ["My Babe"]

00:19:53

A second, brief glitch in the audio, where a very brief clip from another songperformed by the same band can be heard

00:19:58

"Mellow Down Easy"

00:23:37

"Standing Around Crying"

00:28:14

"I've Had My Fun"

00:32:14

"Take A Little Walk With Me"

00:37:41

Audio ends

00:40:32

End


Rod Piazza #3 (sets 1 and 2), April 30, 1977


15 ips, four-track, mono ; 10 in.Title supplied by the archivist.See the archivist's note for SR806. See also SR173, SR174, and SR175.This is a log of the mix-down.

Time ContentStart

(00:00:11)

"Bad Actor" [?]--instrumental

00:08:14

"Off the Wall" [?]--instrumental

00:13:10

A brief snippet of a song, cut off

00:13:16

"Help Me"

00:18:13

"Early One Morning"

00:22:36

"Mother-In-Law Blues"

00:26:43

"Steady As A Bitch"

00:31:12

"Five Long Years"

00:36:37

Audio ends


Container Contents


Time Content00:37:

20End


Rod Piazza, reel 2, undated

Rack number: RAA 59349Extent: 1 sound tape reel (00:24:18) : analog, 15 half track, stereo ; 10 in.Title supplied by the archivist.This may have been recorded at the same date and venue as SR806-SR808. See the

archivist's note for SR806.Vendor's digitization note: the program is distorted at times, and there is high-frequency

noise from the tape. A small amount of audio can be heard at the tail of the tape.Time ContentStart

(00:00:01)

"Aw Baby, Gonna Miss Me When I'm Gone"

00:04:31

"Key to the Highway"

00:08:30

"Mellow Down Easy"

00:12:09

"Standing Around Crying"

00:16:41

"Going Down Slow"

00:20:26

Gap in audio, until 00:20:34

00:20:34

Unidentified blues tune

00:24:18

End


Rod Piazza - dub - Side 1, undated

Rack number: RAA 59279Extent: 1 sound tape reel (00:27:24) : analog, 15 ips, half track mono, 2 track ; 10 in.Vendor's digitization note: The Howlin' Wolf segment (towards the end of the program) is

interrupted by several pauses in recording from 00:22:20-00:22:50, and speed rampsoccur when recording resumes. The program has distortion and hiss from the sourcetape, as well as print-through. There is a long gap of silence during the program, andthe end of the recording is cut off.


Rod Piazza 2 - dub - Side 1, undated

Rack number: RAA 59280Extent: 1 sound tape reel (00:33:24) : analog, 15 ips, half track, stereo ; 10 in.Vendor's digitization note: the program has distortion and hiss from the source tape.


"Porkin' and Plowin'," circa mid-1970s

Rack number: RXH 4214Extent: 1 sound tape reel (00:03:52) : analog, 15 ips, stereo ; 7 in.


Container Contents


Archivist's note: an unidentified rock band, with a male lead singer, and female singers onthe chorus. The date is a guess. A song about sexual relations, with nothing left to theimagination.


Mel Powell - Mel Powell Trio - Ruby Braff-Ellis Larkins - Vic Dickenson Septet, circa1953-1955Rack number: RXH 5388Extent: 1 sound tape reel : analog ; 7 in.Archivist's note: recordings dubbed from various commercial releases.


Doug Quattlebaum / Arts Council #4, February 6, 1961


track, stereo ; 7 in.Logger's note: this SR is in two parts. The first is three unidentified blues songs by Doug

Quattlebaum. This is followed by Arts Council #4, an unidentified woman speakingabout art, artists, and collecting art.Time ContentStart unidentified blues already started. (perhaps "When My Baby Got On

Board")02:40 unidentified blues. (perhaps "Do My Baby Think of Me")05:15 unidentified blues. (perhaps "Mean Old Frisco")07:35 An unidentified woman talks about art, artists and art collections.11:05 She talks about building an art collection.13:15 She invites questions and answers them. (For the most part, the questions

are unintelligible.) She talks about buying and collecting art in sundryregions of the country.

22:40 She is asked if she has a stable of artists and galleries for her collection. Sheresponds.

25:02 She is asked how many new artists she has taken on in the last year. Sheresponds.

29:43 EndItem-ID: AFC 2011/053:SR595

Crusaders #3 - Jimmy Raney - Sonny Clark - Ray Brown / Jesse Belvin - Marty Paich andhis Orchestra, undatedRack number: RXH 5456Extent: 1 sound tape reel : analog ; 7 in.


Jimmy Raney - Eddie Harris - Ruby Braff, undated



Elis Regina / Trio Tamba / Joao Donato, undated



Renaissance - Tape Cantata, undated



Container Contents



Gordon Robertson / Robert Pete Williams, undated


5 in.Collector's original ID number: 193.Archivist's note: both tape sides include an interview interspersed with performances.

Notes on the tape box indicate Robertson's recording is Side A, and Williams'srecording is Side B. The notes also indicate Robertson is a Clarksdale street musician,although on the recording he says he is from St. Louis.

Vendor's digitization note: the program is distorted at times, and there is high-frequencynoise from the tape.


Fair and Denny Robey, circa November 18, 1976

Rack number: RXH 4063Extent: 1 sound tape reel (polyester, 00:20:50) : analog, 7 1/2 ips, quarter track, stereo ; 7

in.Archivist's note: A note on the tape box indicates the date is on or about November 18,

1976. A letter from Denny that accompanied the recording is dated November 18, withthe year 1976 and a question mark pencilled beneath it.Time ContentStart Denny Robey (DR), vocalist, and accompaniment for the first song, ["Sweet

Virginia"]3:04 The next selection by DR and accompaniment5:38 Until 6:05 there is no sound6:06 The next song8:34 DR, vocalist, and accompaniment perform the next piece.10:41 The next selection.14:34 The next selection by DR and accompaniment17:46 The final song on this tape20:50 End


Fenton Robinson (dubs #1), undated



Fenton Robinson (dubs #2), undated



James Robinson, reel #2, September 7, 1961

Rack number: RXH 4149Extent: 1 sound tape reel (00:24:53) : analog, 7 1/2 ips, mono ; 7 in.


Pete Robinson interview, #1, July 3, 1972

Rack number: RXH 3196Extent: 1 sound tape reel (Side A: 00:48:29; Side B: 00:48:29) : analog, 7 1/2 ips, half

track, mono ; 7 in.Side A


Container Contents


Time ContentStart PW asks "what is wrong with contemporary jazz right now?" PR responds.

He mentions the influence of rock and soul music. He says that it isvery expensive to produce a jazz record. He talks about rock and jazz atlength.

08:24 PW says that "jazz has been forced to participate in the arena of commercialmusic." PR agrees and expands on this. He says that an artist cannotdifferentiate between his music being rejected and himself beingrejected.

11:02 PW brings up big bands of the '40s. He says that some were quitecommercial and some played real jazz. PR responds with examples fromclassical music, like Hayden and Bach.

19:40 PW talks about jazz, in the 1950s, paving the way for other musicians. PRreplies.

22:50 PW says that the average person is not committed to music, so he will acceptwhatever is popular. PR responds. He says "America is not committed togood music."

28:35 PR talks about John Cage and music as sound. He talks about "new music,"which does not rely on traditional areas of melody and rhythm. He saysthat the media is against this concept. He says that music reflects themood of the country. He says that there are a very few people who arecontrolling everything.

33:29 PW asks what PR defines as the artist's predicament. PR responds at length,mostly from a personal perspective.

38:03 PW says that the dilemma of the artist is the product of a huge complex offactors. He expands on this. PR responds.

41:19 PR talks about the artist being channeled by a producer. PW and PR discusswhat it takes to produce a hit record.

48:29 EndSide B

Time ContentStart (continued from Side A) PW and PR continue to discuss record producing.

PR says that the person who knows most about the product you can putout is an expert in his own field. PW has a different view. They discussthis. PR says that the cost of producing a record is not a concern to thejazz artist. They discuss promotional advertising.

10:57 PW says that he believes "given enough promotion and publicity anythingcan be sold." PW agrees. They discuss this. They get into politics. PRtalks about unemployment among people in the entertainment industry.PR talks about drugs.

20:33 PR says that this country has become plasticized. PW asks why people arenot flocking to "non-plastic" things. PR replies.

27:17 PW says that his recollection of the late 1930s and 1940s are of times ofinnocence. Things are very different now. The discuss this. They talkabout the values that existed then. PW says that television is the greatdestroyer of family life. PW talks about why he collects folk music.

33:50 PW asks if "art music" can be "popular music." PR responds. PR talks aboutpop-culture of the aristocrats.

40:05 PR says that his basic feeling on music is that when he listens to the musiche gets and emotional impact to it. He explains.

48:29 End


Container Contents



Pete Robinson interview, #2, July 4, 1972



Time ContentStart PW and PR discuss "free music" as distinguished from other jazz traditions.

PR talks about this at length. PR says that he feels like he is lecturing. Hetalks about or mentions John Coltrane, Ornette Coleman, Cecil Taylor,and Coleman Hawkins, among others.

12:23 PW asks which recording of "free music" does PR feel holds up over time.PR responds. He mentions John Coltrane, some Miles Davis and someOrnette Coleman records, among others.

14:30 PR feels that his esthetic is moving away from jazz to a broader aspect. Heexplains. He talks about some of the people who typify jazz to him.

18:29 PW talks about groups (i.e., bands) that have been together for a long time.PR responds. He talks about jazz and other forms of music.

22:35 PR talks about putting jazz feeling into the blues. PW talks about countrybluesmen who have done this, PR talks about maximum technique andmaximum emotionalism.

24:18 PR says that he is listening to a lot of ethnic music. He elaborates. Hesays he is interested in music as a means of communication. He is notinterested in intellectual music.

29:41 PR says that the music that is knocking him out now is Korean music. He isalso into Tibetan music. He explains. He talks about ascension.

33:35 PR talks about great composers listening to ethnic music. He talks abouthow this relates to the religious and spiritual needs of the people.

36:50 PR talks about why he no longer plays jazz. He talks about writing music.He talks about where jazz is going.

41:10 PW and PR talk about the advent of electronic music.48:29 End

Side BTime ContentStart PW and PR discuss, at length, electronic music and acoustic music.06:30 PR talks about the electronic piano and the piano. He talks about

the synthesizer. PR says that he thinks that anything one can getelectronically one could get acoustically.

11:40 PR says that, as a composer, he is interested in how to utilize a synthesizer.14:42 PW asks about jazz being uninteresting today. PR responds.17:30 PR says that the idolatry that used to be in jazz no longer exists, e.g., there

is no longer a Coltrane or Miles Davis. He expands on this idea. PR talksabout Miles Davis's recent music and recordings.

21:20 PW asks if he sidetracked PR. PR says no. He goes back to talking aboutartistic impetus. They talk about the economics of recording jazz music.

25:45 PR talks about young musicians coming up without the basic trainingto really play the music. PW talks about the blues guitarist MikeBloomfield as an example of this.

30:15 PR talks about musicians banding together in organizations and groups likethe Jazz Composers Gild and the Black Composers Association. He saythe music is being pushed into mediocrity.

35:00 End


Container Contents



Pete Robinson, undated

Rack number: RXH 4048Extent: 1 sound tape reel (backcoated polyester, 00:14:11) : analog, 15 ips, half track,

stereo ; 7 in.Instrumental works; includes two-track mixes.

Time ContentStart PR plays his first instrumental work5:15 PR plays his second piece9:07 The next instrumental piece12:36 The final instrumental piece by PR14:09 End


Pete Robinson interview, reel #1, September 24, 1971


ips, half track, mono ; 7 in.Pete Robinson interview, conducted by Pete Welding. Continued on SR157.Side A

Time ContentStart Pete Welding (PW) ask Pete Robinson (PR) a few questions like where and

when he was born. PR answers.1:20 PW and PR discuss audio recording machines2:30 PW ask PR "Why did your family move to Vancouver?"3:13 PR explains the first time he began music lessons6:23 PR discusses how he gave a recital only six months after he began piano

lessons. He tells PW how little he knew about music prior to his musiclessons.

7:44 PR explains how he enjoyed listening and improvising Rock n' Roll when hewas younger. He studied Classical literature in his piano lessons and wasnot interested in the technical aspects of music.

11:39 PW ask PR what characteristics he enjoys in R & B and Jazz music.14:10 PR tells a story about his mother suggesting he begin learning jazz15:37 PR explains how he worked in collaboration with John Chambers, a

prominent jazz drummer, and was introduced to playing "new" jazzmusic

16:53 PW asks, "Were you working with other musicians through John?"17:29 PR explains how John exposed him to another lifestyle and environment

different than his personal upbringing20:50 PW ask if PR's experience in Los Angeles was any different than his

experience with musicians in San Francisco25:46 PR talks about the challenges of playing creative music and the struggle

Brian dealt with moving from Chicago to Los Angeles29:13 PW asks, "What did you do those first couple of years?" after PR explained

it was hard to meet other high school musicians in the Los Angeles area.PW also asks "What kind of music had you been exploring on yourown?"

30:54 EndSide B


Container Contents


Time ContentStart Pete Welding (PW) asks Pete Robinson (PR) how he heard about joining

Don's jazz band3:14 PW ask how many gigs PR had the opportunity to play at in Don's band4:37 PR discusses the experience he had working with Don9:03 PR explains the musical growth, character growth and network connections

he made in Don's band13:29 PW asks, "Was it during this period with Don that you found your own

musical assumption taking shape?"15:28 PW asks PR was he listening to any Rock music during that period and if

there are any benefits of playing rock18:42 PW asks PR when he felt the conception of his musical ideas and values

solidify in his younger years22:07 PW asks, "What was the occasion of you leaving [Ellis? - Don's band]"23:40 PR explains what he did after leaving Don's band and how he first meet the

musician Gill26:00 PR discusses how he started working in [Shelly's] band and compares his

experience there to Don's band29:49 PW asks PR if he was approached by a major record label to record music as

a solo artist31:12 End


Pete Robinson interview, reel #2, September 24, 1971


ips, half track, mono ; 7 in.Pete Robinson interview, conducted by Pete Welding. Continued from SR156.Side A

Time ContentStart Pete Welding (PW) starts by asking Pete Robinson (PR) what he did after

leaving [Shelly's] band1:01 PR explains how he and Shelly's band prepared for the record label

rehearsal. He talks about how the audio producer said the band's musicwould not sell because it was an all-White band playing traditional Blackjazz music.

5:08 PR says music companies and bands were not interested in allowing him toplay the music he wanted

6:15 PW discusses mass distribution and how companies must chose music witha broader mass appeal that does not allow for flexible kinds of musicalarrangements

9:00 PR explains how he was able to play his own music with Gill, but hismusical ideas did not always align with Gill's ideas

11:16 PR said when he first started playing in Gill's band, they did not use tunesbut played free without a bass player

14:29 PW asks, "Are any of the other guys contributing tunes more than they didbefore?"

15:29 PW asks, "What do you find is the greatest problem in the band concerningmusic?"

16:09 No audio through 16:3019:04 PW asks PR, "How would you typically describe the music that the band

plays?" and "How would you explain this to a young person..."


Container Contents


Time Content21:38 PW asks again, "What would you tell the young person to listen for beyond

emotionality... What is behind the music and what causes it to work?"23:30 PR explains he cannot answer PW's question. PR discusses the four elements

and form of music.26:58 PR explains when the band is creating spontaneous forms as tightly as

possible, the emotional aspect for the listener can arise29:59 PW asked PR how the music that his rock band plays, Contraband, relates to

previous Jazz development. PR does not answer the question on this partof the series

31:40 EndSide B

Time ContentStart Pete Robinson (PR) answers Pete Welding's (PW) question about how the

music from the band Contraband relate to previous jazz development.They discuss the traditional form and musical development of jazz.

4:24 PR explains the "free bearers" concept that his band tries to follow. Freebearers break away from traditional boundaries of music, but stillcombine elements of traditional form occasionally.

6:17 PR and PW discuss the difference between music innovators andsynthesizers.

8:16 PW asks, "Is there anything in the playing of Contraband that you feelrepresents a way to solving that dilemma?" (The dilemma referenced isthe feeling of no uniformity or continuity in music that causes listeners todeem a piece of music or band unsuccessful.)

11:19 PR explains that the individual strengths of the band act as the catalyst tocarry a piece of music through to the end and create a successful oremotional piece of music.

14:07 PR references how difficult it is for the band to play with new musiciansand create a great sound if the band is not used to playing with newmembers.

15:19 EndItem-ID: AFC 2011/053:SR161

Pete Robinson - "Dialogs," circa 1972

Rack number: RXH 4044Extent: 1 sound tape reel (polyester, 00:16:05) : analog, 15 ips, half track, stereo ; 7 in.LC engineer's notes: The album Dialogues for Piano and Reeds was commercially

released in 1972. This tape has the master mixes of pieces that were subsequentlyDolby-ized.Time ContentStart Pete Robinson (PR) plays "Dark Boy" (an instrumental work)7:31 PR plays his next composition titled "Alan's Ballad"11:24 PR performs "Vocal Duet" (Mouth Music)12:51 PR performs the next instrumental piece with flute and piano16:05 End


Pete Robinson, "Dialogs," reel 2, circa 1972

Rack number: RAA 59350Extent: 1 sound tape reel (00:21:09) : analog, 15 ips, half track, stereo ; 10 in.Title supplied by the archivist.


Container Contents


Vendor's digitization note: the program is distorted at times, and there is hiss from thetape.Time ContentStart

(00:00:01)

Test tones (to 00:00:53)

00:01:07

"Flute Piece"

00:04:38

"R.U.R."

00:08:33

"Serpentine Lament"

00:12:31

"Right Angle Freight"

00:15:53

"Mouth Piece"

00:21:09

End


Pete Robinson - Charles Orena #1, March 16, 1972

Rack number: RXH 4606Extent: 1 sound tape reel (00:14:52) : analog, 15 ips, stereo ; 7 in.Logger's note: the original tape box has Entrance -take 1, Entrance -take 2, Entrance -take

3.Vendor's digitization note: the program is distorted at times.

Time ContentStart an unidentified piece of saxophone and piano02:09 an unidentified piece of saxophone, piano, and percussion04:54 an unidentified piece of saxophone and piano07:13 an unidentified piece of saxophone, piano, and percussion09:33 an unidentified piece of saxophone and piano14:52 End


Pete Robinson - Charles Orena #3, March 16, 1972

Rack number: RXH 4052Extent: 1 sound tape reel (acetate, 00:15:48) : analog, 15 ips, half track, stereo ; 7 in.

Time ContentStart Charles Orena and Pete Robinson play their first instrumental piece4:41 The second instrumental work9:40 The next piece by Charles Orena and Pete Robinson15:01 The final instrumental selection15:48 End


Android Shuffle, Side 1 - Pete Robinson, undated



Container Contents






Android Shuffle, Side 1 / Pete Robinson, undated






"Dialogs" (acoustic) - Pete Robinson (Testament T-4401), Side A, circa 1972

Rack number: RAA 59304Extent: 1 sound tape reel : analog ; 10 in.Archivist's note: this is presumed to be an acoustic version of Dialogues for Piano and

Reeds. See SR767 for Side B.Item-ID: AFC 2011/053:SR767

"Dialogs" (acoustic) - Pete Robinson (Testament T-4401), Side B, circa 1972

Rack number: RAA 59305Extent: 1 sound tape reel : analog ; 10 in.Archivist's note: this is presumed to be an acoustic version of Dialogues for Piano and

Reeds. See SR766 for Side A.Item-ID: AFC 2011/053:SR778

"Dialogs" - Pete Robinson, side 1, circa 1972

Rack number: RAA 59316Extent: 1 sound tape reel : analog, 15 ips, 2 track, NAB ; 10 in.


Vird Robertson, #1, March 8, 1968


track, stereo ; 7 in.Archivist's note: Vird Robertson, vocal and banjo; Ginny Wickham, violin; Graham

Wickham, guitarTime ContentStart "Coconut Grove" - version #102:05 "Coconut Grove" - version #205:46 unidentified song, written by VR - start then restart08:37 "You Make Me Smile When I am Blue" - versions #1 and #212:28 "The High Courts of Heaven" - written by VR16:28 "Cruel War with Hitler"18:25 "The Offcast from England" - written by VR in 190623:00 "The Bell County Claim"25:54 unidentified song28:54 unidentified song, start and restart, acapella30:20 unidentified song, acapella32:20 End


Container Contents



Vird Robertson, #2, undated


track, stereo ; 7 in.Logger's note: this is the second of two SRs of Vird Robertson (VR) which Pete Welding

recorded (SR139 and SR140). On this SR VR sings a cappella.Time ContentStart "Erin's Green Shore" - version #103:41 "Erin's Green Shore" - version #204:31 unidentified song07:18 unidentified song09:16 "My Experience on the Ranch" - version #110:15 "My Experience on the Ranch" - version #213:24 "I Was Raised in the Common" - part 116:11 "I Was Raised in the Common" - part 218:42 unidentified song - part 120:50 unidentified song - part 221:51 unidentified song - part 323:14 unidentified song - part 423:55 unidentified song25:30 unidentified song28:58 "Fallen Leaves"31:15 End


Vicki Sue Robinson, August 13, 1979

Rack number: RAA 59282Extent: 1 sound tape reel (00:34:57) : analog, 15 ips, half track, stereo ; 7 in.Vendor's digitization note: the program has distortion and hiss from the source tape. The

end of the recording cuts off abruptly. There is overlapping content playing faintly andat high speed in the left channel at various times throughout the recording. Reversecontent in the left channel at the tail.


Shorty Rogers and The Giants - Live at the Lighthouse, undated

Rack number: RAA 59283Extent: 1 sound tape reel (01:04:07) : analog, 7 1/2 ips, half track, stereo ; 7 in.Vendor's digitization note: the program has distortion and hiss from the source tape. Brief

tape machine noise at the head, and high-pitched mic feedback largely in the leftchannel at the tail.


Shorty Rogers Orchestra /Suite From "The Invisible Orchard," undated

Rack number: RAA 59284Extent: 1 sound tape reel(00:48:34) : analog, 7 1/2 ips, half track, stereo ; 10 in.Vendor's digitization note: the program has distortion and hiss from the source tape. The

beginning of the program is cut off.Item-ID: AFC 2011/053:SR373

Rock Roots, undated

Rack number: RXH 4614Extent: 1 sound tape reel (Side A: 00:31:52, Side B: 00:31:38): analog, 7 1/2 ips mono ; 7

in.


Container Contents


Logger's note: probably a compilation dubbed from commercial recordings.Vendor's digitization note: the programs are distorted at times.Side A

Time ContentStart "Susie Q " by Dale Hawkins02:19 An unidentified song with the lyrics: "Miraculously you taught me to

love, that's why I am not afraid to say, it sure hasn't to be this wayforever...sweet melody"

04:53 An unidentified singer sings the song "Nothin' Shakin' (But the Leaves onthe Trees)"

07:48 An unidentified singer sings the song "Goin' Back to Memphis"10:50 "La-Do-Dada" by Dale Hawkins13:25 Johnny Fuller sings the song " All Night Long"16:38 "Tornado" by Dale Hawkins19:05 An unidentified song which has lyrics: "While I was playing a little poker, I

try to get myself a king but got a one eyed jack instead"21:16 An unidentified singer sings the song "Think It Over"24:00 An unidentified singer sings the song "Got You on My Mind"26:34 "Ain't Got No Home" by Clarence "Frogman" Henry28:58 "My Soul" by an unidentified singer31:52 End

Side BTime ContentStart "I've Been So Lonely" by an unidentified singer. Lyrics: "I've been so lonely

since you've been gone, Oh how I cry the whole night long"02:15 "The Walk" by Jimmy McCracklin05:03 "Rocket 88" by Jackie Brenston07:53 "Flatfoot Sam" by T.V. Slim10:07 "Cadillac Jack" by Andre Williams13:17 "Alimony" by Tommy Tucker16:21 An unidentified song. Lyrics: "Well, I can tell my baby, she is calling my

name, I hear my babe, calling my name, call me so loud, so sweet andplain, don't you know, I am your man, I am gonna love you"

18:38 "Let Me Down Easy" by Little Milton21:28 "The Seventh Son" performed by an unidentified singer24:22 An unidentified blues piece played by the band26:50 "Hi-Heel Sneakers" by Tommy Tucker. The music starts to skip and loop at

27:38 due to a jumping needle, and continues to play normally at 29:33.31:38 End


Shorty Rogers and His Giants - "Live at the Rendezvous Ballroom" #1, September 2, 1952

Rack number: RAA 58383Extent: 1 sound tape reel (00:40:46) : analog, 7 1/2 ips, half track, mono ; 7 in.Archivist's note: the sound tape reel received at AFC was received on a 7-inch reel, and

during digitization was wound onto a 10-inch reel. The venue was located in BalboaBeach, California. The recording date is noted as September 2, but it may have beenSeptember 27. See SR319 and SR320.

Vendor's digitization note: the program has distortion and hiss from the source tape, aswell as high frequency loss. There is a high-pitched tone at the end of the program.


Container Contents




Rack number: RXH 4204Extent: 1 sound tape reel (00:26:29) : analog, 7 1/2 ips, stereo ; 7 in.See SR318 and SR320.Vendor's digitization note: the program is distorted at times and there are speed

fluctuations from the tape. Other audio issues: a warble can be heard, plus a highamount of hum and buzz and a high-frequency noise. There are also audio breakupsduring the program.



Rack number: RXH 4205Extent: 1 sound tape reel (00:36:39) : analog, 7 1/2 ips, stereo ; 7 in.See SR318 and SR319.Vendor's digitization note: the program is distorted at times. There is an audible warble

during the program, speed fluctuations, and a high-frequency noise that can be heard.Item-ID: AFC 2011/053:SR050

Dr. Ross interview #1, September 13, 1964

Rack number: RXH 3189Extent: on one side of 1 sound tape reel (00:48:00) : analog, 7 1/2 ips, full track, mono ; 7

in.Logger's note: this is the first part of an interview Pete Welding (PW) conducted with Dr.

Ross (DR), a.k.a, Doctor Ross the Harmonica Boss [born Charles Isaiah Ross]. It wasrecorded in Flint, Michigan.Time ContentStart PW asks DR to tell him about his life. DR says that he started playing

harmonica when he was 9 years old. He was born in Tunica, Mississippiin 1925. He talks about his father, a farmer, his mother, his siblings, andan uncle who played harmonica.

04:28 PW ask s DR how he learned to play harmonica. DR responds. PW asksif there was much music in Tunica when DR was growing up. DRresponds. He heard Walter Davis, Pine top (Perkins?), Pete Johnson,Arthur "Big Boy" Crudup and a number of Delta blues players.

07:55 PW asks DR what sort of occasions he played for. DR responds. Hementions Ike Turner. He talks about a man who played guitar, saxophoneand drums at the same time.

10:36 PW asks if DR had heard Robert Johnson. DR says "only is records." Hetalks about Sleep John Estes, Blind Lemon, Bessie Smith, and MemphisMinnie. He talks about Sonny Boy Williamson.

12:37 PW asks DR when he started playing. DR responds that he started offplaying church songs. He also played songs that he heard on the radio.

15:35 PW asks when DR picked up guitar. DR replies that it was when he wasdrafted into the army. He elaborates. DR says that he is left-handed so heplays harmonica and guitar backwards, i.e., left-handed.

18:45 PW asks where DR did his basic training. DR answers. He says that hevolunteered to be a paratrooper. He talks about playing harmonic whilein service.

21:43 DR talks about the outfit in which he served. He talks about how he got thename "Doctor." He talks about his schooling.

26:03 PW asks what drew DR to the blues. DR responds. He talks about playing inchurch with his brothers and a sister.


Container Contents


Time Content29:10 PW asks how long DR played church songs before he changed to the blues.

DR responds and talks about what drew him to the blues. DR talks aboutwhere he thinks the blues came from. He talks about boogie-woogie.

33:35 PW asks if DR went back to Tunica when he got out of the army. DRresponds at length. He tells where Doctor" came from. He talks abouttwo girls (women) who wanted him to go to California.

38:10 DR talks about people he played with after he got home. He played on aradio program.

40:20 DR. talks about playing in Greenwood and Greenville, Mississippi. He metIke Turner. HE talks about some other musicians he met. He talks aboutother radio stations on which he played.

43:55 DR talks about making his first record, in 1949, for Sam Phillips on SunRecords.

48:00 EndItem-ID: AFC 2011/053:SR051



in.See the note for SR050.

Time ContentStart PW and DR talk about DR's recordings for Chess and Sun. One of

the musicians was "dragging the broom," another was playing thewashboard. DR mentions a number of the musicians with whom herecorded.

06:08 DR talks about his band drinking and getting drunk to the point it effectedtheir playing. He started playing with a drummer called RooseveltParker, He talks at length about Howlin' Wolf. He mentions a saxophoneand trumpet played named David Hair (?). His nickname was Be Bop St.Louis Dave. Little Sam Jackson, Arthur "Big Boy" Crudup and MuddyWaters are also mentioned.

12:30 PW asks DR if he play all three of his instruments on the Sun andChess recordings. DR responds. Lightning Hopkins sent for DR to playharmonica on his records. DR talks about typing letters to his girlfriends.

18:30 PW asks DR about getting out of the army and moving north. DR talks atlength about a number of his girlfriends. He says he got married in 1949even though he was engaged to another woman. He was in the armyreserve for six years and spent part of the time on active duty. He wassent to the Philippines.

25:40 DR re-enlisted in the army wanting to go to Europe. However, he was sentback to the Philippines. He left the army at the end of this 18 monthenlistment.

29:43 DR talks about making more records. He parted from his wife. He wasworking for General Motors.

32:45 After leaving Champion, Illinois, he made more recordings, in 1954 orso. He married Beatrice Tyler [? Spelling of both names]. DR came toFlint Michigan for a job with General Motors. He also invested, buyinghouses. He made more recordings, while he was working for Chevrolet.He still played music on occasion.


Container Contents


Time Content37:50 PW asks DR how he met Jack Brown and started recording for Fortune. DR

replies. One of the songs he recorded was "industrial Boogie." Anotherwas "3220," a blues. He wrote them while living in flint. They wererecorded in 1958. He talks about preparing for his next recordings. Heidentifies the recordings he made in this period.

43:30 DR talks about the band he is working with now. He talks about pickingcotton as a child. He and PW talk about the differences between theblues and rock-and-roll.

47:40 EndItem-ID: AFC 2011/053:SR052



in.See the note for SR050.

Time ContentStart PW and DR talk at length about DR's techniques for playing harmonica.

Sometimes he holds the harmonica in his right hand and plays guitar ordrum with his left hand. He also sings.

04:25 They discuss how DR goes about writing a song.06:36 PW asks if the events in DR's blues songs really happened. DR responds

that sometimes the songs are based on experiences and sometimes aredreams.

11:47 An unidentified woman asks DR about Yank Rachell. DR responds. He alsotalks about dogs and birds "singing" while he plays. He says that he metMuddy Waters.

14:37 EndItem-ID: AFC 2011/053:SR268

Dr. Ross #1, January 30, 1965



Mary Ross / Big Joe Williams, undated

Rack number: RXH 4191Extent: 1 sound tape reel (Side A: 00:23:24) : analog, 7 1/2 ips, mono ; 7 in.Collector's original ID number: 93.Archivist's note: Side B has not yet been digitized.Vendor's digitization note: the Side A program is distorted at times, and there are speed


Dixieland - The Royal Garden Rajahs and the Chicago Giants (Grand Award GA-33-313),circa 1954-1955Rack number: RXH 4609Extent: 1 sound tape reel (Side A: 00:20:48) : analog, 7 1/2 ips, stereo ; 7 in.Archivist's note: Side A has not yet been digitized.Logger's note: this is a commercial recording. Music performance by Bud Freeman, Dave

Bowman and Don Lamond ("The Royal Rajahs," according to the tape box).Time ContentStart "Crazy Rhythm"03:03 "Ain't Misbehaving"06:27 "Three Little Words"


Container Contents


Time Content09:28 "Lady Be Good"12:33 "I Didn't Know What Time It Was"15:24 "Bud's Blues"18:30 "Why Shouldn't I"20:48 End


The Jazz Workshop - George Russell Jazz workshop, circa 1957


7 in.Dubbed from George Russell's album The Jazz Workshop (RCA LSP-2534(e), released in

1957.Vendor's digitization note: the program is distorted at times, there is significant hum from

the tape, and also instances of crosstalk.Side A

Time ContentStart "Ye Hypocrite, Ye Beelzebub"03:58 "Jack's Blues"07:46 "Livingstone I Presume"11:13 "Ezz-Thetic"16:29 "Night Sound"20:25 "Round Johnny Rondo"24:03 End

Side BTime ContentStart "Fellow Delegates"05:50 "Witch Hunt"09:41 "The Sad Sergeant"13:08 "Knights of the Steamtable"15:44 "Ballad of Hix Blewitt"19:00 "Concerto for Billy the Kid"23:47 End


The Santa Fe Group, circa 1930s

Rack number: RXH 5541Extent: 1 sound tape reel (Channel 1: 00:05:36, Channel 2: 00:06:05) : analog ; 3 in.Archivist's note: dubs of commercial recordings. the "Santa Fe Group" is a reference to a

style of blues piano played by African American pianists living near the railroad linein the Houston, Texas area. Performers listed on the tape box: Rob Cooper, Son Becky[Leon Calhoun], "Pinetop" Burks (Conish Burks), Black Boy Shine, and Andy Boy.Channels 3 and 4 may be blank.

Vendor's digitization note: the program is distorted at times.Channel 1

Time ContentStart

(00:00:06)

"Brown House Blues" - Black Boy Shine


Container Contents


Time Content00:02:

31fade-out and segue to the next song: "I went out hustling/Try to do the best I

could" (first lines) - unidentified performer00:03:

55fade out and segue to the next song: "Going down to the gulf/Watch the

waves come in" (first lines) - unidentified performer00:05:

36End

Channel 2Time ContentStart

(00:00:03)

"See That Train Comin'" - Rob Cooper [?]; song fades out at the end

00:02:21

"Well, the sun is here ... at my window pane..." (first line) - unidentifiedperformer; song fades out at the end

00:03:42

"Ain't gonna be no bull for your cows no more" (first line) - unidentifiedperformer; song fades out at the end

00:06:05

End


1. See See Rider 2. Slow Blues 3. Aesop's Song, undated

Rack number: RXH 5462Extent: 1 sound tape reel (00:15:40) : analog, 15 ips, half track, stereo ; 7 in.Collector's original ID number: 132.Archivist's note: solo, electric guitar. About 00:07:42, jazz music starts abruptly. The tape

seems to have been previously used for another, unidentified recording. "Pete?" iswritten on the tape box; this may be Pete Welding.

Vendor's digitization note: the program is distorted at times, and there is significant buzzfrom the tape.


Bob "The Spider" Seeley: boogie woogie and rags, 1971

Rack number: RXH 4602Extent: 1 sound tape reel (Side A: 00:21:51) : analog, 7 1/2 ips, mono ; 5 in.Archivist's note: Side B has not yet been digitized.Vendor's digitization note: the program is distorted at times, and there are break-ups of

sound on Side A.Time ContentStart A few measures of the ending of a piano piece00:08 unidentified piano piece #102:39 unidentified piano piece #206:18 unidentified piano piece #310:52 unidentified piano piece #413:36 unidentified piano piece #516:32 unidentified piano piece #621:51 End


Sesame Street / A4RS -0810-0811 / Master, September 22, 1971

Rack number: RAA 59325Extent: 1 sound tape reel : analog, 15 ips, stereo ; 10 in.Master recording, as per the note on the tape box.


Container Contents



Shakey Jake interview, December 17, 1968

Rack number: RXH 3228Extent: on one side of 1 sound tape reel (polyester; 00:54:26) : analog, 3 3/4 ips, quarter

track; mono ; 7 in.Welding interviewed Shakey Jake in Los Angeles.LC engineer's note: the audio is on track two, suggesting this was recorded on a quarter-

inch four-channel multitrack recorder.Time Content00:10 Recording starts00:21 PW asks SJ about his new album.01:44 PW reads through the song titles on the new album to understand which

ones are SJ's own tunes.03:02 PW asks about SJ's background, how he got interested in playing.04:33 Harmonica was my toy. - SJ05:43 I was one of his fans. - SJ talking about the original Sonny Boy Williams.06:52 PW asks SJ when he felt he was getting good on the harmonica.07:25 SJ talks about seeing Howlin' Wolf when SJ was still a kid, and what songs

Wolf was playing at the time.08:44 SJ talks about playing with Muddy Waters in the early 1950s.10:45 SJ and PW talk about the blues clubs in Chicago.10:59 [volume increases]11:48 SJ talks about Little Walter and Walter's song "[The] Juke."13:30 PW asks about Little Walter's harmonica techniques. This leads to a

discussion about Walter's personality, and SJ's opinions about how muchto pay band members.

16:20 PW asks how SJ got his start after the war [WWII]. SJ talks about themusicians union, which leads to a discussion of the first band that SJ puttogether.

19:00 PW asks about the toughness of the music scene in Chicago which leadsback to SJ's opinion of the musicians union.

21:25 SJ talks about Smokey Smothers and other musicians he played with andgoes on to talk about why blues musicians didn't make a lot of moneyfrom their recordings.

24:30 PW asks how often SJ performed when he was a working musician inChicago.

26:45 PW asks what SJ thinks of "these white kids playing blues, like Paul[Butterfield] and Charlie [Musselwhite?]."

28:08 PW asks what other work SJ did to support himself when he was firststarting out.

31:16 They're playing the blues too loud now. - SJ32:08 PW brings up younger musicians, such as Buddy Guy, [Magic] Sam, Otis

Rush, and Albert Collins. Collins is "cool, he knows his axe."33:41 PW poses "an interesting question": does SJ think that the blues has changed

much since he started performing? This leads to a discussion about B.B.King's style of playing.

35:22 PW asks SJ who his favorite blues artists are.37:50 It wouldn't do [me?] any good to sing Muddy's song and put Duke

Ellington's music behind it. - SJ's critique of Taj Mahal's style.38:04 I'll tell you about Magic Sam now.38:45 PW asks how SJ goes about writing a song.


Container Contents


Time Content42:00 PW asks about Little Walter's influence on SJ's harmonica playing. This

leads to a discussion of SJ's opinions of other harmonica players.47:00 PW and SJ talk about what songs SJ thinks should be on the 45 single [for

his new album possibly, the context is unclear].49:28 SJ talks about musicians moving from Chicago to California which leads to

a discussion of Chess records' business practices.52:36 SJ talks about his education.54:25 End (tape is turned off as SJ is about to play a recording for PW)


Deacon Leroy Shinault interview #1, August 2, 1967


7 in.Time ContentStart LS says that he was born in 1902 in Poplar Ridge, Alabama. He talks about

his family. They were all musically inclined. He made his living as amusician until he became a Christian.

02:20 LS says that he first learned to play guitar in Alabama. He moved toMemphis and learned from (an unnamed) musician there. He talks aboutthe music that his father and brothers played, and where the played it. Hetalks about his father's farm.

05:15 LS says that he left the family farm when he was about 19 years old. Hetalks about learning to really play guitar. In Memphis, he learned fromTim Watkins. He learned to play blues, mostly songs he made up.

08:49 PW asks what the first piece was that LS learned to play on the guitar. LSresponds. He talks about playing with a bottleneck or a knife. He reallydid not "know music" until he went to Memphis.

10:36 PW asks if LS played mostly instrumental music at the dances in Alabama.LS says he played and sang. He talks about some of the songs. He talksabout his father's violin playing. He talks about his brothers. He talksabout some other musicians he met in Alabama.

13:38 LS talks about leaving Alabama and coming to Memphis in 1928. He talksabout playing with Tim Wilkins. He says that Tim Wilkins taught himhow to really play guitar. He talks about where they played. One placethey played was for a "medicine show."

17:22 PW says that, several years ago, he did an interview with Tim Wilkins. PWand LS talk about this.

18:18 PW asks who else Wilkins was working with at this time. LS responds. Theytalk about Sleepy John Estes and some others they played with.

21:02 PW asks if Little Son Joe ever worked with LS and Wilkins. LS responds.LS mentions Memphis Minnie. PW asks if LS knew Joe McCoy. LS saysthat he knew Joe and his brother Charlie.

22:34 PW asks if LS was writing songs of his own. LS responds. He talks abouta man looking to make records. The man told LS that his voice was toogood for the blues; he should be singing church music. LS did not makeany recordings back then. He talks about a hymn he liked to sing and didrecord.

24:41 PW asks if LS went to church on Sunday when he was a young man. LSresponds. They talk about short and long meter hymns. They talk about"Amazing Grace" as sung by black people and by white people.


Container Contents


Time Content26:06 They continue talking about long and short meter hymns. LS talks about

hymns he'd like to record. He talks about making a record and sellingcopies.

28:55 PW asks how long LS and Wilkins worked together. LS responds. He talksabout Sleepy John Estes and some other musicians.

29:51 PW asks LS if he ever heard of Sonny Boy Williamson, a harp player. LSresponds. They talk about other musicians LS played with.

32:56 EndItem-ID: AFC 2011/053:SR056

Deacon Leroy Shinault interview #2, August 2, 1967


7 in.Time ContentStart PW and LS discuss what was going on musically in Memphis "in those

days." LS mentions Ukulele Kid and several others. They talk about thekinds of places, in Memphis, where a musician could play.

03:00 PW asks about medicine shows coming out of Memphis. LS said he'd gowith Dr. Hall. He explains and talks about how they set up and didmedicine show.

06:15 PW asks how LS liked "that life," that is working medicine shows. LSreplies.

07:08 PW asks LS what he thinks about the blues. LS answers.08:08 PW asks "why is it impossible to reconcile the blues and spiritual songs?"

LS responds. He says that any song that is not a church song is a devil'ssong. They discuss this at length.

11:31 PW asks what caused LS to give up the blues life. LS answers at length. Hewas baptized in 1936.

14:11 PW asks what LS did to support himself after he stopped playing blues. LSanswers. HE says that he stayed in Memphis from 1928 to 1944. Hewent to Chicago and held several jobs.

15:15 LS says the when he came to Chicago he joined a church and becamedeacon. He sang in the church. He cut a record of church music in 1958.

17:17 LS says he is still singing in his church. They discuss church songs andmusic. LS talks about making a record in a church.

19:15 PW asks how church music has changed over the years. LS answers atlength. He talks about Aretha Franklin and Sam Cook.

22:28 PW asks if the church is turning away from the old kind of singing. LSanswers.

24:06 PW asks if there is a difference between gospel music and the old style ofhymn singing. LS answers. He says that he sings in churches in additionto his own church.

24:58 PW asks what job LS is supporting himself with now. LS answers.25:42 End


Johnny Shines interview #1, March 4, 1971


track, mono ; 7 in.


Container Contents


Pete Welding interviews Johnny Shines. Continued on SR238. While the tape boxindicates the tape was recorded on both sides, only one side has content.Time ContentStart

(00:00:08)

Shines speaks about the musical influence of Howlin' Wolf

00:03:12

Playing in Memphis, after he moved there

00:04:22

Other musicians he heard play, and the type of music they played

00:06:26

Parties held by Will Wellers; gambling, drinking, women

00:07:53

His stay in Arkansas and the reason he moved to Memphis

00:09:00

Jobs he held in Memphis

00:11:18

His first guitar, leaving his job as choir director, and meeting othermusicians

00:12:50

How long it took before he was proficient as a musician, shape note singing;other details about the choir

00:14:18

Meeting other musicians and learning from them

00:15:15

Willie Tango: his skill and background; the type of music he played, fingerpicks, tunings

00:17:03

Willie B: instruments he played, his skill

00:17:32

How Shines met other guitar players

00:17:58

House parties

00:18:37

Eddie Van's skill as a musician

00:19:02

Popular music vs. the blues

00:20:39

Jug bands in the Memphis area; showmanship in jug bands; the quality oflocations where they would play

00:21:43

Learning from other musicians by watching them, types of music he played

00:22:52

Shines names piano players who were especially good, including M & O

00:23:54

Playing at parties, on his own, then playing with other musicians

00:24:38

Shines wanted to play for the people, rather than for the money

00:25:25

Types of songs he played at parties

00:26:18

Playing slide guitar; M & O told him about Robert Johnson, and took Shinesto meet him, when Johnson was playing in Helena; he was impressed byJohnson, especially his slide guitar work


Container Contents


Time Content00:29:

00Shines was born in Frayser, Tennessee, in April 26, 1915; his family,

extended family, and early life00:32:

11A phone rings, and shortly after the recorder is turned off

00:32:21

End


Johnny Shines interview #2, March 4, 1971

Rack number: RXH 4120Extent: 1 sound tape reel (acetate, Side A: 00:33:05, Side B: 00:33:05) : analog, 7 1/2 ips,

half track, mono ; 7 in.Pete Welding interviews Johnny Shines. Continued from SR237. While the tape box has

the same date as SR237, Welding begins the interview by trying to recall where theyleft off "last evening," so it is possible this recording was made on March 5.

Side ATime ContentStart

(00:00:06)

Robert Johnson got job for Shines across the street from where he wasworking (continued from the end of SR237

00:01:22

Shines describes what a juke joint is like, where the musicians played(sitting on cane-bottomed chairs)

00:00 M & O took Shines to meet Johnson around 1934 or 1935, in the summer00:02:

59Shines describes the town of Helena, and segregation, the Black population,

music and musicians, getting a job as a musician00:05:

56Working at the same place as M & O; spending two or three weeks where

Robert Johnson was (but not spending time with him specifically);Johnson's behavior and characteristics, his ability as a musician, hisbackground, other musicians that Johnson liked, the type of musicJohnson would perform, the type of guitar he had, his singing

00:18:26

how songs became popular; the rarity of hearing blues on the radio, the roleof vendors [jukeboxes?], and the selection of records on them; types ofdances, types of songs played for a waltz

00:22:20

the times he met and met up with Robert Johnson

00:23:10

Shines describes his musical career after meeting Johnson for the first time,coming an in-demand performer and what that meant

00:24:36

types of establishments where he played

00:25:01

seasonal nature of work as a musician (better in harvest season), going backto Memphis when the work fell off

00:26:58

work life in Memphis

00:27:24

when he started writing his own songs; examples of some of the early songshe wrote; his style of playing

00:29:34

what happened when he met up with Robert Johnson again; Robert Johnsonand Buddy Guy's physical appearance being similar

00:31:17

traveling with Robert Johnson; how they traveled; places they played inNew York; playing in Buffalo, New York, and in New Jersey (recordingcuts off)


Container Contents


Time Content00:33:

05End


(00:00:05)

Where Shines played, the type of audiences for which he played, musicianswith whom he played

00:01:33:

The time Shines played in St. Louis, and Robert Johnson

00:02:48

When Shines heard Johnson had died, and the cause of his death

00:04:49

Playing music and also keeping a daytime job

00:06:12

When he moved to Chicago, the places he lived before that time, and thejobs he had; continuing to play music; the musicians with whom heworked

00:08:29

Working with guitar players and piano players; he names several and talksabout them; not recalling all the musicians with whom he played

00:13:04

Getting involved in the Chicago music scene; he speaks about MemphisMinnie, Lester Melrose, Big Bill Broonzy, Big Maceo, Memphis Slim,and others

00:16:21

He started playing at Jerry Johnson's place, with Eddie Boyd; getting anelectric guitar after coming to Chicago, as well as a mic and amplifier;where he played; piano players with whom he worked

00:19:47

The piano player named "45"

00:20:06

The blues scene in Chicago at that time

00:21:03

Whether the money was good for musicians playing in clubs at that time

00:21:55

The Dukes of Swing (band); what they played; the big recording artists ofthe day

00:23:24

Making records for Columbia; who played on the sessions and details aboutthem; where the sessions were recorded; preparations for the sessions

00:27:35

The unreleased sides made for Columbia

00:28:17

Big Bill Broonzy told him the recordings had been released in Europe;Shines had to buy him a bottle of whiskey to get the details, but laterShines found out the recordings hadn't been released

00:29:32

When Shines recorded for Chess--how the opportunity came about; JimmyRogers introduced Shines to Chess--he invited him to the Muddy Waterssession; Shines went over his songs with Little Walter, Muddy Waters,Jimmy Rogers, and with L.G> on drums; the record supposedly wasn'tissued but it was assigned a number and listed in the Chess catalog

00:32:33

Cutting records for J.O.B. (Joe Brown)--how they came to work together(the recording ends abruptly)

00:33:05

End


Container Contents



Johnny Shines interview by Frank Scott, broadcast on KPFK, January 5, 1974

Rack number: RXH 4121Extent: 1 sound tape reel (polyester, 00:52:24) : analog, 7 1/2 ips, half track, stereo ; 7 in.Archivist's note: the interview was featured on Frank Scott's show, "Preachin' the Blues,"

broadcast on KPFK radio. The tape box indicates this is interview #3, but this isprobably Shines interview number 3 in this collection. The interview is interspersedwith songs sung by Johnny Shines, accompanying himself on guitar.Time ContentStart

(00:00:05)

recording begins with laughter; discussion about blues and church songs; hisfamily history and a story about Ann Roman [sp?]

00:03:23

"I Don't Know"

00:07:29

how Shines came to Chicago: his life in Arkansas, his work as a farm hand,performing as a musician on weekends, Howlin' Wolf, trying to live andwork in St. Louis, plans to go to Chicago and get a job and what he'ddo if he didn't get a job, desire to visit Africa, being told that peoplein Africa have his Vanguard record and want him to visit, his strongfeelings about going to Africa, speaks about slide guitar playing

00:12:54

"The Blues Came Falling Down"

00:16:38

the interview continues: discussion of Shines's slide guitar style, credits hisreturn to the music business to Frank Scott and Mike Rowe, Shinespawned his guitar and equipment and sore off playing guitar again, Scottand Rowe renting a guitar for him; Scott and Shines discuss photos Scottshows to him, reasons he gave up playing guitar, playing jazz instead ofblues, taking care of his children and grandchildren, the need to have aliving income, dealings with record companies, dealings with Al Benson,trouble with the union (playing for under scale), losing his union card,issues resolved, leaving Chicago to live in Alabama

00:27:45

"Nobody's Fault But My Own"

00:31:38

the interview continues: how Shines changes traditional songs and keeps hisinterest in the music, playing gigs in the Los Angeles area, mention ofBig Mama Thornton and T-Bone Walker, forthcoming albums by Shines,playing solo vs. with a band, songs he learned from Robert Johnson,Johnson's personality, when other people play Johnson's songs

00:39:59

"Kind Hearted Woman" (a song by Robert Johnson)

00:44:09

where Shines will play next (locations and events), taking his family aroundthe U.S. and Canada to see other places

00:48:15

"Ramblin' Blues"

00:51:32

Scott thanks Shines for taking the time to do the interview, plugs the gigShines had currently with Albert Collins at The Ash Grove.

00:52:24

End


Container Contents



Masters Of Modern Blues Volume 1 - The Johnny Shines Band (dub, Side A), 1968

Rack number: RXH 5506Extent: 1 sound tape reel : analog ; 7 in.Testament Records T-2212. Collector's original ID number: 255.


Johnny Shines - Columbia session (T-2207) / duplicate masters), February 24, 1946

Rack number: RXH 5405Extent: 1 sound tape reel : analog ; 7 in.Unissued material. Collector's original ID number: 276.


J.D. Short, #1 - BVLP 1079-A, 1961

Rack number: RXH 4726Extent: 1 sound tape reel : analog ; 7 in.Side A of an LP intended for commercial release, but cancelled. See SR487 for Side B.


J.D. Short, #2 - BVLP 1079-B, 1961

Rack number: RXH 4727Extent: 1 sound tape reel : analog ; 7 in.Side B of an LP intended for commercial release, but cancelled. See SR486 for Side A.


Lincoln Sims, March 24, 1965



Zoot Sims - (Rec. Beltone Record Corp.), 1956



Zoot Sims at Ratso's (February 22, 1976) Warne Marsh and Zoot Sims at Ratso's (February22, 1976); the Warne Marsh Quartet at The Times Lounge (March 1975; continued on SideB), February 22, 1976, March 1975Rack number: RXH 3236Extent: 1 sound tape reel (polyester; Side A: 01:33:27; Side B: 01:36:41) : analog, 3 3/4

ips, quarter track, stereo ; 7 in.Archivist's note: song numbers assigned by the archivist. Ratso's was a jazz club in

Chicago. The Times Lounge was in Los Angeles. Recorded on a mono cassette byHarriet Choice. The recordings were "cleaned up" by Universal Recording.

LC engineer's note: Both sides are recorded out of relative phase. This has been correctedfor the transfer.

Side ATime ContentStart 1. "Tickle Toe" - Zoot Sims08:11 2. "Jean" - Zoot Sims19:32 3. "The Way You Look Tonight" - Zoot Sims32:07 4. "On the Alamo" - Zoot Sims41:48 5. "Come Rain or Come Shine" - Zoot Sims51:07 6. "I'll Remember April 7" - Wayne Marsh and Zoot Sims1:08:5

17. "Out of Nowhere" - Wayne Marsh Quartet


Container Contents


Time Content1:17:1

68. "All the Things You Are" - Wayne Marsh Quartet

1:26:35

9. "Indiana" - Wayne Marsh Quartet

1:33:27

End

Side BAll songs performed by the Wayne Marsh Quartet. Accompanying documentation gives

these titles as follows (it is unclear which one matches each selection below):Imagination, I Want to Be Happy, The Way You Look Tonight, Stella By Starlight,Come Rain or Come Shine, Lover Come Back to Me, It's You or No One, Easy Livin',All God's Chillun, If You Could See Me Now, You Stepped Out of a Dream.Time ContentStart unidentified song10:31 unidentified song18:35 unidentified song (perhaps "All the Things You Are")29:18 unidentified song35:25 unidentified song40:55 unidentified song44:04 unidentified song (The members of the band are introduced.)53:20 unidentified song1:00:2

0unidentified song

1:10:25

unidentified song

1:18:45

unidentified song

1:29:16

unidentified song

1:36:41

End


Frank Sinatra, "Songs by Sinatra," circa 1942-1947

Rack number: RXH 5570Extent: 1 sound tape reel (Track 1: 01:31:26, Track 2: 01:25:13, Track 3: 01:30:10, Track

4: 01:32:29) : analog, 3 3/4 ips, quarter track, mono ; 7 in.Archivist's note: episodes of the radio program, "Songs by Sinatra."Vendor's digitization note: the program is distorted at times, and there is crosstalk from the

tape.Item-ID: AFC 2011/053:SR178

Freddie Slack: unreleased masters, 1942, 1947; 1952


ips, quarter track, stereo ; 7 in.Side A

Time ContentStart "You Can Say That Again"3:18 "Half After"5:58 "Cocktail Repartee"8:47 "What Is This Thing Called Bebop"


Container Contents


Time Content11:57 "The H.C. Potter Ball"14:39 "Lullaby"17:39 "Celeste Boogie"20:38 "Humorsquire"23:41 "Soft Jive"26:55 piano original (untitled)29:17 Ukelele Swing31:32 "Choppin' the Boogie"33:54 "That's the Way to Write A Love Song"36:28 Phil Moore tune (untitled)39:13 "Sit and Nip"43:00 "Slightly Barbaric"45:35 End

Side BTime ContentStart "Mr. Anthony's Blues"2:47 "California Suite" (T-200, Side 1)17:44 "California Suite" (T-200, Side 2)33:42 End


Sunnyland Slim - Eddie Boyd - Memphis Slim, undated



George Smith - harmonica - Mtl., undated

Rack number: RXH 4155Extent: 1 sound tape reel (00:12:54) : analog, 15 ips, stereo ; 7 in.Collector's original ID number: 126.


Johnnie Mae Smith, Big Joe Williams; Bill Lucas, reel #1, June 15, 1963

Rack number: RXH 4156Extent: 1 sound tape reel (Side A: 00:31:03) : analog, 7 1/2 ips, mono ; 7 in.Archivist's note: Side B has not yet been digitized. Recorded live. Accompanying set list.Vendor's digitization note: the Side A program is distorted at times, and the program has

speed fluctuations.Item-ID: AFC 2011/053:SR476

Willie "The Lion" Smith - 1 G.A. 368, undated

Rack number: RXH 4716Extent: 1 sound tape reel (Side A: 00:48:37) : analog, 7 1/2 ips, stereo ; 7 in.Archivist's note: Side B has not yet been digitized.Vendor's digitization note: the program is distorted at times.


Willie "The Lion" Smith - 2 G.A. 368, undated

Rack number: RXH 4717Extent: 1 sound tape reel (Side A: 00:10:18) : analog, 7 1/2 ips, stereo ; 7 in.Archivist's note: Side B has not yet been digitized.Vendor's digitization note: the program is distorted at times.


Container Contents



Smithsonian blues mockup (Sides 1 - 6 Trs. 1 and 2), undated



Smithsonian blues mockups, 2, undated



Smoky Babe and His Friends, circa 1961

Rack number: RXH 4157Extent: 1 sound tape reel (00:30:59) : analog, 7 1/2 ips, mono ; 7 in.Collector's original ID number: 101.Vendor's digitization note: the program is distorted at times. Audio dropouts occur during

last 20 seconds of the program.Item-ID: AFC 2011/053:SR235

Softee Man Blues - Doug Quattlebaum (Prestige Bluesville BVLP 1065), November 27,1961Rack number: RXH 4117Extent: 1 sound tape reel (acetate; Side A: 00:21:00, Side B: 00:21:00) : analog, 7 1/2 ips,

half track mono ; 7 in.Possibly a master recording or copy of a master recording. Collector's original ID number:

113.Side A

Time ContentStart "Sweet Little Woman Blues" (original composition; start at 00:00:05)00:03:

55"Whiskey Headed Woman"

00:06:25

"Trouble in Mind"

00:10:08

"You Is One Black Rat"

00:13:03

"On My Way to School"

00:15:57

"You Ain't No Good"

00:17:23

"Come Back Blues" (original composition)

00:21:00

End


(00:00:05)

"Mama Don't Allow Me to Stay Out All Night Long"

00:03:51

"Big Leg Woman"

00:06:36

"Love My Baby Blues" (original composition)


Container Contents


Time Content00:09:

22"Black Night Is Falling"

00:12:23

"Baby Take a Chance With Me"

00:15:09

"So Sweet"

00:17:27

"Worried Mind Blues" (original composition)

00:21:00

End


Son House interview #1, November 20, 1964


track, stereo ; 7 in.Logger's note: Pete Welding conducted a six-part interview with Son House in 1964.

Time ContentStart blank00:36 Pete Welding (PW) asks Son House (SH) to tell him about Charlie Patton.

SH replies. He mentions Willie Brown and son Patton.05:15 SH talks about Willie Wilson and James McCoy. Willie Wilson was an early

musical influence on SH.07:50 SH talks about buying his first guitar and starting to play. SH tells the story

of his early life.13:44 SH talks about his father and his uncles being an early musical influence.17:50 SH talks about the difference between a "songster" and a "bluesman." He

talks about the blues as parable and about the "real blues."26:50 PW and SH talk about understand the meaning behind the blues lyrics.29:00 SH explains how he got a job working on the railroad and the work he did.39:08 PW asks SH how his father earned his living. SH replies that he was a

blacksmith, working for a white man, T.F. Keating, on his plantation.41:45 PW asks about musical life on the plantation. SH talks about Saturday night

"balls." He also talks about house parties, dances and picnics. He talksabout legal whiskey and corn whiskey.




stereo ; 7 in.See the note for SR015LC engineer's notes: the start of this tape is in the half track mono format and the left track

contains a 26-second snatch of the start of "The 2000 Year Old Man" album by CarlReiner and Mel Brooks while the right channel contains reversed audio of a fragmentof an unidentifiable Bob and Ray bit, likely an aircheck of some kind. The reversedBob and Ray audio has been made forward for the listening file.Time ContentStart Unrelated conversation00:25 Son House (SH) and Pete Welding (PW) talk about a church event

called "Feast in the wilderness." One of the activities is "Fish in thewilderness."


Container Contents


Time Content05:00 SH says he was a regular church goer, Wednesday night for choir practice

and on Sunday. He talks about choir practice and the rudiments. [Thismay have been "shape notes."]

07:15 SH talks about the Coahoma County Union Singing Convention. PW andSH talk about "church songs" and singing in church.

09:30 PW asks if there was a school that SH attended as a youngster on theplantation. SH replies.

10:15 PW asks how old SH was when he began working in the fields. SH replies.They talk about crops and seasons on the farm.

15:30 They talk about SH's schooling, i.e., education.18:50 They talk about SH working and making a living.19:40 They talk about Clarksdale, Michigan.21:30 They talk about when SH started singing the blues and how he got started.22:42 SH says that he been married 5 times. He talks about his first wife and

marriage.32:00 End




stereo ; 7 in.See the note for SR015.

Time ContentStart Son House (SH) talks about his first wife and marriage (continued from

SR016).06:50 SH says he started preaching in 1921 and preached for years. He talks more

about his marriage.12:55 SH and his first wife leave Louisiana and move to Centerville, Michigan. SH

leaves his wife and move back to Clarksdale, Michigan.17:45 Pete Welding (PW) asks SH when he got into singing the blues. SH talks

about Willie Wilson, church songs and the blues. He talks about thenature of the blues.

21:52 SH talks about preaching and the blues. He talks about Christianity andbeing Christian. He talks about the hypocrisy of religion.

29:36 SH says that he can't hold God in one hand and the devil in the other. Helet the church go and went to playing the blues. He listened to WillieWilson and James McCoy and learned from them. He learned naturaltuning (fingers) as well as open tuning (medicine bottle).

32:20 SH says he bought his first guitar for $1.50. Willie Wilson helped get itinto playing condition. SH taught himself two songs, in two weeks.They were "Hold up Sally, Take Your Big Legs Off'a Mine" and "BlackMama." He played at a dance for James Wilson. He started writing songs- "Clarksdale Moan" and "Preachin' Blues."

36:48 PW and SH talk about tuning his guitar in natural tuning and open tuning.They talk about other songs that SH wrote. They talk about CharliePatton, his family and a woman named Bertha. SH played at Bertha'scafé in Lula, Michigan.

45:29 SH says that Charlie Patton earned money playing music and was alsorecording 2 or 3 times a year. Charlie Patton introduced SH to A.C.Labley (sp?) a [talent scout]. SH started recording. There was also agospel group, The Delta Big Four, recording at that time, 1930.


Container Contents





track, stereo ; 7 in.See the note for SR015.

Time ContentStart (continued from SR017) Son House is talking about Charlie Patton in Lula,

Michigan. Patton had a Stella guitar. SH and Patton did not play together.SH talks about Patton's background, e.g., where he came from. SH talksabout going to Grafton, Michigan with three other musicians to makerecordings.

05:25 SH talks about the recording session in Grafton. The session was over threedays. Each of the four musicians recorded separately.

08:22 PW asks about A.C. Lablay. SH describes him and how he ran the recordingsessions. SH discusses the four recordings he made. He talks about someof the other musician's recordings. He talks about a song he recordedcalled "Mississippi County Farm," a prison farm in Tunica, Michigan.

14:22 SH talks about how he got to prison and his time there.25:00 PW and SH talk about voter registration, segregation, and social changes in

Mississippi. SH reflects on the life of a southern Negro.38:10 PW and SH talk about "Dry Spell," a recording SH made after a dry sell (a

period of no rain). They talk about another SH song called "What Am Ito Do?"

40:17 Blank40:50 (resume) SH talking about "What Am I To Do." SH says he was paid $40 for

the four songs he recorded in Grafton. About a year later, he got a callback letter from Paramount to record again. He could not take the timeoff from work to do the session, which was in New York City.

44:51 PW and SH talk about Charlie Patton, his songs and his recording session inGrafton.




stereo ; 7 in.See the note for SR015.

Time ContentStart Pete Welding (PW) and Son House (SH) talking about Charlie Patton. He

played slide guitar sitting, with the guitar on his lap and used a pocketknife as the slide. SH played slide guitar standing with a bottleneck onhis finger.

02:27 PW asks where Charlie Patton learned to play; SH responds. PW asksseveral other questions about Charlie Patton; SH replies.

05:16 SH and Willie Wilson stayed with Charlie Patton in Holly Ridge, Michiganin 1932. They made recordings in Jackson, Michigan for H.C. SpearsPhonograph Company. They three of them made one recording together,"I Had a Dream Last Night, Troubled Me." The three of them also playedtogether for parties.

11:05 Charlie Patton made a recording with Son Sims, a fiddle player. PW and SHdiscuss this. They discuss several other musicians.


Container Contents


Time Content14:25 PW and SH talk about Willie Wilson and Charlie Patton. They talk about

Charlie Patton's marriage and his daughter. SH says that Charlie Pattondies in the summer of 1932.

22:40 PW asked about Willie Brown. SH responds at length. He says they playedtogether from about 1932 to 1942.

30:50 PW and SH talk about a SH song called "The Death Letter."Item-ID: AFC 2011/053:SR020




Time ContentStart blank00:23 Pete Welding (PW) asks Son House (SH) about Robert Johnson (RJ). SH

replies at length discussing things like: how he met RJ; RJ plays theharmonica and learns to play guitar; songs; and RJ's early death.

15:50 PW asks SH about some of the other bluesmen he knew. SH talks aboutBlind Lemon, Frank Stokes and Jim Jackson.

21:15 PW asks SH about the records he heard growing up. SH says he had aVictrola and tells about the records he bought.

23:42 EndItem-ID: AFC 2011/053:SR228


Rack number: RXH 4111Extent: 1 sound tape reel (polyester, 00:34:17) : analog, 7 1/2 ips, full track, mono ; 7 in.Logger's note: Pete Welding (PW) conducts an interview with Son House (SH). They

discuss his songs and personal life experiences, including his first two marriages. Thisis part one of a two-part interview. The recordings ends abruptly. Continued on SR229.Time ContentStart At 00:12, PW and SH talk about the local artists in Clarksdale1:36 PW and SH talk about how he came to be involved with Alan Lomax and

how Lomax paid him with a "nice and cool" Pepsi to record some songs.6:50 SH explains that he's waiting on some money from the Library of Congress

and some other places because they were selling his music in their stores.9:07 Tape cuts out, and then starts again in a new conversation with SH talking

about Joe Martin, also known as Fiddlin' Joe.10:20 PW and SH discuss his song about General MacArthur ("This Song Will

Last You For Years") and how he got the idea for that song.12:20 They discuss a song that goes, "was I right or wrong?"12:58 They discuss the song "Country Farm Blues"14:02 They discuss SH's song, "Sun Goin' Down"15:27 They discuss the song, "Train Time Blues" and how a relationship inspired

that song17:00 PW asks SH about his song, "My Black Woman"?17:25 PW asks SH about his song writing process18:38 They discuss SH's song, "Louise McGhee"20:23 They talk about a song called, "Brokenhearted and Downhearted."

["Downhearted Blues"?]


Container Contents


Time Content21:45 They talk about a song SH wrote about working on the levee and a

relationship he had that influenced the song. I think the song is called,"Levee Camp Moan."

25:00 They discuss why they think there are so many blues songs about "womenproblems" and relationships.

26:08 PW asks SH why he thinks there haven't been very many good womenblues singers. SH talks about some of the women blues singers he hasperformed with.

28:28 PW brings up SH's five marriages. SH briefly mentions his first wife, andthen talks about what happened with his second wife.

33:16 SH talks about how he was accused of killing a guy one Saturday night. Hisuncle got shot in the foot and it broke his ankle. The other person wasshot by another guy and killed.

34:16 EndItem-ID: AFC 2011/053:SR229


Rack number: RXH 4112Extent: 1 sound tape reel (acetate, 00:18:00): analog, 7 1/2 ips, full track, mono ; 7 in.Archivist's note: a letter from Tommy Vig, dated September 2, 1962, accompanies the

tape. It is possible Welding reused the tape to record the interview with Son House.Logger's note: Interview conducted by Pete Welding with Son House on November 21st,

1964 about his third, fourth, and fifth wives, some of the music he wrote and played,and some of his experiences in Rochester. This interview is continued from SR228.Time ContentStart At 00:08, PW asks Son House how taking his uncle to the doctor for his foot

led to him getting rid of Cornelius (his ex-wife).4:06 Interviewer asks SH about his fourth wife and SH answers5:46 SH talks about his fifth wife - his current wife at the time of the recording -

Evie [Garff McGown?].7:00 SH how he brought Evie to Rochester9:15 SH discusses giving up music10:20 Interviewer asks SH what music means to him12:38 They discuss the song SH wrote, "Don't Mind People Smiling in Your Face"15:24 Interview ends15:28 Unidentified music begins to play17:53 End


Son House concert #2, undated

Rack number: RXH 4113Extent: 1 sound tape reel (polyester, 00:14:09) : analog, 7 1/2 ips, half track, mono ; 7 in.Collector's original ID number: 214.

Time ContentStart At 00:05, "Levee Camp Moan"8:22 Song abruptly stops and cuts out8:26 Downhearted Blues9:28 Audience applause10:03 Son House says he's going to play a "little Christian song"11:07 John the Revelator12:34 Audience applause13:48 Some unintelligible talking and notes playing


Container Contents




Songs of the Death of Presidents, #1, circa 1964



Songs of the Death of Presidents, #2, November 27, 1964



The Southernaires of Starkville, Mississippi, #1, 1965

Rack number: RXH 4070Extent: 1 sound tape reel (acetate, 00:30:30) : analog, 7 1/2 ips, full track, mono ; 7 in.Five or six-voice male group, accompanied by guitar. Recorded by Big Joe Williams

(as the recordist/sound engineer) in Starkville, Mississippi. Collector's original IDnumber: 53.Time ContentStart Southern-Aires (SA) sing their first selection, "Going Home"3:05 SA sing their next song, possibly titled "Make Me Want Me to Be"7:42 SA begin their next song and start over at 8:08. Title is unknown.12:14 The next gospel song by SA16:33 SA perform their next piece21:21 One of the musicians explains the mission of their group- to come sing

praises to the Lord21:58 SA sing their rendition of "Swing Low, Sweet Chariot"26:01 SA begins one of their songs, but then stop before the song is finished26:40 The next gospel song by SA, possibly titled "Give it All to Jesus"30:23 End


The Southernaires of Starkville, Mississippi, #2, 1965

Rack number: RXH 4071Extent: 1 sound tape reel (acetate, 00:16:10) : analog, 7 1/2 ips, full track, mono ; 7 in.See the notes for SR187. Collector's original number: 87.

Time ContentStart The Southern-Aires (SA) perform for their first song from this tape, possibly

titled "Working on the Building"3:25 The next selection by SA titled "Standing in the Need of Prayer"6:10 SA perform their next piece, "You Can Depend on Me"10:00 SA sing their next song possibly titled "I Made a Change"12:45 SA perform their next piece that may be titled "I Got Jesus"16:07 End


Muggsy Spanier Band; Art Van Damme (Seeburg dubs), circa 1940s-1950s



Arthur "Big Boy" Spires, #1 (edited material), October 9, 1965



Container Contents



Arthur "Big Boy" Spires, #2, October 9, 1965



Spann - Dorsey - Spires, #4, undated



Spiritual Dubs / Blind Mamie Forehand (1927); Sister O.M. Terrell (1953), 1927 and 1953

Rack number: RXH 5453Extent: 1 sound tape reel : analog ; 7 in.Archivist's note: dubs of commercial recordings.


Jess Stacy, 1956

Rack number: RXH 5568Extent: 1 sound tape reel : analog ; 7 in.Archivist's note: dub of a commercial recording (catalog number Brunswick BL 54017),

released 1956.Item-ID: AFC 2011/053:SR524

Staples Singers history, circa 1961-1962

Rack number: RXH 5386Extent: 1 sound tape reel (Channel 1: 00:40:13, Channel 2: 00:16:54) : analog ; 7 in.Channel 1 has a few false starts. It is an edited version of a more complete recording (the

edits are audible). Roebuck "Pops" Staples begins with his own history, narrating as abiography his life, family, early jobs, etc., speaking directly without an interviewer. At00:07:50 the volume on the tape recorder was increased while the tape was running.Shortly after, a phone can be heard ringing in the background. Pops Staples picks up aguitar and starts playing and sings "When I Get Home." Occasionally someone adjuststhe microphone. He talks about episodes in the lives of his children when they wereyoung. Other members of the family speak. At 00:24:22 Mavis introduces herself andsays she is 22 years old (born July 10, 1939). Channels 3 and 4 have not yet beendigitized.


The Staples [The Staple Singers] GP Side 1, circa 1976-1978

Rack number: RXH 5466Extent: 1 sound tape reel : analog ; 5 in.Archivist's note: Side 1 of an unidentified album (possibly a dub copy).


June Steele - Jim's house (take 2), January 13, 1971

Rack number: RXH 4226Extent: 1 sound tape reel (00:03:37) : analog, 7 1/2 ips, mono ips ; 6 in.Archivist's note: the sound of an audio test around 00:01:24 and elsewhere. Possibly a

sync track, with wild sound. A film projector may possibly be heard at one point.Vendor's digitization note: the program is distorted at times, with significant buzz and

hum sounds from the tape.Item-ID: AFC 2011/053:SR650

Rex Stewart (Grand Award GA 246-A), June 15, 1977



Container Contents



Rex Stewart (Grand Award GA 246-B), June 15, 1977



Rex Stewart (Grand Award GA 315-A), June 15, 1977



Rex Stewart - all recordings from Grand Award, undated



Sunnyland Slim interview #1, undated

Rack number: RXH 3192Extent: on one side of 1 sound tape reel (01:30:00) : analog, 3 3/4 ips, full track ; 7 in.

Time ContentStart PW and SS talk about SS's time in Belgium. They talk about a record of

Robert Johnson songs; the performers are not identified. They talk abouta person called Robert Johnson, Jr., not the biological son of RobertJohnson. He is Robert Junior Lockwood, a step son of Robert Johnson.

05:00 They talk about SS playing with RJ Lockwood. SS got RJ Lockwood intothe union, local 208. They also played with Tampa Rad. SS mentionsMuddy Waters and Big Bill (no last name). PW says he promotedconcerts back in the '40s called People's Songs.

07:00 They talk about Studs Terkel doing a touring show with Bill. The talk aboutBill.

08:50 PW asks if Robert Junior Lockwood (RJL) did many church songs. SSreplies and also mentions Bobby Bland, B.B. King, T-Bone Walker,Blind Lemon, and Lonnie Johnson. SS talks about some of the songs thatRJL sang. SS talks about playing with RJL.

12:44 PW asks about the time SS and RJL played together. SS sings part of a song.SS talks about another occasion where they played together. SS talksabout parties at which they played.

16:36 SS talks about a record RJL made. PW asks what RJL was like. SS replies.He then talks about a restaurant that made the best creole gumbo. PWasks how old RLJ was when SS first met him. SS replies.

19:45 SS talks about RJL's mother. She is still alive, living in St. Louis. RJL alsohas a sister in t. Louis. PW asks is RJL played any other instruments. SSreplies.

22:00 SS says he made records with RJL for Mercury in about 1952. SS talksabout different places in which he played. He says he came to Chicago in1933, but did not stay.

24:43 SS says that he would like more work than he now has. He explains. He sayshe stated out with HighTone Records. They discus other record labels.

26:16 PW asks about Robert Johnson's personality. SS replies at length. SS talksabout a musician named Sonny Boy [Williamson?]. He talks about howmusicians dressed.

29:46 PW asks about Robert Johnson's appeal to women. SS responds. PW asksabout musicians getting rides. SS responds. PW asks about relationsbetween black musicians and white people. SS responds.


Container Contents


Time Content33:15 SS talks about his early years as a musician, about 1924. He talks about his

first job. He learned to play organ and piano. PW asks SS when he firststarted in music. SS replies at length.

41:40 SS says caught a freight train and ran away to Memphis. He worked on therailroad. He'd ride a train, in the caboose, to get to the places he wouldplay.

43:57 SS mentions meeting Fats Waller, Bing Crosby, Teddy Wilson, and CountBasie in about 1931 or 1932. This is about when he met Robert Johnson.

47:11 PW asks if Robert Johnson always played his songs the same way. SSreplies. SS talks about Bessie Smith and Roosevelt Sykes. SS talks aboutother piano players.

51:33 PW and SS talk about the opportunities they've missed and those they had.Again, PW asks if Robert Johnson always played his songs the sameway. SS responds. SS talks about not having money. He talks about JerryLee Lewis.

56:15 PW talks about a record producer (probably Chris Strachwitz, ArhoolieRecords) who told him that it was most important to have the rights to asong. SS talks about songs, rights to songs, and making money.

01:01:21

PW says that you've got to look out for yourself. SS agrees and talks abouthis experience. SS says he played with Miles Davis in 1963. He talksabout other musicians he played with.

01:08:21

PW asks about how Robert Johnson acted with his audiences. SS replies. Hesays that Robert Johnson made "it possible" for other guitar players. SStalks about people he played with at his house.

01:14:55

SS says he is drawing Social Security. PW offers to make a meal. SSdeclines.

01:16:07

SS gets back to talking about Robert Johnson. He talks about food. SS andPOW talk about SS playing in Europe. PW says that what he wants tohear from musicians is "what is life to you?"

01:21:39

SS talks about his real experiences. He talks about playing overseas. Hetalks about a number of musicians he's played with. He mentions playingsoul, rock-and-roll, and the blues.

01:30:00

End


Sunnyland Slim interview #2, undated

Rack number: RXH 3193Extent: on one side of 1 sound tape reel (01:33:59) : analog 3 3/4 ips, half track ; 7 in.

Time ContentStart SS talks about playing boogie, blues and church songs. PW asks about the

performer having to be honest in his playing. He uses classical music asan example. PW talks about a person called Pete (no last name).

05:08 SS talks about Robert Johnson and his songs. One song is "Dust MyBroom." He sings parts of several songs. SS discusses what some ofthese songs are really about and what they mean.

08:53 SS talks about a pretty woman he saw at a party. He talks about LonnieJohnson. She was the inspiration for his song "Brown Skin Woman." Hetalks about the blues telling a story.


Container Contents


Time Content13:35 SS talks about playing in a club and talking with other blues musicians.

He talks about playing in England and other places in Europe. He talksabout playing for an all-white audience. He talks about playing withRobert Johnson.

20:10 SS talks about the keys in which he plays. He talks about recording for BMI.He talks about drinking "hard wine." He talks about copying [dubbing]songs from a collection of tapes.

24:53 PW and SS talk about Memphis Minnie's recordings. SS talks about arecording session. He talks about a new song he wrote that he will notrecord unless he can retain the rights to the song.

29:35 PW offers drinks and dinner to SS. SS declines as he has anothercommitment. They talk about standing up for themselves.

33:06 PW asks if SS knows where Robert Johnson went after he was lastassociated with SS. SS answers. SS talks about Robert Johnson andwomen. They talk about Model A and Model T Ford cars. SS ramblesabout cars, trucks, food and people.

40:45 PW and SS talk about having perfect pitch. They talk about a song called"Some Stack Light." SS talks about Howlin' Wolf and Bukka White.

44:20 SS talks about sharing money from a performance. He talks about travellingby truck, car, train, and Greyhound bus. He talks about the last time heplayed with Robert Johnson.

47:20 PW asks if Robert Johnson travelled by himself or with other people. SSresponds at length. He says that Robert Johnson travelled only with hisguitar. HE talks about Sonny Boy [Williams?]. He talks about severalsongs.

50:24 PW asks if Robert Johnson ever talked about his past life. SS answers. PWasks about "King Biscuit." SS says that it was a radio station and flour.SS talks about Robert Junior Lockwood and several other musicians.

53:43 PW asks if Robert Johnson talked about the artists he admired. SS repliesand mentions several musicians.

56:55 PW says that it is hard to judge the age of the performers. SS responds. HEtalks about playing with Ma Rainey. He talks about working for a circus.He talks about learning to play in many keys.

01:1:20

SS and PW talk about a medicine call "66." PW asks if Robert Johnson evermentioned how he got started in music. SS answers.

01:03:32

PW asks if Robert Johnson ever talked about the artist he liked. SS responds.He mentions several musicians. PW asks if Robert Johnson always sandhis song the same way or if he changed them around. SS replies.

01:05:49

PW asks how SS met Robert Johnson for the first time. SS relies that hewas an electrician for Arkansas Power and Light. He talks about this atlength. Eventually he says where he first met Robert Johnson.

01:12:22

PW asks what first impressed SS about Robert Johnson. SS replies. He talksabout a number of musicians he played with. He says the piano playersand the guitar players normally did not hang out together

0:16:55

PW says that to him Robert Johnson seems unusually poetic or literary. HEasks of SS noted that. SS says he did not pay much attention to that.However, Robert Johnson's slide guitar playing did touch him. They talkmore about Robert Johnson's lyrics.

01:20:55

PW says that some people say the blues men are the modern poets. Heexpands on this idea. SS talks about a song he wrote with a person calledDixon. The title is "I Am the Blues."


Time Content01:24:

55PW says that he hopes they can get together again for another interview. SS

replies, "The pleasure is all yours." PW laughs.01:25:

20PW says that Little Brother (Montgomery), a piano player, is dong a new

record and he (PW) has been asked to write the liner notes. HE asks SSabout Little Brother. SS says that Little Brother is his best friend. Theymet in 1924.

01:34:00

End


Gary Sussman, undated



Hound Dog Taylor, undated

Rack number: RXH 4192Extent: 1 sound tape reel (00:15:53) : analog, 7 1/2 ips, stereo ; 7 in.Tape copy of selected masters.


Montana Taylor / Turner Parrish / Piano Blues and Boogie Woogie, undated



Theo First Person / Theodore reel 2 of First Person, February 5, 1970



Theo One Liners and Words, undated



Theodore - mockup, undated

Rack number: RXH 4615Extent: on one side of 1 sound tape reel (00:12:41) : analog, 7 1/2 ips, stereo ; 7 in.Logger's note: a short clip of voice test and/or microphone test. One unidentified piece of

guitar music is included.Vendor's digitization note: the program is distorted at times, and there is significant buzz.

There is a gap in sound from 00:04:35 to 00:06:29.Time ContentStart An unidentified man says random short phrases for a voice test and/or

microphone test session.06:50 Music starts and stops07:02 An unidentified performer plays an unidentified piece on the guitar.08:58 An unidentified man recite a story for a voice test and/or microphone test

session.12:41 End


Todd [no other information], undated



Container Contents


Extent: 1 sound tape reel (side A: 01:48:50, Side B: 00:41:20): analog, 3 3/4 ips, halftrack, stereo ; 7 in.

Logger's note: Central or South American folk songs sung by mixed voices, in Spanishand Portuguese, accompanied by drums, percussion and guitars.

Vendor's digitization note: the program distorted at times. Side A's left channel has levelfluctuation on the tape from the start to 00:40:50.

Side ATime ContentStart An unidentified song #104:11 An unidentified song #207:20 An unidentified song #310:17 An unidentified song #413:23 An unidentified song #516:40 An unidentified song #619:40 An unidentified song #722:55 An unidentified song #826:53 An unidentified song #930:23 An unidentified song #1034:15 An unidentified song #1137:11 An unidentified song #1240:55 An unidentified song #1343:39 An unidentified song #1447:07 An unidentified song #1550:17 An unidentified song #1653:31 An unidentified song #1757:12 An unidentified song #1801:00:

03An unidentified song #19

01:03:28

An unidentified song #20

01:06:12


01:08:52


01:11:40


01:14:56


01:18:33


01:21:17


01:24:02


01:26:31


01:28:39


01:31:23



Container Contents


Time Content01:35:

17An unidentified song #31

01:38:10


01:40:39


01:43:54


01:46:17


01:48:50

End

Side BTime ContentStart An unidentified song #102:19 An unidentified song #205:12 An unidentified song #310:46 An unidentified song #414:19 An unidentified song #516:10 An unidentified song #618:30 An unidentified song #720:53 An unidentified song #823:10 An unidentified song #925:01 An unidentified song #1027:40 An unidentified song #1130:33 An unidentified song #1234:06 An unidentified song #1338:10 An unidentified song #1441:20 End


Tom's Records / Stony Island Boys / #1, undated

Rack number: RXH 4163Extent: 1 sound tape reel (01:37:08) : analog, 3 3/4 ips, mono ; 7 in.Dubs of commercial recordings.Vendor's digitization note: the program is distorted at times.


Tom's Records #2, undated



Tom's Records #3 / Roy Burrows Quintet - Country Music Dubs #3, undated



Six unidentified jazz songs, circa 1970s

Rack number: RAA 59324Extent: 1 sound tape reel (00:35:20) : analog, 15 ips, half track, stereo ; 10 in.Vendor's digitization note: the program is distorted at times, and there is significant hiss

from the tape.


Container Contents



Various test tones, undated

Rack number: RXH 5441Extent: 1 sound tape reel (00:03:55) : analog, 7 1/2 ips, stereo ; 7 in.Collector's original ID number: 68.Archivist's note: various test frequencies, measured in kHz, with an announcement

preceding each tone.Vendor's digitization note: the program is distorted at times.


Henry Townsend interview #1, July 27, 1967


7 in.Logger's note: this is the first part of a two-part interview Pete Welding (PW) did with

Henry Townsend (HT), conducted in St. Louis, Missouri. Most of the interview isabout Robert Johnson (RJ). A third person, called Joe, was present, [not Big JoeWilliams]. (Note: It is difficult to hear and understand Joe, as he does not have amicrophone.)Time ContentStart PW asks about HT meeting RJ. HT says they met at a house party, where

they were both to perform, in the early to mid-1930s. They talk at lengthabout RJ. HT also mentions Roosevelt Sykes and Booker T. Washington.

04:30 PW asks about the music RJ was playing that night. HT's response includesthat RJ was playing slide guitar.

06:12 PW asks how the people responded to the slide guitar. HT says, "they werewild about him." HT talks about playing with RJ.

09:42 PW asks about the numbers (songs) that RJ performed. HT responds andtalks about playing with RJ.

11:52 PW asks if RJ was fairly well paid. HT responds and then talks about whereRJ was living.

14:30 PW asks what kind of impression RJ's music made on HT. HT repliesthat he was interested both RJ's guitar and his singing. They talk aboutwhat made RJ's Mississippi Blues different from other musicians. HTresponds at length.

19:05 PW asks about HT picking up RJ's music. HT responds that he was mostlytrying to learn execution. He says that RJ was an easy going guy.

21:10 HT talks about other people RJ hung out with. He talks about playing in theHarlem Club in Illinois.

23:10 They talk about Robert Lockwood Jr. and Roosevelt Sykes. They talk abouthow to contact Robert Lockwood and RJ.

29:13 They talk about RJ's travelling and old Mississippi musicians RJ may haveknown. HT says that RJ supported himself just playing music on hisguitar.

32:43 EndItem-ID: AFC 2011/053:SR046

Henry Townsend interview #2, July 27, 1967


7 in.Logger's note: this is the second part of a two-part interview Pete Welding (PW) did with

Henry Townsend (HT), conducted in St. Louis, Missouri.


Container Contents


Time ContentStart PW, HT and Joe are talking about RL. They mention Honeyboy Edwards.

They talk about Johnson as a "ladies man." They talk about RJ's age atthe time he died.

02:43 PW asks about RJ's working on songs "when he was here." HT responds. Hesays the RJ was able to work on inspiration and could put a song together"just like that." He explains.

05:53 HT says that his acquaintance with RJ was brief. RJ was a "pretty nice guy."PW asks why HT thought RJ was young when he died. HT thought RJwas young when they met. HT explains and talks about RJ's character.

08:20 PW asks if HT got the impression that RJ took a lot of pride in his music.HT replies at length.

09:50 PW asks HT if he and RJ rehearsed together. HT responds.11:00 PW asks if there were any other musicians around town (i.e., St Louis) that

RJ worked with in that period. HT responds. They talk about JimmyYancey, a piano player. They also talk about Alonzo Yancey.

12:42 PW asks HT if there is anything else HT can tell him about RJ. HTresponds.

13:34 PW asks about Hi Henry Brown. Joe responds. They also talk about IkeRodgers. PW asks about Henry Spalding. HT responds, as does Joe.They mention Nick Bones, Clifford Gibson and Roosevelt Sykes. Theydiscuss Clifford Gibson at length and talk about his dog.

21:55 PW asks what other musicians were around in the 1920s and 1930s. Hementions Pinetop Sparks. PW asks about Pinetop Sparks and his sister.

25:10 EndItem-ID: AFC 2011/053:SR478

Traditional Negro Sacred Songs (1), undated

Rack number: RXH 4718Extent: 1 sound tape reel (00:30:10 : analog, 7 1/2 ips, mono ; 7 in.Vendor's digitization note: the program is distorted at times.


Traditional Negro Sacred Songs (2), undated

Rack number: RXH 4719Extent: 1 sound tape reel (00:08:25) : analog, 7 1/2 ips, mono ; 7 in.Vendor's digitization note: the program is distorted at times, and there is significant buzz


Traveling Through The Jungle, Side 1, undated

Rack number: RXH 4732Extent: 1 sound tape reel : analog ; 7 in.Subtitled: Negro Fife And Drum Band Music From The Deep South. Released by

Testament Records (T-2223). Dub copy of final edited and sequenced [Side 1].Assumed to be Side 1; see the note for SR491. Collector's original number: 229


Traveling Through The Jungle, Side 2, undated

Rack number: RXH 4731Extent: 1 sound tape reel : analog ; 7 in.Dub copy of final edited and sequenced Side 2. See the notes for SR492.


Lennie Tristano - Lester Young - "Hotel Chatterbox" Airshot, undated



Container Contents


Extent: 1 sound tape reel : analog ; 7 in.This tape seems to be a compilation of dub recordings.


Lennie Tristano -- Capitol Records, undated


5 in.Unissued recordings by Lennie Tristano (piano, bass, and drums; guitar on tracks 1, 2, 3,

5, 7, 9), 16 songs. Capitol Records.Vendor's digitization note: the program is distorted at times, with significant hiss from the


"In Concert": Ike and Tina Turner; The Staple Singers, December 14, 1973

Rack number: RXH 4034Extent: 1 sound tape reel (polyester, 00:30:44) : analog, 7 1/2 ips, half track, stereo ; 7 in.Archivist's note: the ABC-TV show "In Concert" featured concert performances that

were recorded live and subsequently broadcast. December 14, 1973 was probably thebroadcast date. While "In Concert" was created by Don Kirshner it is not the sameshow as "Don Kirshner's Rock Concert." See SR152 and SR153.Time ContentStart "River Deep, Mountain High," by Ike and Tina Turner. The recording begins

with the song in progress.3:27 "Get Back," by Ike and Tina Turner6:40 "Try to Get to Know Each Other," by Ike and Tina Turner9:16 "Proud Mary," by Ike and Tina Turner15:36 "Ooh La De Da," by The Staple Singers17:50 "Respect Yourself," by The Staple Singers21:35 "I'll Take You There," by The Staple Singers30:44 End


Johnny Turner interview, circa mid-1970s



Time ContentStart Piano music.00:22 PW ask JT bout his background. JT responds. He was born in Altheimer,

Arkansas. His father was a sharecropper. At age 12 his family movedto Little Rock. He started listening to music when he was young. JTtells who he heard. He was interested in playing the harmonica; this wasaround 1954 or 1955.

04:40 They talk about modern blues that JT heard on the radio. He listened to KingBiscuit. JT talks about learning to play the harmonica. He started playingwhen he was about 9 years old. Later he stared playing the guitar.

06:20 JT says he made a guitar out of a board and wire. It was called a "postguitar." They talk about musicians who played this kind of guitar.

08:04 PW asks JT when he got a hold of a real guitar. JT responds that it wasafter he moved to Little Rock. He started playing a real guitar using aneighbor's guitar. He played a lot of Jim Reed's music.


Container Contents


Time Content09:35 JT met Fen (Fenton) Robinson who showed him a lot. He had already

started recording. They talk about Fen Robinson. JT played bass guitarwith Robinson. It was a solid-body instrument with unusual strings andtuning.

14:26 PW ask JT how long he played with Fen. JT says that it was for a coupleof years. His skill as musician improved during this time. He alsoplayed with other musicians. JT talks about a female singer called SweetLorraine.

17:22 PW asks what music JT was listening to. JT responds that he listened mostlyto the radio. He listened to blues, and rock and roll, like Little Richard.JT says that he played both blues and rock and roll. They talk about whatJT listened to on the radio. They talk about black radio stations and whiteradio stations.

21:52 They talk about black jazz on the radio. However, JT listened mostly toblues and rock and roll. JT says the only records he would buy were B.B.King and Jimmy Reed. JT learned to play B.B. King songs note-for-note,but could not get King's feel.

25:06 JT talks about getting jobs (gigs) on his own. Only the best musicians playedduring the week. Everyone got work on the weekends. JT talks aboutplaying with musicians who came through town (Little Rock).

28:29 PW asks JT when started playing with Fenton Robinson. JT says he was 15or 16 years old and played with him for several years. In 1965 JT movedto California. He talks about a band The Blue Notes.

30:32 JT got work in a club in San Pedro, California. He then worked with JoeHouston and went back onto the road. There was not a market for bluesin California, so they played mostly soul music.

33:45 They talk about JT's trips back to Little Rock. There was less interest in theblues than "back then." They talk about making recording in Little Rock.

35:18 JT says he made several records in little Rock before he moved toCalifornia. He does not know if they were issued. He made them forA & M Records.

36:48 PW asks JT to describe the music scene in California. JT says "this isdifficult." People in California go to clubs, very much on the weekends.A lot of former blues singers are now singing soul. Tyrone Davis is big.

40:28 They talk about a place called Home of the Blues. JT says that her recordedthere. They talk about Larry Davidson. Hey talk about a blues band,Blues With a Feeling. JT talks about Big John [who joins in thisinterview].

43:25 They talk about blues styles that JT plays. They talk about JT developing hisown style.

46:25 JT talks about what he did to develop his own blues style. JT startedstudying music. He wanted to get away from the B.B. King style. Helearned a lot playing with a saxophone.

50:10 JT says that the last time he went back to Arkansas he found that the samesongs sounded differently in Little Rock than they did in Louisiana. Theytalk about horns being added to a band

54:54 EndSide B


Container Contents


Time ContentStart PW and JT talk about a band called Blues with a Feeling. JT moved to

Pasadena. The band has been together for about two years. They talkabout the band and some of the places they played. They talk aboutpeople's nicknames.

06:00 EndItem-ID: AFC 2011/053:SR740

Blues With A Feeling - Johnny Turner and Zaven Jambazian, 1977

Rack number: RAA 59278Extent: 1 sound tape reel : analog ; 10 in.Testament Records T-2227-A. Possibly a dub.


Preachin' The Blues - Johnny Turner "Live," February 16, 1976

Rack number: RAA 59314Extent: 1 sound tape reel : analog ; 10 in.Archivist's note: Johnny Turner is better known as John "Honeyboy" Turner.Collector's original ID number: 19.


Johnny Turner - Zaven Jambazian (#1) Mississippi Sheiks (#22-A), March 10, 1974

Rack number: RAA 59328Extent: 1 sound tape reel : analog ; 10 in.Pete Welding played guitar on this recording.


Johnny Turner interview, circa 1970s

Rack number: RXH 5609Extent: 1 sound tape reel (acetate; Side A: 00:28:57, Side B: 00:27:54) : analog, 3 3/4

ips ; 7 in.Item-ID: AFC 2011/053:SR184

Lee Wooten (piano), undated

Rack number: RXH 4067Extent: 1 sound tape reel (acetate, 00:50:03) : analog, 3 3/4 ips, half track, mono ; 7 in.Recorded on one tape side only. Collector's original ID number: 48.Archivist's note: Lee Wooten was the husband of Ethel McCoy.

Time ContentStart A male vocalist sings with piano and accompanying instruments. The song

may be titled "I Got to Find My Baby."4:39 The musicians begin the instrumental piece and stop because someone is not

playing in the correct rhythm/time signature5:50 The musicians restart the previous song8:15 A song with a male vocalist and accompaniment, title is unknown12:58 The musicians perform their next piece.17:06 The next song20:57 The next selection23:57 The musicians perform their next piece26:41 The musicians sing and play "Early in the Morning"30:28 The next selection34:07 The musicians perform the next piece, "I've Been Worried About You"37:08 The instrumental piece, "I'm Going to Boogie from Door to Door"40:35 The next selection44:15 The next song


Container Contents


Time Content47:20 The musicians perform their next piece50:02 End


Apresentando - Rosinha de Valença (Elenco ME-16, 1963) / 3rd Festival da Musica PopularBrasileira (Phillips R 765.014L, 1967), 1963, 1967Rack number: RXH 5428Extent: 1 sound tape reel : analog ; 7 in.Dubs of commercial recordings.


Vince Weber and Axel Zwingenberger: Solos and Duets, August 20-21, 1975

Rack number: RXH 4603Extent: 1 sound tape reel (00:59:58): analog, 3 3/4 ips, stereo ; 5 in.Recorded in Hamburg, West Germany.Vendor's digitization note: the program is distorted at times. The right channel is silent

from about 00:25:07 to about 00:27:46.Time ContentStart unidentified piano duets #105:52 unidentified piano duets #210:05 unidentified piano duets #313:11 unidentified piano duets #417:06 unidentified song by an unidentified singer with piano accompaniment21:28 unidentified song by an unidentified singer with piano accompaniment24:08 unidentified piano duets #5. There is sound of a train starting on the train

tracks and a train whistle signaling it is leaving.27:53 unidentified piano duets #632:13 unidentified piano duets #737:02 unidentified piano duets #839:35 unidentified piano duets #942:48 unidentified piano duets #1045:20 unidentified piano duets #1148:20 unidentified piano duets #1253:10 unidentified piano duets #1359:58 End


Jimmy Walker, #7, April 1, 1962

Rack number: RXH 4164Extent: 1 sound tape reel (Side A: 00:29:22) : analog, 7 1/2 ips, full track, mono ; 7 in.Archivist's note: Side B has not yet been digitized.Vendor's digitization note: the Side A program is distorted at times.


Jimmy Walker (dub copy), April 2, 1962



Jimmy Walker, #2, May 28, 1962

Rack number: RXH 4165Extent: 1 sound tape reel (Side A: 00:47:24) : analog, 7 1/2 ips, mono ; 7 in.Archivist's note: Side B has not yet been digitized.


Container Contents


Vendor's digitization note: the Side A program is distorted at times, and has speedfluctuations.


Jimmy Walker and Erwin Helfer, July 22, 1962


track, mono ; 7 in.Collector's original ID number: 280.Logger's note: piano solos by Jimmy Walker. It sound like the first cut has two pianos.

The second piano player is probably Erwin Helfer. From listening to commentsbetween songs, it appears that the SR was recorded live by Pete Welding.Time ContentStart sounds like two pianos - unidentified song02:25 piano - unidentified song05:25 piano and vocal - first line, "Yes I had my (?), if I don't get well no more"11:39 piano and vocal - first line, "I'm going back to Texas baby, got my (?)"15:43 piano and vocal - first line, "Ella May, Ella May, baby how have you been?"21:20 piano - unidentified song22:54 piano and vocal - first line is unintelligible28:48 piano - unidentified song30:31 piano - unidentified song32:29 pianist demonstrating several melodies, chords and tempos. Piano and vocal

first line "If I had my bone (?), If I don't get well no more"Item-ID: AFC 2011/053:SR080

Jimmy Walker and Erwin Helfer, January 12, 1963


track, mono ; 7 in.Collector's original ID number: 127.Logger's note: piano solos by Erwin Helfer and/or Jimmy Walker. The performers are not

identified. It appears that the SR was recorded live by Pete Welding.Time ContentStart piano - unidentified song02:43 piano - unidentified song [tape noise - hiss]07:10 talking07:33 piano - unidentified song10:20 piano, vocal (no words) - unidentified song14:57 piano - unidentified song17:08 piano - unidentified song19:36 piano and vocal - first line: "[?] please, [?] please go back home"24:45 End


Jimmy Walker and Erwin Helfer #1, January 26, 1963

Rack number: RXH 3222Extent: 1 sound tape reel (polyester; 00:33:00) : analog, 7 1/2 ips, half track, mono ; 7 in.

Time ContentStart piano and vocal (male singer) - first line: "Yes, I'd rather drink muddy water

and see that I'm not alone"05:28 piano and "dead air"05:56 piano, stop and restart - unidentified song


Container Contents


Time Content08:35 piano - unidentified song10:42 conversation, piano - unidentified song13:52 piano and vocal (male singer) - "Anna Mae, Anna Mae [unintelligible]"18:01 piano - unidentified song20:15 piano and conversation - unidentified song23:22 piano - unidentified song27:59 piano and vocal (female singer) - first line: "I love my baby, but he won't

treat me right"32:21 piano - unidentified song33:00 End


Jimmy Walker and Erwin Helfer #2, January 26, 1963

Rack number: RXH 3651Extent: 1 sound tape reel : analog ; 7 in.This tape has not yet been digitized.


Jimmy Walker and Erwin Helfer #3 / B3, March 3, 1963


track, mono ; 7 in.Logger's note: piano solos by Erwin Helfer and/or Jimmy Walker. The performers are not

identified. There are five guitar solos by an unidentified musician. It appears that theSR was recorded live by Pete Welding. According to information on the tape box therecording fades in and out.Time ContentStart piano - unidentified song02:50 piano - unidentified song07:03 talking, preparation07:25 piano - unidentified song11:02 piano, vocal - first line, "I've been looking for you baby, baby a long time

ago"16:02 piano - unidentified song19:01 piano and vocal - "If my mother keep on me, boy you better be careful"24:54 dead air25:11 piano, dialog by a man (Jimmy Walker) and an unidentified woman -

unidentified song28:19 piano - unidentified song30:30 dead air31:13 guitar, performer is unidentified - unidentified song32:44 guitar - unidentified song, tuning [This suggests a live recording.]37:22 guitar - unidentified song39:12 guitar - unidentified song40:53 guitar - unidentified song44:10 End


Jimmy Walker and Erwin Helfer, March 24, 1963


mono ; 7 in.


Container Contents


Collector's original ID number: 145.Time ContentStart piano and guitar - unidentified song03:10 piano and vocal (female) - first line: "I love my baby, but he won't treat me

right" [take 1]05:30 piano and vocal (female) - first line: "I love my baby, but he won't treat me

right" [take 2]06:33 guitar and vocal - first line: "Tell it what I do, [?] don't care what you do"09:51 guitar and vocal - first line: "I had a dream baby, and you had on too"12:32 conversation and tuning a guitar14:19 guitar and vocal - first line is unintelligible18:50 piano and vocal (male) - first line: "Yes, I got a woman, [unintelligible]"22:43 conversation and some piano23:34 guitar and vocal - first line: "[?] when you were down, and I got lucky and

you put me down"26:23 piano and guitar - unidentified song29:00 piano and guitar - unidentified song32:42 End


Jimmy Walker and Erwin Helfer, #1, May 18, 1963

Rack number: RXH 4166Extent: 1 sound tape reel (Side A: 00:40:34) : analog, 7 1/2 ips, mono ; 7 in.Archivist's note: Side B has not yet been digitized.Vendor's digitization note: the Side A program is distorted at times.


Jimmy Walker and Erwin Helfer, #2 / B2, May 18, 1963



Jimmy Walker and Erwin Helfer, #3, May 18, 1963

Rack number: RXH 4168Extent: 1 sound tape reel (Side A: 00:30:35) : analog, 7 1/2 ips, mono ; 7 in.Archivist's note: Side B has not yet been digitized. Collector's original number: 263.Vendor's digitization note: the Side A program is distorted at times, and there is a speed

fluctuations at 00:00:06.Item-ID: AFC 2011/053:SR287

Jimmy Walker and Erwin Helfer, February 14, 1976


7 in.Collector's original ID number: 69.Vendor's digitization note: the programs are distorted at times.


Jimmy Walker and Erwin Helfer, undated

Rack number: RXH 4171Extent: 1 sound tape reel (Side A: 00:16:04) : analog, 7 1/2 ips, stereo ; 7 in.Collector's original ID number: 244.


Container Contents


Vendor's digitization note: the Side A program is distorted at times.Item-ID: AFC 2011/053:SR662

Jimmy Walker and Erwin Helfer, undated

Rack number: RXH 5539Extent: 1 sound tape reel : analog ; 5 in.On the tape reel: Maxwell St / Jimmy Davis / 3 Numbers. Collector's original number:

196.Item-ID: AFC 2011/053:SR286

Jimmy Walker and Erwin Helfer - one song?, undated

Rack number: RXH 4172Extent: 1 sound tape reel (Side A: 00:39:14) : analog, 7 1/2 ips, mono ; 7 in.Archivist's note: Side B has not yet been digitized.Vendor's digitization note: the Side A program is distorted at times, and there is phasing


Jimmy Walker and Erwin Helfer - Nelson Dixon, March 1, 1964

Rack number: RXH 4169Extent: 1 sound tape reel (Side A: 00:22:28) : analog, 7 1/2 ips, mono ; 7 in.Archivist's note: Side B has not yet been digitized. Collector's original number: 283.Vendor's digitization note: the Side A program is distorted at times, and there is a speed

fluctuations at the start.Item-ID: AFC 2011/053:SR284

Jimmy Walker and Erwin Helfer - Nelson Dixon, March 1, 1964

Rack number: RXH 4170Extent: 1 sound tape reel (Side A: 00:22:22) : analog, 7 1/2 ips, mono ; 7 in.Archivist's note: Side B has not yet been digitized. Collector's original number: 277.Vendor's digitization note: the Side A program is distorted at times, and there are speed


Phillip Walker - proposed album for Joliet Productions, undated


7 in.Item-ID: AFC 2011/053:SR309

Philip Walker, undated



T-Bone Walker, undated

Rack number: RXH 5477Extent: 1 sound tape reel : analog ; 7 in.May be a dub copy of a two-disc commercial album.


Washboard Sam (Robert Brown), RCA (French) 130-256 / Jazz Gillum (William Gillum),RCA (French) 130-257, undatedRack number: RXH 5546Extent: 1 sound tape reel : analog ; 7 in.


Smoky Babe / Otis Webster, undated

Rack number: RXH 5415Extent: 1 sound tape reel : analog, stereo ; 7 in.


Container Contents


"H. Oster" (probably Harry Oster) also appears on the tape box. Collector's original IDnumber: 72.


Pete Welding #1 - Instrumental songs, undated

Rack number: RXH 4196Extent: 1 sound tape reel (00:12:42) : analog, 15 ips, stereo ; 7 in.Vendor's digitization note: the program is distorted at times, and there is significant hiss


Pete Welding #2 - B.S., undated

Rack number: RXH 4197Extent: 1 sound tape reel (00:09:40) : analog, 15 ips, stereo ; 7 in.Vendor's digitization note: significant hiss from the tape.


Pete Welding Songs #3 - Pete Welding, guitar, undated

Rack number: RXH 4198Extent: 1 sound tape reel (00:38:10) : analog, 3 3/4 ips, stereo ; 7 in.Vendor's digitization note: the program is distorted at times, and there is high frequency

noise the tape.Item-ID: AFC 2011/053:SR313

Pete Welding (#4) and Zaven Jambazian, undated

Rack number: RXH 4199Extent: 1 sound tape reel (00:15:59) : analog, 15 ips, stereo ; 7 in.


Junior Wells, Eddie Burns, Hudson Showers, undated

Rack number: RXK 1300Extent: 1 sound tape reel : analog ; 7 in.


Mr. and Mrs. Whipple - audition, undated

Rack number: RXH 4182Extent: 1 sound tape reel (00:19:40) : analog, 7 1/2 ips, mono ; 7 in.Archivist's note: unidentified duo (woman and man, one playing an out-of-tune guitar)

perform several songs. Side B has not yet been digitized.Vendor's digitization note: the program is distorted at times.


Bukka White blues dubs / Charlie Patton blues dubs, undated

Rack number: RXK 1301Extent: 1 sound tape reel : analog ; 7 in.


King Super 20 Saxophone Showcase, May 28, 1961

Rack number: RXH 4225Extent: 1 sound tape reel (00:10:14) : analog, 7 1/2 ips, half track, mono ; 4 1/2 in.Archivist's note: produced by D. Wooley; the commercial release was by the H.N. White

Co. on May 28, 1961.Vendor's digitization note: the program is distorted at times.


Robert Wilkins interview, January 30, 1965

Rack number: RXH 4072Extent: 1 sound tape reel (acetate, 00:59:36) : analog, 3 3/4 ips, full track, mono ; 7 in.


Container Contents


Time ContentStart Pete Welding (PW) and Robert Wilkins (RW) are discussing the differences

between blues and sacred songs and how RW believes you can only singone genre or the other at a time.

0:41 PW and RW say blues songs are the songs of the body and sacred songsare the songs of the soul. RW states, "The body is the temple... only onespirit can dwell in that body at a time."

01:10 RW explains blues songs are evil songs and of the devil because they oftendeal with songs of mistreatment between a man and woman.

1:47 PW asks, "What do you feel makes a blues, a blues? How is it different fromother songs?" RW responds by saying blues is an inward feeling that hasoccurred to you and causes you to become sorry or grievous. It results ina blues singer singing about the feeling and others can relate to the samefeeling.

3:32 RW explains the only way to get relief from the spiritual soul is to praise theLord

5:00 PW reiterates that by singing the blues you can only relieve yourself frombodily and emotional troubles

5:33 PW ask RW if he thinks about the other people involved when he creates hisrhymes and PW wants to know RW's process of writing blues songs. RWmentions his song "The Auction Day Blues."

7:22 PW ask RW where he was born, what year, how he got interested in playingand singing and was any one in his family musical. RW answers bysaying he was born in Hernando, Mississippi in 1896 and none of hisfamily members were musical except his grandfather on his mother's sidewho played the fiddle.

7:57 RW explains the different types of songs the teenagers used to play on hisporch and in the community when he was around 7 years old. He saysthey used to play blues, ragtime and hillbilly songs on the guitar. RWmentions the teenagers would play "The St. Louis Buck" and would buckdance (referring to tap dancing) while performing the songs.

10:27 RW explains he received his first guitar from his mom when he was fifteenyears old and no one taught him how to tune or play his guitar. Hebegan to learn "Alabama Blues," "The Buck Time Blues," and otherblues songs were mentioned.

12:53 PW asks RW if there were any musicians in the area that people used to saywere great blues men when he was young. RW mentions Aaron [Tiller?].

14:45 PW ask "What kind of occasions would you play music for?" RW respondswith picnics and Saturday night fish fries at people's houses.

15:40 RW discusses his father, step-father and mother16:47 PW ask RW if he played the same style of music for Black and White

audience members. RW mentions the "Rain Dance" and describes howoften he played and how much money he made.

20:03 RW discusses how he knew he had a gift of playing music22:17 RW tells PW the guest musicians he remembered coming to play at Fall

each year such as Jim Jackson and Elijah [Averret or Avern?] who woulddance, do black face and crack jokes.

25:25 RW says he moved to Memphis on January 1, 1915 when he was almost 19years old because his mother was tired of farming. During that time, hewas not playing at events.

28:47 RW discusses how he began to play music again after Rev. Macintosh askedhim. During this time, he recorded "Jail House" and "I Do."


Container Contents


Time Content32:10 PW asks RW how he came to perform music two years later with people like

Sonny Boy and Spoon.35:32 RW discusses the album he made in 1935 and why he is called Tim. RW

later mentions that the 1935 album was the last album he made untilrecent.

39:18 PW asks RW why he quit music in 1936, why RW decided to stop playingblues music and begin playing religious music, and his experiencespracticing medicine and church work.

44:55 PW asks RW if he has written any religious music. RW responds sayinghe has written religious music and how 2/3 of music in the blues formcomes from religious music.

48:07 PW asks RW who were some of the big blues musicians working when RWwas still in Memphis. RW says Jim Jackson and Frank Stokes were bignames playing normally at houses and for parties.

51:15 PW and RW discuss how blues songs are considered sin songs.56:05 RW explains the way he plays guitar is not different when comparing blues

and religious songs.58:19 PW asks RW what he does as a musician now. RW says he plays at different

churches.59:29 End


Hank Williams on Radio Transportation, undated



Big Joe Williams interview #1, circa June 1964


7 in.Archivist's note: the tape box indicates this is Thomas A. Dorsey interview #3, but it is the

interview with Big Joe Williams #1. SR032 and SR036 include the same recording. Itis unclear which is original and which is the duplicate.Time ContentStart Pete Welding (PW) asks Poor Joe Williams [a.k.a. Big Joe Williams] (JW)

where and when he was born and about his family. JW replies at length.He was born in Crofton, Mississippi on October 16, 1898 (or so). Hisfather was a sharecropper.

04:03 JW says built his first guitar when he was 5 or 6 years old. He explains howhe tuned it and made music.

07:15 JW talks about the songs he was playing on his first home made guitar.He talks about where he heard these songs. He talks about picnics andparties.

11:00 JW says that his nickname was "Poor Joe" A girl friend gave him this name.11:58 PW and JW go back to discuss playing music in his childhood days. He first

played on the bottom of a water bucket.13:45 Joe talks about other people in his family who made music.17:08 Joe talks about the racial mix of his grandparents. They were part American

Indian.17:40

(?)Joe talks about making a cigar box guitar.


Container Contents


Time Content20:00 PW asks if other people were playing bottleneck or slide guitar. JW responds

that some people used a knife instead of a bottleneck.20:52 PW asks if there were any really good musicians down around where he

lived. JW responds.22:47 PW and JW talk about JW's first real guitar. It was a 12 string he got when

he was 15 or 16 years old.23:50 PW asks if any of Joe's brothers or sisters were musicians. JW answers that,

then talks about his mother and his father.25:40 PW and JW talk about JW "roaming around" the country. They discuss the

music he played (on the street) to earn money.27:04 PW asks JW where he learned his songs and also about the songs JW wrote.30:55 JW talks about returning home after a period of "tough luck."31:44 JW talks about the first record he made, about 1921. He talks about other

recordings.36:38 JW talks about how he earned his living in the 1920s. He talks at length

about picnics, dances, women and whiskey.42:01 JW talks about the tunes he played in those days. He talks about getting

payed for playing.43:49 PW asks JW if he ran into any trouble with the law. JW responds.44:40 JW talks about the kinds of places he played and some of the people he

played with.47:20 End




7 in.Archivist's note: SR032 and SR036 include the same content. It is unclear which is

original and which is the duplicate.Time ContentStart Pete Welding (PW) asks Poor Joe Williams [a.k.a. Big Joe Williams] (JW)

where and when he was born and about his family. JW replies at length.He was born in Crofton, Mississippi on October 16, 1898 (or so). Hisfather was a share cropper.

04:03 JW says built his first guitar when he was 5 or 6 years old. He explains howhe tuned it and made music.

07:15 JW talks about the songs he was playing on his first home made guitar.He talks about where he heard these songs. He talks about picnics andparties.

11:00 JW says that his nickname was "Poor Joe" A girl friend gave him this name.11:58 PW and JW go back to discuss playing music in his childhood days. He first

played on the bottom of a water bucket.13:45 Joe talks about other people in his family who made music.17:08 Joe talks about the racial mix of his grandparents. They were part American

Indian.17:40

(?)Joe talks about making a cigar box guitar.

20:00 PW asks if other people were playing bottleneck or slide guitar. JW respondsthat some people used a knife instead of a bottleneck.


Container Contents


Time Content20:52 PW asks if there were any really good musicians down around where he

lived. JW responds.22:47 PW and JW talk about JW's first real guitar. It was a 12 string he got when

he was 15 or 16 years old.23:50 PW asks if any of Joe's brothers or sisters were musicians. JW answers that,

then talks about his mother and his father.25:40 PW and JW talk about JW "roaming around" the country. They discuss the

music he played (on the street) to earn money.27:04 PW asks JW where he learned his songs and also about the songs JW wrote.30:55 JW talks about returning home after a period of "tough luck."31:44 JW talks about the first record he made, about 1921. He talks about other

recordings.36:38 JW talks about how he earned his living in the 1920s. He talks at length

about picnics, dances, women and whiskey.42:01 JW talks about the tunes he played in those days. He talks about getting

payed for playing.43:49 PW asks JW if he ran into any trouble with the law. JW responds.44:40 JW talks about the kinds of places he played and some of the people he

played with.47:20 End




7 in.Time ContentStart JW talks about the mules owned by his grandfather. One of the mules was

named Joe. He talks about the other mules He also talks about Christmasand drinking whiskey.

03:25 JW talks about his great-grandmother, Mae (?). She told him about prayingduring slave times. She came from Africa when she was about 16.

05:23 JW talks about both of his great-grandmothers on his father's side. One wasnamed Roxie.

06:07 PW asks if JW's father was a musician. JW answers. PW asks where JW firstheard the blues. JW responds

07:26 PW asks if JW got to hear phonograph records when he was a kid. JWresponds.

08:54 PW asks JW if he ever played in a whore house. JW says "Sure, indeed,"then talks at length about the experience.

16:10 PW asks how many records JW made in 1927 when he was recording forVocalion Records. JW responds and talks about recording in Atlanta,Georgia. JW explains how he prepared for a recording session. He talksat length about a musicians club.

24:26 JW says he would go and play "where ever the money wuz (sic)." He talks atlength about Blind Lemon Jefferson. He mentions the song "Mean SnakeBlues" and Victoria Spivey who recorded it in about 1921. (Note: It wasactually recorded in 1926.) He talks about Lonnie Johnson.

27:55 PW asks about Piano Willie. JW responds. He mentions a Blind Willie.More talk about Blind Lemon - the way he tuned his guitar and his finderpicking style.


Container Contents


Time Content29:30 PW asks about Jack White. JW responds. More talk about Blind Lemon,

including how and where he died.33:15 They talk about JW's records, songs and labels. He recorded under several

different names.37:55 PW asks "who else did you record for in the late 20s and early 30s." JW

replies.39:23 PW asks when JW came across Mayo Williams. JW answers.41:25 PW asks when JW stopped recording for Bluebird. JW responds and says he

moved to Columbia records. He also recorded for Trumpet records.Item-ID: AFC 2011/053:SR038

Big Joe Williams interview #3, June 7, 1964


7 in.Time ContentStart JW talks about the first things he remembers from when he was a little kid.02:02 JW sings a religious song He learned from his grandmother. He talks about

the song. He also talks about his grandfather being a sharecropper andhow sharecropping worked.

05:50 JW talks about the sharecropping system. He also talks about the rentalfarming system.

08:55 JW talks about when he was a little kid, running away from his grandfather'splace.

10:30 JW talks about his mother and his father. JW and PW talk about teen yearsthen and now, and community standards.

15:52 JW talks about his parents growing up together. He talks about his step-father. He sings a song called "Mean step-Father."

20:10 PW asks about John Williams, JW's father. JW talks about his parents,grandparents and step-father. His mother and father were not married.

23:08 JW talks about staying with his aunts, uncles, and cousins when he wasgrowing up. He says his full name is Joe Lee Williams.

25:34 JW talks about going to school (or not). HE talks about running away fromhome.

27:45 JW talks about playing a bucket. He talks about his grandfather's whippingbelt.

31:00 JW sings a hymn "As Long As I Can Feel the Spirit." He learned this fromhis grandmother. He talks about his grandmother and grandfather.

32:36 JW talks about his suit and outfit. HE talks about his grandfather's mare. Hetalks about a family (Gilmore) he lived with until he was about 21 yearsold.

35:10 JW talks about a saw mill in Macon Mississippi where he worked.39:58 JW talks about how much money the saw mill workers were paid. He talks

about living in saw mill camps.42:23 JW talks about music and musicians in the saw mill camps.44:45 PW asks, "How old do you think the blues are?" PW answers.47:51 End





Container Contents


Extent: on one side of 1 sound tape reel (00:47:46) : analog, 7 1/2 ips, half track, mono ;7 in.Time ContentStart JW talks about catching fish, cooking them and making corn bread.02:11 JW talks about fish fries.06:02 PW asks about the kind of music played at a fish fry. JW replies.07:13 (Note: The recording picks up at this point from SR038.) JW talks about

lumber camps.07:38 PW asks about medicine shows. JW replies. The shows came to towns,

not lumber camps. JW talks about the kinds of acts/performances in theshows. JW started travelling with medicine shows when he was 9 yearsold.

10:20 PW asks how medicine shows were put together and how did they travel.JW replies.

12:52 JW talks about his performing - dancing while playing the guitar.14:11 JW talks a jug band he played with and recording with them.15:40 JW talks about a "bad man" called King of the M and O Bottom, from

Tuscaloosa, Alabama. (Note: JW said this person's name is somethinglike "Toxie Cane")

20:33 JW talks about a week long picnic and hay ride in the wood in the late1920s. He talks about the band that played.

23:56 PW asks when the "J.C. Collins thing (?)" was recorded. PW replies that itwas 1927. JW then discusses this in some detail.

25:37 JW talks about his time playing and travelling with minstrel shows. He talksabout how he was paid.

29:00 JW talks about some of the musicians who were part of the shows.32:54 PW asks how JW got to make his first record. JW replies.37:38 JW talks about King Solomon Hill. It was both a place in Alabama and a

record label. JW talks about Bullet Williams and several other musicians.39:26 JW talks, at length, about a harp player called George "Brother" Williams.43:25 PW asks JW about when he was starting out as a musician, how did he know

where to go to play music. JW replies.45:31 PW asks JW when he knew he had a gift for music. JW answers and talks

about some of the earliest songs he heard.Item-ID: AFC 2011/053:SR040



7 in.Time ContentStart JW tells a story about looking for treasure in 1943 or so.02:52 JW tells another story about hunting for treasure with a money needle made

of baling wire. He also talks about money diggers.08:45 PW asks about ghosts. JW tells a story about a picnic and a ghost.10:05 JW talks about a sharp shooter named Kenny Wagner.16:10 JW talks about Joe DeMoorehead (?), Kid Washington (?), and someone

called Blue Steel.22:08 JW talks about Kid Washington being a gambler. He talks about what Blue

Steel is doing now.


Container Contents


Time Content26:16 PW asks JW who were some of the other guys from about that time? JW

talks about people called Good Buddy, Corn Bread, Joe DeMoorehead,Zoo Lawrence (?), and others.

29:04 JW talks about living in St. Louis. He talks about stealing turkeys.32:20 JW talks about playing a dance in the country.33:06 JW talks about the man named Corn Bread. His real name was Kid Douglas.

He also talks about Red Lawrence.35:45 JW talks about Blue Steel and shooting a Sheriff. He mentions Sleepy John

Estes.37:38 JW talks about his friend Blow Mouth, who could imitate any musical

instrument with his mouth.38:50 PW asks JW when he met Memphis Minnie. JW responds.39:50 PW asks about Lead Belly. JW replies and also talks about playing with the

Reverend Gary Davis.43:04 PW asks about Mama Law. JW replies. He also talks about Horsehead Lulu

and Stavin Chain.48:00 End




in.Time ContentStart PW asks JW to talk more about the man called Blue Steel and his powers.

JW tells the story of Blue Steel selling his soul to the devil.03:15 PW asks JW what Blue Steel looked like, what kind of guy he was. JW

answers.04:20 They talk about the lodestone05:16 More talk about the things Blue Steel did.06:20 PW asks about Mama Law. JW says she was a conjure woman, a hoo-doo.

He also talks about a lucky root, a John McConker (?) root.09:41 PW asks about a mojo hand. JW responds. He also talks about lucky

numbers.13:15 PW asks JW if he was ever much of a gambler. JW responds. He talks about

a card game called Georgia Skin.16:37 JW talks about betting on cards.17:20 JW says he basically earned his living from music, but he also had other

jobs. He talks about quitting jobs after he became proficient at them.21:22 JW talks about working in a grit mill, a mill that grinds corn. The miller

would take a toll of corn for his fee. JW worked on mud slides drivingteams of oxen.

24:35 PW asks where Mama Law got her special powers. JW says that she got herpower from the devil, like a witch.

29:28 JW met a witch named Mama Mary. He tells about his time with her. Sheknows all about his family. He goes home with her and has a number ofmystical experiences, including ones with a pet snake, a pet alligator, anda pet black cat.

35:25 PW asks from where Mama Mary got her money. JW answers. He sawexciting things and cures.


Container Contents


Time Content36:48 JW talks about Mother Williams, a woman preacher. She was JW's wife, and

was a healer. JW sings a bit of "When I did the best I can, I want mycrown."

43:16 PW asks where JW met Mother Williams. JW says he met her in the 1920sin Missouri. She travelled all over the world. He says they marriedaround 1959. JW talks about his children.

46:50 PW asks about the first woman JW loved. He answers that her name wasMalvina.




in.Time ContentStart JW talks about playing with two women: Malvina and Shilk (?), and his

cousin, Thomas Styme (?), he played the "bazooka horn," the jazz horn.Malvina was a cook for white people. She and JW fell in love andtraveled together.

06:50 Malvina could sing the blues. JW sings "I'm gonna get up in the mornin',walking down the lonesome line." He talks about Malvina and how heleft her.

11:02 PW asks what kind of a woman was Malvina. JW says Malvina was a meanwoman. He says she killed a man. JW talks about their relationship.

15:00 JW tells the story about he and Malvina at a dance. Another woman, namedAmanda (Mandy), is involved. He was cut taking away a knife.

21:12 JW talks about his first wife, Ella Mae. They met in about 1921 and stayedtogether for about a year. He left her and went back on the road.

25:43 JW says he was making a living playing music and working. He borrowed$500 to buy furniture. To pay it back, he took a job but plowed onlywhen he felt like it. This did not repay the loan. He took another job andfinally did repay the loan.

28:35 PW asks about a record, "Stack of Dollars," the JW recorded in 1935. JWsays he first recorded it in the 1920s. They discuss this.

29:32 PW and JW discuss JW's early recordings. PW consults a (unidentified)book. They talk about the songs and who performed them.

34:00 They discuss recording sessions for Blue Bird Records in 1933 and 1935.They discuss the performers on these and other recording sessions.

38:05 PW asks JW when he came across Sonny Boy Williamson. JW says it wasabout 1922. He talks about Sonny Boy at length. He also talks abouta number of other musicians he travelled with. He talks about a guitarcontest he won.

43:00 JW talks about Sonny Boy's recordings. JW says Sonny Boy's first hits were"Sugar Mama" and "School Girl."

47:00 EndItem-ID: AFC 2011/053:SR043



in.


Container Contents


Time ContentStart JW talks about some of the musicians with whom he played including

Charlie Patton. He talks at length about Patton, his early recordings andhis death.

06:30 JW talks about a contest he was n with Charlie Patton.07:45 JW talks about Brother James, James Harding. He talks about Grant Malone,

an organ player. He talks about a car wreck in which several people werekilled, including Brother James.

11:08 PW asks "What kind of guy was Charlie Patton like?" JW responds.13:18 PW asks JW if he ever met Son House. JW says he knew Son House well.

He talks about him.14:52 JW talks at length about Robert Johnson.17:08 JW talks about Robert Johnson playing bottleneck guitar.20:45 JW talks about Blind Willie McTell, who also played bottleneck guitar.23:38 JW talks about Peetie Wheatstraw (William Bunch). He played guitar and

piano. He was killed in a car wreck.32:20 JW talks about bluesmen living in St. Louis. He talks about Walter Davis.

JW and PW discuss some other musicians including Tommy Johnsonand Ishman Bracey.

37:25 PW asks about Skip James. JW responds. He also talks about Chief, a onearm guitar player.

39:54 PW asks about other good singers from down in Mississippi. JW respondsand specifically talks about Tom turner and Blind Teddy Darby(Theodore Roosevelt Darby).

47:10 EndItem-ID: AFC 2011/053:SR315

Big Joe Williams, Jimmy Brown / Willie Lee Harris, March 12, 1964

Rack number: RXH 4201Extent: 1 sound tape reel (00:03:22) : analog, 7 1/2 ips, mono ; 7 in.Collector's original ID number: 34.Archivist's note: Side B has not yet been digitized.Vendor's digitization note: the program is distorted at times, and speed fluctuations from

the tape. Side A has a sound gap (silence) from 00:02:13-00:02:52.Item-ID: AFC 2011/053:SR316

John Williams, May 12, 1966

Rack number: RXH 4202Extent: 1 sound tape reel (00:32:24) : analog, 7 1/2 ips, mono ; 7 in.Collector's original ID number: 41.


Robert Pete Williams interview, January 30, 1965


mono ; 7 in.Logger's note: Pete Welding (PW) interviews Robert Pete Williams (RPW). Other people

are present in the room. It seems that the SR begins in the midst of an ongoingconversation. There may be a recording that precedes this one.Time ContentStart PW and RPW talk about playing blues and spirituals. RPW talks about being

a Christian. He says the blues followed him all the time. He says hemade his first guitar out of a cigar box at age 18 or 19. Later, he bought aused guitar.


Container Contents


Time Content05:55 PW asks when RPW first became aware that he had a gift for music. RPW

responds.06:41 PW asks what RPW thinks the blues are. RPW answers at length.11:28 RPW says he walked away from Christ and stepped into trouble.16:15 RPW talks about getting into trouble because he was carrying a gun. He

talks about drinking wine.19:23 PW says that it seems that the blues strongly pursue ROW. RPW replies. He

says he feels good when he plays the blues. He tells a story about havingthe blues so bad that he could not sleep. They talk about a song.

24:29 RPW shows the 12 string guitar that he played on a song. PW asks how helearned to play. RPW answers at length.

27:29 PW asks RPW how old he was when he made hi cigar box guitar. RPWresponds. He talks about his home.

28:35 RPW talks about his parole from jail. He worked in dairy.35:00 End


Robert Pete Williams #1, undated



Robert Pete Williams - dub of Oster Tape #2, undated



Sonny Boy [Williamson] master, possibly 1965 or before


stereo ; 7 in.The tape box has "S.B. master." Collector's original ID number: 137.Archivist's note: Sonny Boy Williamson (sometimes self-styled as Sonny Boy Williamson

II; d. 1965).Logger's note: the lead singer is Sonny Boy Williamson II (Aleck Miller) with his blues

band, including Buddy Guy.Time ContentStart Instrumental music performed1:58 The lead vocalist, Sonny Boy (SB), announces the accompanying musicians

and performs his first song: "My Name is Sonny Boy"4:50 SB and the band perform the next song, title is unknown9:24 SB speaks to someone off stage while instrumental music plays10:14 The next selection13:31 The next song18:33 The lead vocalist (possibly someone other than SB) and band perform the

next song21:24 SB and the band perform the last song, titled "Fattening Frogs for Snakes"24:17 End


Sonny Boy Williamson, undated



Container Contents


Extent: 1 sound tape reel : analog ; 7 in.Dubs from commercial recordings.


Sonny Boy Williamson, #1, Side A, undated



Sonny Boy Williamson, #2, undated



Sonny Boy Williamson, Side B



Bob Wills #1, undated













Rack number: RAA 59290Extent: 1 sound tape reel (01:09:46) : analog, 7 1/2 ips, half track, stereo ; 10 in.Vendor's digitization note: the program has distortion and hiss from the source tape. The

source tape also had print-through.Item-ID: AFC 2011/053:SR753


Rack number: RAA 59291Extent: 1 sound tape reel : analog, 7 1/2 ips, full track, mono ; 10 in.


Container Contents



Al Wilson interview, January 29, 1968


ips, half track, mono ; 7 in.Side A

Time ContentStart PW and AW talk about the forming of AW's band, Canned Heat, in

November of 1965. AW talks about the turnover of band personnel. Hecommends the band's management.

03:16 AW attributes Canned Heat's early success to the absence of the word"blues" in the band's name. He talks about being part of another band, fora short period, before Canned Heat came together again in early 1967.He talks about some of the band members and their interest in specificforms of music.

07:00 AW says that the makeup of Canned Heat now is 100% committed to theblues. PW and AW talk about the appearance of the band and the musicitself. AW talks about the coffee house and college circuit market. AWdiscusses various blues bands and where they stand in the market. Hesays he's concerned that the popular interest in the blues will not lastmore than a year or two.

11:10 PW asks if AW considered the blues as something distinct from the largerbody of rock, folk rock and experimental rock. AW answers and explainshis answer. He says that there is a blues buying public.

12:58 They talk about Canned Heat's audience and other performers with a similaraudience.

15:30 PW asks what Canned Heat set out to do when the band was formed. AWanswers in detail and at length.

21:00 PW asks about changes as the band has been working over the last year anda half. AW responds.

22:10 PW asks about translating older style blues to Canned Heat's repertoire. AWresponds.

25:20 They talk about the liner notes PW wrote for Caned Heat's first album. Theytalk about the modal approach to playing the blues and the harmonicapproach. They talk about the 12-bar blues structure.

32:04 PW asks how large a repertoire the band has now. AW responds and explainshow songs are dropped and added.

34:40 They talk about adapting old-style blues to electric instruments. They talkabout taking "licks" from old recordings.

36:30 PW asks where most of the band's material comes from. AW replies andgives examples.

38:28 PW asks about the kinds of places the band has been working in the lastfew months. AW responds: clubs, psychedelic spaces, and one-nightconcerts. He explains. They discuss the audiences at these venues.

43:25 They talk about how long the listening public will be interested in theblues. They discuss if there will be an audience for black blues singers(and bands). They discuss black blues players and white blues players.They discuss old blues players and young blues players. They talk aboutsinging the blues.

54:40 dead air55:06 AW continues taking about blues singers and recordings. He says Canned

Heat added brass for its recordings.


Container Contents


Time Content58:19 PW asks about other working groups that AW finds interesting. AW replies

and discusses several performers and bands.1:05:1

0End

Side BTime ContentStart AW abut Taj Mahal, the tuning(s) he uses, and his style of playing the blues.01:47 PW asks if AW has encountered any interesting bands while he has been on

the road. AW responds and gives examples.06:08 PW asks if Canned Heat has played in New York. AW answers. He says they

had a better reaction at Club 47 in Boston, than they did in New York.07:00 PW asks about the problems playing amplified blues versus acoustic blues.

AW responds. He talks about sounds available to amplified music. Theytalk at length about writing new material.

13:17 PW asks how much of the band's repertoire is original material. AWanswers. He discusses the language of song lyrics. They discuss thetransition from speech to song.

21:50 AW talks about using new instruments and new sounds. He specificallymentions the Fender Bass. He talks about rhythm sections and the blues.

29:00 EndItem-ID: AFC 2011/053:SR685

George Wilson and Arthur Baker, undated

Rack number: RXH 5562Extent: 1 sound tape reel : analog ; 7 in.Dubs of commercial recordings.


Jack Wilson - Live at Memory Lane #1, July 8, 1970

Rack number: RXH 3663Extent: on one side of 1 sound tape reel (polyester, 00:31:50) : analog, 7 1/2 ips, quarter

track, stereo ; 7 in.First set.

Time ContentStart Unidentified - jazz piano performance05:07 Unidentified - jazz piano performance16:35 Unidentified - jazz piano performance23:23 Unidentified - jazz piano performance31:50 End


Jack Wilson - Live at Memory Lane #1, July 1970

Rack number: RXH 5514Extent: 1 sound tape reel (00:39:20) : analog, 7 1/2 ips, stereo ; 7 in.Archivist's note: first set, on either July 8 or 9. Copy of an earlier or the original

recording. Near the end of the recording Jack Wilson introduces the band (Ike Isaacs,bass; Donald Bailey, drums and percussion), and says the performance is beingrecorded live for Blue Note Records.




ips, half track, stereo ; 7 in.


Container Contents


Second set.Time ContentStart Unidentified - jazz piano performance07:35 Jack Wilson (JW) introduces the band: Ike Isaacs, bass; Donald Bailey,

drums; himself, piano. He acknowledges several people in attendance.He says the engineers are trying to correct a sound problem with theelectric piano. He introduces the next song.

11:43 Ramblin'23:29 JW talks, then: Unidentified - jazz piano performance30:59 Unidentified - jazz piano performance38:32 JW talks. He introduces the next song. Unidentified - jazz piano

performance44:50 JW introduces the band. He says they are going to take a break.45:20 End




ips, half track, stereo ; 7 in.Third set. Possibly a dub copy.

Time ContentStart Unidentified - jazz piano performance00:47 dead air01:06 Unidentified - jazz piano performance08:38 Jack Wilson (JW) talk about Dinah Washington. He introduces the next

song, "If It's the Last Thing I Do"17:01 Unidentified - jazz piano performance26:58 Unidentified - jazz piano performance. JW introduces the band.29:14 End




ips, half track, stereo ; 7 in.Possibly a dub copy.

Time ContentStart Getting ready00:58 unidentified - jazz piano performance15:31 unidentified - jazz piano performance24:54 unidentified - jazz piano performance28:55 Jack Wilson thanks the band and the audience.29:25 End





Time ContentStart unidentified - jazz piano performance


Container Contents


Time Content07:44 unidentified - jazz piano performance18:49 unidentified - jazz piano performance25:47 Jack Wilson introduces the next song which was written for his wife.

unidentified - jazz piano performance33:53 unidentified - jazz piano performance36:36 End





Time ContentStart unidentified - jazz piano performance10:52 unidentified - jazz piano performance19:20 Jack Wilson recognizes several people. Unidentified - jazz piano

performance26:08 unidentified - jazz piano performance37:34 Jack Wilson introduces the band.37:35 End





Time ContentStart unidentified - jazz piano performance06:30 unidentified - jazz piano performance17:14 Jack Wilson says that the next tune "Angle City" was written by Teddy

Edwards. There are several starts to get the correct tempo.26:24 Background talking. Jack Wilson introduces the next tune, "Crazy about You

Baby."32:20 unidentified - jazz piano performance, or maybe just noodling.36:10 Noodling and talking in the background.37:15 unidentified - jazz piano performance40:14 Jack Wilson thanks everyone.41:00 End


Teddy Wilson, Jerry Fuller, Don DeMicheal, Joe Johnson, Tony Bellson, #1, August 1971


track, stereo ; 7 in.Recorded live at The In-Place.

Time ContentStart Jerry Fuller says "welcome to The In Place." He introduces the band: Tony

Bellson, drums; (?) guitar; Joe Johnson, string bass; Don De Michael,vibes; Jerry Fuller, clarinet; and Teddy Wilson, piano.

00:56 unidentified jazz performance


Container Contents


Time Content06:42 unidentified jazz performance12:24 unidentified jazz performance19:01 The Man I Love, "Someone to Watch Over Me," "I Got Rhythm" - Teddy

Wilson medley on piano26:15 unidentified jazz performance32:52 unidentified jazz performance39:19 After You're Gone45:22 End


Teddy Wilson, Jerry Fuller, Don DeMicheal, Joe Johnson, Tony Bellson, #2, August 1971


track, stereo ; 7 in.Recorded live at The In-Place.

Time ContentStart East of the Sun (and West of the Moon)06:19 unidentified jazz performance12:04 On the sunny Side of the Street19:22 unidentified jazz performance; at the end of this song, Jerry Fuller

introduces the band25:49 You Make Me Happy32:05 unidentified jazz performance37:37 unidentified jazz performance45:40 End


Teddy Wilson, Jerry Fuller, Don DeMicheal, Joe Johnson, Tony Bellson, Ianucci #3, August1971Rack number: RXH 3672Extent: on one side of 1 sound tape reel (polyester, 00:34:31) : analog, 7 1/2 ips, half

track, stereo ; 7 in.Probably recorded live at The In-Place.

Time ContentStart unidentified jazz performance05:24 Avalon11:28 unidentified jazz performance16:26 I Got Rhythm22:26 Ain't Misbehaving26:51 unidentified jazz performance34:31 End


Mac Wiseman DLP-3336, December 29, 1976

Rack number: RXH 5560Extent: 1 sound tape reel : analog, 7 1/2 ips, stereo ; 7 in.


Mac Wiseman Sings Fire Ball Mail and Other Favorites (DLP-3408), 1961

Rack number: RXH 5561Extent: 1 sound tape reel : analog, 7 1/2 ips, stereo ; 7 in.Dub of commercial recording.


Container Contents



John Wolf - G. Collate, June 19, 1965

Rack number: RXH 4203Extent: 1 sound tape reel (00:20:08) : analog, 7 1/2 ips, mono, 7 1/2 ips, mono ; 7 in.Vendor's digitization note: the program is distorted at times.


Douglas "Tex" Woods, 1, July 14, 1961


track, stereo ; 7 in.Collector's original ID number: 37.Logger's note: Woods is a street singer who was blind. He sings and plays accordion on all

selections. Recorded in Philadelphia, Pennsylvania.Time ContentStart Down in the Valley04:52 first line: "Last night as I lay on the prairie"07:09 first line: "Life is like a mountain railroad"10:40 first line: "Life is like a mountain railroad" - two voices14:49 first line: "Way out in Reno Nevada, where romance blooms and fades"19:17 Good night Irene22:10 Home on the range28:19 first line: "I had a home down in Texas, down where the blue bonnets grow"32:17 You wouldn't read my letter if I wrote it to you, you asked me not to call you

on the telephone36:26 first line: "Oh beautiful, beautiful Texas, where beautiful blue bonnets grow"39:33 first line: "What a friend you have in Jesus"43:44 End


Douglas "Tex" Woods, 2, July 14, 1961


track, stereo ; 7 in.Archivist's note: includes unedited comments and one song ("Down in the Valley"

(described on the tape box as the "broken version"). See notes for SR124.Time ContentStart Getting ready. Pete Welding (PW) and Douglas Woods (DW) are talking.

DW talks about songs that he knows.03:18 Down in the Valley07:39 PW asks for more ballads. PW and DW talk about various songs that he

knows and does not know. DW talks but a guitar player called SamFrazier. DW talks about being blind and being a blind street musician.

13:56 DW talks about a street banjo player. DW talks about some of the songs thathe has learned. He says that his wife sings quite a bit. PW and DW talkabout "Beautiful Texas" which is or was the Texas State Song.

18:10 EndItem-ID: AFC 2011/053:SR667

Alive and Well In Paris - Phil Woods and His European Rhythm Machine, November 14-15,1968Rack number: RXH 5544Extent: 1 sound tape reel : analog, stereo ; 7 in.


Container Contents


Archivist's note: recorded live, on these dates, at Pathé-Marconi Studios. Dub copy of theLP. The tape box has "And When We're Young" as the album title.


New Music By The New Phil Woods Quartet - Phil Woods Quartet (Testament RecordsT-4402-A), 1974Rack number: RAA 59302Extent: 1 sound tape reel : analog, 15 ips, two track, stereo ; 10 in.Copy of the master recording.


New Music By The New Phil Woods Quartet - Phil Woods Quartet (Testament RecordsT-4402-B), 1974Rack number: RAA 59303Extent: 1 sound tape reel : analog, 15 ips, two track, stereo ; 10 in.See note for SR764


Bob Wright, Eubie Blake, Teddy Wilson (performers, Side A); Bunk Johnson, Frank Chace,Bob Wright (performers, Side B), July and November 1970Rack number: RXH 4094Extent: 1 sound tape reel (graphite-backed polyester; Side A: 01:37:11, Side B:

01:37:05) : analog, 3 3/4 ips, quarter track, stereo ; 7 in.Includes live recordings and some dubs of commercial recordings. Accompanying set list.

The July recordings were made at The Edge Lounge. The November recordings weremade in "a friend's living room."

LC engineer's note: the tape was recorded out of relative phase. This was corrected in thetransfer.

Side ATime ContentStart The performer, most likely Eubie Blake (EB) starts with a piano ragtime

instrumental from Max Kortlander titled "Hunting the Ball"3:40 EB performs another piano ragtime instrumental from Charles Thompson

called "The Lily Rag"6:02 EB performs a selection by George Gershwin titled "How Long Has This

Been Going On?"11:21 EB performs a cover of the "Coconut Girl Jazz" by Tim Brown14:13 EB performs a cover of the "Puerto Rico Rag" by Fort Daphne17:07 EB performs a cover of "Where Have You Been?" by Cole Porter20:50 The next piano piece, title is unknown23:54 The next piano piece27:40 EB performs the next piano piece from their set30:40 A piano selection35:07 The next piano piece37:34 EB performs their next selection titled ["I Must Be Blunt"?]42:29 The beginning of a piano instrumental that the pianist decides not to finish

playing43:22 EB wrote the song "Play" for his wife in 1972. That year, EB completed 6

rag songs and 5 [waltz?] compositions. He begins playing at 43:47.46:54 The next piano selection56:10 A piano instrumental selection by EB1:02:1

4An instrumental selection

1:06:09

The next piano piece by EB

1:10:21

EB performs his next instrumental piece


Container Contents


Time Content1:14:3

8The next piece

1:18:32

EB performs his next piece with background vocals

1:21:27

A piano instrumental selection

1:24:57

The next piano piece by EB

1:29:41

EB performs his next instrumental piece

1:34:02

The next piece

1:37:11

End

Side BTime ContentStart A band with a horn [saxophone or trumpet] solo plays an instrumental cover

of "When the Saints Go Marching In."3:10 The jazz band plays their next selection, the title is unknown6:24 The next instrumental cover9:12 The band plays another instrumental work12:39 An instrumental selection15:55 The band plays their next instrumental selection18:59 The next piece22:08 An instrumental selection25:28 The band plays their next piece29:19 The next instrumental selection31:54 An instrumental piece36:03 The band plays another instrumental work38:21 The next piece41:49 An instrumental selection44:27 The next instrumental cover49:09 The band plays their next instrumental selection51:49 An instrumental piece57:04 The next selection1:01:5

7The band plays another piece

1:08:22

An instrumental interlude

1:10:13

The band plays their next instrumental selection

1:14:25

An instrumental work

1:19:33

The next piece

1:25:52

The band plays another cover selection

1:33:45

The next instrumental work by the band


Container Contents


Time Content1:37:0

5End


Une Soirée Avec Les Yancey (Guilde du Jazz J. 1023) - Jimmy Yancey, Mama Yancey,Alonzo Yancey, 1957Rack number: RXH 5526Extent: 1 sound tape reel : analog ; 7 in.


Johnny Young - John Lee Granderson - J. Wrencher - Avery Brady? #8, undated

Rack number: RAA 59323Extent: 1 sound tape reel : analog ; 10 in.Possibly a dub recording.


Johnny Young and His Friends (Testament Records T-2226), 1975

Rack number: RXH 5378Extent: 1 sound tape reel : analog ; 7 in.Dub copy of the sequenced LP.


Lester Young interview, February 6, 1959

Rack number: RXH 3216Extent: on one side of 1 sound tape reel (backcoated polyester; 00:32:30) : analog, 3 3/4

ips, quarter track, stereo ; 7 in.Archivist's note: the interview was conducted by François Positif (a jazz journalist), in

Paris, France, at the Hotel d'Angleterre. The tape is in stereo, but the audio is itselfmono. This copy is dubbed from the source, which is a longer interview.Time ContentStart [several false starts] LY says that he was not born in New Orleans; rather he

was born in Woodville, Mississippi.00:46 LY says that he was raised in New Orleans. He talks about his mother and

his family. He talks about trucks advertising dances.02:30 LY talks about his father who played trumpet. LY went to Minneapolis. He

started as a drummer then switched to alto and tenor sax.06:01 LY says that he played in Salina, Kansas. He asked Art Bronson, "the boss

man," to buy him a tenor sax. As soon as he played it, he knew it wasthe right instrument for him. FI and LY discuss playing the tenor sax. LYtalks about Count Basie.

08:58 FI asks LY about his start with the Count Basie Band. LY responds. He talks,with a great deal of anger, about being a colored person.

10:51 FI asks about the tenor play who influenced LY. LY talks about FrankieTrumbauer. FI asks about Bert Freeman. LY answers.

12:33 FI asks LY his opinion about the Blues. LY responds. He talks about hisfather and his sister. He says that early on he could not read music. Hisfather forced him to learn to read music. He says that he did not likebeing constrained by written music.

16:01 LY says that he does not like to read music. He says that someone in NewYork is composing music for him. He talks about Norman Granz.

17:55 FI asks about LY's last recordings. LY says he played clarinet on them.18:48 LW talks at length about when he first came to New York in 1934.21:05 FI asks about the music LY is playing now. LY answers.22:19 FI asks why LY left the Count Basie Band. They talk about his recordings

with Basie.


Container Contents


Time Content24:02 LY says that he stays by himself and is a private person.24:35 FI asks if LY prefers playing with a trio, quartet or band. LY answers that he

prefers the quartet. He says that he wants his music to be "sweet."26:20 FI asks when LY began to get his songs. LY says they came naturally, in

1934 or 19 35. He wanted to see and hear Coleman Hawkins. He talksabout the Count Basie Band. He talks about Fletcher Henderson wife,who played trumpet.

32:30 EndItem-ID: AFC 2011/053:SR183

ZOTZ (Emmitt Siniard, Richard Bredice, Steve Carnahan, Dave Plehn, Mike Adams,Michael Dunnagan, and Steven Hague), recorded at Night Owl Recording Studio, late1972-1973Rack number: RXH 4066Extent: 1 sound tape reel (backcoated polyester, 00:32:20) : analog, 7 1/2 ips, half track,

stereo ; 7 in.Archivist's note: Emmitt Siniard confirmed the name of the band, and shared additional

names of personnel involved, and provided the recording date range. He identified thelocation as his first recording studio (email response to the archivist, December 19,2021).Time ContentStart The recording begins with a 1 kHz tone, followed by the song "Socks"3:44 "I'll Cry Instead"6:59 "I Need Somebody"10:48 "Late in the Evening"15:41 "Luana"18:42 "Yes We Will"22:04 "Michael and Me"24:26 "It's Alright"27:15 "Good Times"29:01 "She's a Mess"32:16 End

Subseries 2: Compilations of dubbed recordingsThese recordings have been organized by music style, record label, or related categories.


Dubs for "All Out and Down," undated



Standing Ovation - Count Basie Orchestra (Dot 25938); That Latin Beat: Antobal's LatinAll-Stars Conducted by Chico O'Farrill (Dot 25445) (tape side 1); Goin' Places - MargaretWhiting (Dot 25072); Dori Howard Sings, with the Eddie Costa Quartet and Don ElliottQuintet (Dot 3230) (tape side 2), 1959-1969Rack number: RXH 4038Extent: 1 sound tape reel (polyester; Side A: 01:02:45, Side B: 01:04:05) : analog, 3 3/4

ips, quarter track, stereo ; 7 in.Dubs from commercial recordings.Side A

Time ContentStart Instrumental piece by the Count Basie Orchestra (CBO): "Down for Double"3:12 The next instrumental piece, titled "Li'l Darlin'"


Container Contents


Time Content8:02 The start of the next instrumental selection by CBO called "Broadway"11:39 CBO play "Jive at Five"15:32 CBO play "Cherry Point"20:34 Jumpin' at the Woodside by CBO24:07 The beginning of the next instrumental selection titled "One O'clock Jump"25:28 The next selection called "Shiny Stockings"30:35 CBO perform their next piece "Blue and Sentimental"35:06 CBO perform "Every Tub"38:05 The start of the next instrumental selection called "Corner Pocket"44:03 The next instrumental piece titled "The Kid from Red Bank"46:36 The next selection by CBO titled "One O'clock Jump"48:22 Chico O'Farrill (CF) conducting Antobal's Latin All-Stars. The first piece

they perform is "Una Aventura Mas"50:39 The beginning of the next instrumental piece called "Astronaut Special"53:21 Voodoo Moon by CF56:05 Playtime in Brazil by CF58:24 A performance of "Pachanga Universal" (Eugenio Fondeur)1:00:3

6The next piece with voice and accompaniment titled "Fiesta en El Solar

1:00:34

End

Side BTime ContentStart Begins with Margaret Whiting singing a rendition of "The Gypsy in My

Soul" (J. Mandel)2:29 Voice and accompaniment of "Sentimental Journey" (Mandel)5:33 The selection "Any Place I Hang My Hat Is Home" (Frank Comstock)8:18 The start of the song titled "I'm Gonna Move to the Outskirts of Town" (Skip

Martin)10:43 Introduction to the song "Gone With the Wind" (Pete King)12:42 The start of "Runnin' Wild" (Pete Rugolo)14:27 The selection "Between the Devil and the Deep Blue Sea" (Rugolo)16:37 Introduction to the song "Somewhere Over the Rainbow" (Marty Paich)19:47 The start of "Hit the Road to Dreamland" (Comstock)22:20 The selection "East of the Sun and West of the Moon" (King)25:02 The introduction to "Song of the Wanderer (Martin)27:29 The selection "Home (When Shadows Fall)" (Paich)30:08 The song titled "The Moon Was Yellow" with Dori Howard singing the

remainder of the pieces. She is joined by Eddie Costa and the Don ElliottQuintets

32:36 The start of "My One and Only Love"35:18 Introduction to the next song, Here I am in Love Again38:29 The song titled "I Get a Kick out of You"41:08 Introduction to the next song titled "Lonely Love"43:48 The selection "Mean to Me"46:01 The start of the song "How Long Has This Been Going On?"48:41 The song titled "Duke's Place"51:18 Introduction to You're Not Alone54:26 Introduction to the next song titled "Monday"


Container Contents


Time Content56:26 The next selection called "Stop, Look and Run"1:00:1

6The song titled, "Mood Indigo"

1:03:52

End


Blue Monday blues, #1, undated



Blue Monday blues, parts 1 and 2 ("All Out And Down," 2201-B), undated



























Container Contents






Blue Monday blues (unnumbered), circa 1966-1967


in.Archivist's note: an incomplete recording of Pete Welding's radio show "Blue Monday

Blues," a one-hour show on WXFM. This is the last section of the show, whichincludes Welding's sign-off. During the show he played recordings of blues musicians,and announced upcoming live shows in Chicago. The tape box indicates (in error) thisis "Pete's Banjo Shout #79."


Blues 78s, #11; Peggy Seeger, undated

Rack number: RXH 4652Extent: 1 sound tape reel (01:00:32) : analog, 7 1/2 ips, stereo ; 7 in.Logger's note: dubs of commercial recordings by various singers, including Peggy Seeger,

Furry Lewis, Memphis Minnie, and others.Vendor's digitization note: the program is distorted at times.

Time ContentStart Cumberland Gap by Peggy Seeger02:04 "The Lady of Carlisle" by Peggy Seeger06:16 "The Deer Song" by Peggy Seeger09:08 "Come All Ye Fair and Tender Maidens" by Peggy Seeger12:12 "I Never Will Marry" by Peggy Seeger14:53 "Devilish Mary" by Peggy Seeger16:55 "The Fair Maid Freed By the Shore" by Peggy Seeger19:21 "Soldier's Joy" by Peggy Seeger20:19 "Shady Grove" by Peggy Seeger21:37 "Georgia Buck" by Peggy Seeger22:37 "The Wife of Usher's Well" by Peggy Seeger27:13 "Saturday Blues" by Ishman Bracey30:46 "Left Alone Blues" by Ishman Bracey34:28 "Kassie Jones" (part 1), by Furry Lewis37:37 "Kassie Jones" (part 2), by Furry Lewis40:47 "Honey" by Bo Carter43:38 "What You Want Your Daddy to Do" by Bo Carter46:45 "I'm talking About You" by Memphis Minnie (very poor sound quality)49:22 "Me And My Chauffeur Blues" by Memphis Minnie52:09 "Can't Afford To Lose My Man" by Memphis Minnie54:42 "Please Set A Date" by Memphis Minnie57:30 "True Love" by Memphis Minnie01:00:

32End


Blues 78s, #12, undated



Container Contents


Logger's note: dubs of commercial recordings by various singers.Vendor's digitization note: the program is distorted at times.

Time ContentStart "Mama's Advice" by Peetie Wheatstraw (poor sound quality)03:26 "Police Station Blues" by Peetie Wheatstraw (poor sound quality)06:40 "Midnight Blues" by Peetie Wheatstraw (poor sound quality)10:08 "Johnnie Blues" by Peetie Wheatstraw (poor sound quality)13:00 "Deep Sea Diver" by Leroy Henderson (poor sound quality)15:53 "Low Mellow Man Blues" by Leroy Henderson (poor sound quality)18:53 "F.D.R. Blues" by Champion Jack Dupree (poor sound quality)21:35 "God Bless Our New President" by Champion Jack Dupree (poor sound

quality)24:22 "South Bound Water" by Lonnie Johnson (poor sound quality)27:08 "Back Water Blues" by Lonnie Johnson (poor sound quality)30:44 "Bo Weevil Blues" by Madame "Ma" Rainey; accompanied by Lovie Austin33:36 "Cotton Crop Blues" by James Cotton36:40 "Charity Blues" by Gene Gilmore (poor sound quality)39:19 "Brome Street Blues" by Skoodle Dum Doo and Sheffield (poor sound

quality)42:16 "West Kinney Street Blues" by Skoodle Dum Doo and Sheffield (poor sound

quality)45:01 "Pretty Man Blues" by Luella Miller (poor sound quality)47:40 "Dago Hill Blues" by Luella Miller (poor sound quality)50:40 "Love Me Or Let me Be" by James (Beale Street) Clark.53:32 "Get Ready To Meet Your Man" by James (Beale Street) Clark56:12 "Dew Drop Alley Stomp" by Sugar Underwood59:34 "Davis Street Blues" by Sugar Underwood01:02:

43"Pig Meat Blues" by Ardell Bragg (poor sound quality; the song ends

abruptly)01:04:

01End


Blues 78s, #13, undated

Rack number: RXH 4651Extent: 1 sound tape reel (00:50:41) : analog, 3 3/4 ips, mono ; 7 in.Logger's note: dubs of commercial recordings by various singers.Vendor's digitization note: the program is distorted at times.

Time ContentStart "She's Gone Blues" by Barbecue Bob03:32 "Bad Time Blues" by Barbecue Bob06:48 "Crooked Woman Blues" by Barbecue Bob09:49 "'Fo Day Creep" by Barbecue Bob13:06 "Thinkin' Funny Blues" by Barbecue Bob16:29 "Motherless Chile Blues" by Barbecue Bob19:50 "My Mistake Blues" by Barbecue Bob22:11 "How long Pretty Mama" by Barbecue Bob26:40 "Barrel House Blues" by Ed Andrews29:50 "Time (sic) Ain't Gonna Make Me Stay" by Ed Andrews32:56 "Shake It Up And Go" by Tommy McClennan35:56 "I Love My Baby" by Tommy McClennan


Container Contents


Time Content39:03 "Stack Of Dollars" by Joe Williams41:51 "Mellow Apples" by Joe Williams44:42 "The O. P. A. Blues" by Dossie (Georgia Boy) Terry47:59 "Furlough Blues" by Dossie (Georgia Boy) Terry50:41 End


Blues 78s dubs (Kansas Joe - Memphis Minnie), undated

Rack number: RXH 4633Extent: 1 sound tape reel (00:32:11) : analog, 7 1/2 ips, full track, stereo ; 7 in.Vendor's digitization note: the program is distorted at times.


Blues 78s dubs, 120 (Georgia Bill - Clarence Green), undated



Blues dubs, undated



Blues dubs (no titles), undated




Blues dubs (country), undated

Rack number: RXH 4622Extent: 1 sound tape reel (00:32:13) : analog, 7 1/2 ips, full track, stereo ; 7 in.Vendor's digitization note: the program is distorted at times and warbles, and the sound

breaks up towards the end of the recording.Item-ID: AFC 2011/053:SR409

Blues dubs (Mercury), undated

Rack number: RXH 4649Extent: 1 sound tape reel (00:15:39) : analog, 7 1/2 ips, stereo ; 7 in.Logger's note: dubs of commercial recordings by Lightnin' Hopkins.Vendor's digitization note: the program is distorted at times.

Time ContentStart Let Me Fly Your Kite03:46 "Ain't It A Shame"06:48 Crazy 'Bout My Baby09:36 You Do Too12:42 Every Body's Down On Me15: 39 End


Blues dubs (Blind Sammie - Georgia Bill), undated



Container Contents


Extent: 1 sound tape reel (00:35:11) : analog, 7 1/2 ips, stereo ; 7 in.Vendor's digitization note: the program is distorted at times, and there is significant hum


Blues dubs (Ishman Bracey, Yank Rachell, and others), undated

Rack number: RXH 4619Extent: 1 sound tape reel (00:32:02) : analog, 7 1/2 ips, full track, stereo ; 7 in.Logger's notes: dubbed commercial recordings by several artists.Vendor's digitization note: the program is distorted at times.

Time ContentStart Ishman Bracey - Trouble Hearted Blues03:26 Ishman Bracey - The Four (Sic) Day Blues06:50 Yank Rachell - Loudella Blues09:43 Yank Rachell - Rainy Day Blues12:37 Poor Joe Williams - Little Leg Woman15:48 Poor Joe Williams - Somebody's Been Borrowing That Stuff19:02 Poor Joe Williams - Providence Help The Poor People22:14 Poor Joe Williams - 49 Highway Blues25:30 Sleepy John Estes - Ain't Seen No Whisky28:55 Furry Lewis - Cannonball Blues32:02 End


Blues dubs (Jimmie Gordon - She Wants to Rattle Me All the Time), undated

Rack number: RXH 4623Extent: 1 sound tape reel (Side A: 01:35:12, Side B: 00:36:54: analog, 3 3/4 ips, mono ; 7

in.Vendor's digitization note: the program is distorted at times.


Blues dubs, #1 (George "Little Hat" Jones), undated

Rack number: RXH 4629Extent: 1 sound tape reel (00:34:20) : analog, 7 1/2 ips, full track, stereo ; 7 in.Dubbed from 78 rpm sound discs.Vendor's digitization note: the program is distorted at times.


Blues dubs, #5 (Hambone Willie Newbern), undated



Blues dub J.J. 1501 A and B-Juke Joint, undated



Blues dubs, #12 (Jesse James - Walter Davis), undated


7 in.Vendor's digitization note: the program is distorted at times, and there is significant hum,

as well as crosstalk, from the tape.


Container Contents



Blues dubs, #17 (Snitcher Roberts etc.), undated



Blues dubs (Ernest Lane, James Williamson), undated


7 in.Logger's notes: blues songs performed by Ernest Lane, James Williamson and other

singers. Side A - #102-Ernest Lane - Little Girl. Side B - F 121-James Williamson -Homesick

Vendor's digitization note: the program is distorted at times, and there is significant hiss,and crosstalk from the tape.

Side ATime ContentStart Ernest Lane performs "Little Girl"03:06 An unidentified song. Lyrics: Now tell me baby what is wrong with you, if

you don't love me, why don't you tell me so...05:03 An unidentified song. Mean for a gal, Show no good, you know I love

you..... Mean for a girl, you are teasing me...07:24 An unidentified song.09:43 An unidentified song. Lyrics: Hello operator, let me use your phone....12:10 An unidentified song.14:49 An unidentified song. Lyrics: Maybe I want you for my home...Maybe I

gave you everything I own...17:35 An unidentified song. Lyrics: screaming and crying, crying all night long...I

love my baby but she is gone...baby please come home20:10 An unidentified song. Lyrics: Why don't you treat me like I treat you, but

that's alright...22:40 An unidentified song. Lyrics: When I am feeling baby you know that

wrong ...try to get along...25:25 An unidentified song. Lyrics: At dawn when I feel all alone....27:58 An unidentified song. Lyrics: No no no baby, my heart can't take it no

more....30:22 An unidentified song. Lyrics: And I am going down, I did go by myself...I

love you baby, I want you by my side...33:11 An unidentified song. Lyrics: Have I ever listened to what people say...35:56 An unidentified song. Lyrics: Yes I lied down last night, woke up this

morning spirited and kind...38:19 An unidentified song. Lyrics: She got a truck....40:43 An unidentified song. Lyrics: Please take the time, please give me a piece of

mind, I can't go on, not anymore...43:39 An unidentified song. Lyrics: Listen to what I have to say......46:07 An unidentified song. Lyrics: My baby is talking, and what she said is

true....if you have no money, you can't live happy life no more....49:05 An unidentified blue piece played by a band.51:46 Come back baby, run back to me, be my companion....54:31 Why didn't you tell me, you gone with another man.....


Container Contents


Time Content57:36 You ain't nothing but a bad cat.....01:00:

19Well I am walking and walking, yes I am walking in the rain...

01:02:37

An unidentified song.

01:05:11

An unidentified blue piece played by a band.

01:07:46

Louie, you are this sweet, yeah I know, you know that I love you...I just can'tlet you go....

01:10:40

I don't want no woman....cheeks don't shine like gold...

01:13:46

Winter time is coming and my baby is going away...

01:16:16

I am so happy, I could jump up and shout....

01:18:26

An unidentified song. Lyrics: Yes that is too fast, when you sings it all byyourself....

01:21:05

An unidentified song. Lyrics: Yes I am gone....

01:23:39

An unidentified song. Lyrics: I have so much bad luck and trouble...

01:26:12

An unidentified song. Lyrics: Operator, operator....I got to find my babe.. allI want to say is hello...

01:29:30

An unidentified song. Lyrics: Hey baby, please forgive me darling if Istay.....I have been looking for you everywhere....you are meant for me....

01:31:37

Remember when you left me, it broke my heart in two....

01:33:36

End

Side BTime ContentStart An unidentified song. Lyrics: I don't have a home to sleep, I don't know

what to do....02:40 An unidentified song. Lyrics: My home is Georgia....05:13 An unidentified song. Lyrics: lonely lonely night, lay my head on my pillow,

I will cry all night long....07:26 You can get your gun...I am coming home....09:28 An unidentified song.12:20 An unidentified song.15:25 An unidentified song.18:08 An unidentified song. Lyrics: You told me baby, where you are, you put

enough beauty in my soul....you don't care what I say, everything I do....it is wrong to you...

20:48 An unidentified song. Lyrics: Come on baby, boogie woogie all night long...23:31 An unidentified song. Lyrics: baby take your time, love you, please be

mine...26:18 An unidentified piece played by a band.28:39 An unidentified piece played by a band.31:20 An unidentified piece played by a band.


Container Contents


Time Content33:40 An unidentified song. Lyrics: I am gonna tell you all women, you better find

yourself a man......depression blues...36:20 An unidentified song. Lyrics: You got lucky baby, let me tell you how I

feel....39:12 An unidentified song. Lyrics: Baby take it easy....take it easy all the time...41:38 An unidentified song. Lyrics: My baby left me this morning cuz she found

several other men......44:13 An unidentified song. Lyrics: Rock me fast, rock me slow....rock my blue

away....46:37 An unidentified song. Lyrics: I walked into a big tavern, met a girl of a life

time, I brought five dollar when I entered, when I left I have one dime....49:46 An unidentified song. Lyrics: My name in Memphis now, they call me

granddad....if you are my customers I will let you have an easy plate...52:47 An unidentified song.55:32 An unidentified song. Lyrics: baby I am so blue and lonely....58:22 An unidentified song. Lyrics: You've been stealing my honey, your

fingerprints is all over my heart....01:01:

00An unidentified song. Lyrics: all aboard, hold the train conductor, please

don't let the engine stop....01:03:

58An unidentified song. Lyrics: Now I am going to tell you a story.....Oh

yeah...01:06:

15An unidentified song.

01:08:33

An unidentified song. Poor sound quality.

01:11:25

An unidentified song. Poor sound quality. Lyrics: A woman love anotherman...

01:14:04

An unidentified song. Lyrics: tell me baby, what are you gonna do...

01:16:45

An unidentified song. Lyrics: when things go wrong, so wrong with you, ithurts me too...

01:19:37


01:22:23

An unidentified song. Lyrics: my head can't rest no more...

01:25:29

An unidentified song. Poor sound quality. Lyrics: baby why do you have togo...you used to love me so....

01:28:40


01:31:30

An unidentified song. Poor sound quality. Lyrics: Do you want to rock? Doyou want to roll? Do you want to shout?

01:33:27

End


Blues dubs (Mississippi Sheiks - Joe Williams), undated

Rack number: RXH 4625Extent: 1 sound tape reel (00:31:20) : analog, 7 1/2 ips, stereo ; 7 in.Vendor's digitization note: the program is distorted at times, and there is significant hum

from the tape. Audio on the left channel only from 00:23:43 to the end.


Container Contents



Blues dubs (Big Amos Patton), undated

Rack number: RXH 4637Extent: 1 sound tape reel (Side A: 00:05:54) : analog, 7 1/2 ips, mono ; 7 in.Archivist's note: Side B has not yet been digitized.Vendor's digitization note: the program is distorted at times.


Blues dubs (Robert Petway, #1), undated



Blues dubs (Robert Petway, #2), undated



Blues dubs (Dr. Ross - Eddie Taylor - Earl Hooker - Elmore James), undated



Blues dubs (Johnny Shines - James Cotton), undated

Rack number: RXH 4621Extent: 1 sound tape reel (00:44:08) : analog, 7 1/2 ips, stereo ; 7 in.Dubs from commercial recordings.Vendor's digitization note: the program is distorted at times.


Blues dubs, B-1, undated

Rack number: RXH 4639Extent: 1 sound tape reel (Side A: 01:31:34, Side B: 01:32:47) : analog, 3 3/4, stereo ; 7

in.Vendor's digitization note: the program is distorted at times, and there is significant hum


Blues dubs, #3 (Big Bill Broonzy), undated


7 in.Vendor's digitization note: the program is distorted at times, and there is significant hum

from the tape. There is also crosstalk. On Side A the right channel has a low audiolevel from 01:05:15 to the end, and the level fades until it is inaudible (01:28:26 to theend). On the same tape side there is a audio gap from 00:28:30 to 00:31:11.


Blues dubs, #4, undated

Rack number: RXK 1299Extent: 1 sound tape reel (Side A: 01:04:28, Side B: 01:05:13) : analog, 3 3/4 ips, stereo ;

7 in.Logger's note: Dubs of blues and boogie-woogie performances dubbed from various

unidentified recordings.


Container Contents


Vendor's digitization note: the program is distorted at times, and there is significant humfrom the tape. Dropouts throughout the recordings due to severe curling of the sourcetape.

Side ATime ContentStart An unidentified song. Lyrics: I am walking today, but tomorrow I may be

flying...02:50 An unidentified song. Lyrics: I don't care for big times, I don't eat jam and

bread, I am doing very well, just like I am ...why should I spend all mymoney, like all other folks do..

05:45 An unidentified song. Lyrics: Anyone Join me....keeping out your friends....she is gone, I swear she is gone with the wind...

08:30 An unidentified song. Lyrics: honey why don't you make a change...whydon't you listen...I got a hard-hearted woman...

11:36 An unidentified song. Lyrics: I am gonna move...I don't want no body,always hanging around...

14:35 An unidentified song. Lyrics: I got a letter, it came to me by mail, my babysaid she is coming home...I feel so good.

17:22 An unidentified song. Lyrics: my friend told me, I thought it was a joke,baby tell me the truth....

20:25 An unidentified song. Lyrics: tell me doctor, what is wrong with me, Ibelieve it is love....

23:05 An unidentified song. Lyrics: I don't be seen in a day...I got a lot ofcompetition baby I can't lose..

25:54 An unidentified song. Lyrics: I've been sleeping but I woke up now...fromthe cradle, to the walking stick, I now know, you can't trust nobody nohow...

28:57 An unidentified song. Lyrics: Me and my baby, we can't get along no more...31:42 An unidentified song. Poor sound quality. Lyrics: I believe my girl, she is

running with somebody else...34:29 An unidentified song. Poor sound quality. Lyrics: I am alone...37:20 An unidentified song. Poor sound quality.40:13 An unidentified song. Poor sound quality. Lyrics: If you got any money...42:58 An unidentified song. Poor sound quality. Lyrics: Yeah....why did you do

that to me...45:59 An unidentified song. Poor sound quality. Lyrics: I am having so much

trouble...believe me....48:49 An unidentified song. Poor sound quality. Lyrics: It was a dream.....when I

woke up babe, not a thing could I find...51:55 An unidentified song. Poor sound quality.55:12 An unidentified song. Lyrics: Someday I might get married, baby I might

settle down...58:08 An unidentified song. Lyrics: In a good old summer time....my women and

me got along in the summer, but when the winter time roll around...01:01:

22An unidentified song. Lyrics: ....trip down in Texas, would you please stop at

old San Antonio?01:04:

28End

Side BTime ContentStart An unidentified song. Lyrics: I am just rocking....rocking day and night....I

rock in the east, I rock in the west...


Container Contents


Time Content02:49 An unidentified song. Lyrics: Take me by the hand, Let's move it, woogie

baby...05:53 An unidentified song. Lyrics: I am gonna write myself a letter, I am gonna

tell my blues to shoes...08:54 An unidentified song. Lyrics: I am in prison, it sure was not mine...11:50 An unidentified song. Lyrics: You told me baby, I was your one and all...14:40 An unidentified song. Lyrics: Late in the evening, after the sun is down, I

was looking for my baby...17:52 An unidentified song. Lyrics: What can I do without you...I can't see no

peace without you...21:01 An unidentified song. Lyrics: Hiding behind the tree, don't bother me, Left

Foot Susie...24:02 An unidentified song. Lyrics: My friends told me, good things come those

ways....I am 54 now, don't tell me how long it is gonna take...27:22 An unidentified song. Lyrics: Listen to me baby, you can't go wrong....young

man you got to learn, old man got a way...30:40 An unidentified song. Lyrics: I can fix it, I am one of the best mechanics in

town...33:37 An unidentified song. Lyrics: I got a little girl darling...I love my baby, my

baby just does not behave...36:26 An unidentified song. Lyrics: I love my Whisky, I keep a bottle in my

hands...39:29 An unidentified song. Lyrics: I got trouble at my home....somebody spent on

gambling and having a good time...what should I worry...42:39 An unidentified song. Lyrics: Keep your hands off her, keep your hands of

my baby...45:37 An unidentified song. Lyrics: I had a good home, but I would not stay, I

found another woman....48:04 An unidentified song. Lyrics: Alright baby, baby that is alright for you...50:58 An unidentified song. Lyrics: The woman I am trying to find, I don't know

where she is going....She left me in Chicago, she didn't even say oneword...

54:04 An unidentified song. Lyrics: I got a girl, she lives in a low low land...all mylife, I have it all wrong...

56:54 An unidentified song. Lyrics: Hey hey baby Hey....I love you baby I am sureyou don't...You have me fool but somehow I found it out...

59:51 An unidentified song. Lyrics: I've been walking, walking down the lonesomeroad...no place to go....

01:03:07

An unidentified song. Lyrics: I wonder why that south bound train don'trun...

01:05:13

End




01:33:17) : analog, 3 3/4 ips, stereo and mono, quarter track ; 7 in.Archivist's note: the fourth channel has not yet been digitized.Logger's note: blues songs dubbed from recordings of various unidentified singers.Digitization vendor's note: Channel 1: stereo; Channels 2 and 3: mono. Channel 2:

simultaneous programs recorded on the tape from the beginning of the program to


Container Contents


00:19:30. Other issues: the programs are distorted at times, in addition to static, clicksand pops, crosstalk, high frequency noise, and significant hum, all from the tape.

Channel 1Time ContentStart An unidentified song. Lyrics: You can't do nothing if you drink too much....03:12 An unidentified song. Lyrics: Come on baby let's go, baby don't treat me

wrong......05:59 An unidentified song. Lyrics: I am gonna find me a woman, you get ready to

meet your man....08:52 An unidentified song. Lyrics: Did you ever love someone...I want you to

love me....11:46 An unidentified song. Lyrics: Tell your man, going to the pageant

show...where is that girl...what is she doing now.....14:36 An unidentified song. Lyrics: People people, where should I go? My baby is

with me and don't want me no more.....17:44 An unidentified song. Lyrics: I am like fool from the start, I don't believe

you ever really care....20:27 An unidentified song. Lyrics: The radio and newspapers, they all make me

believe....there is no peace in you.....23:20 An unidentified song. Lyrics: We know each other....26:08 An unidentified song. Lyrics: Baby how can you love me, mystery night and

day....29:01 An unidentified song. Lyrics: Baby I stand before you with my heart in my

hand....31:56 An unidentified song. Lyrics: If you want my protection, darling you got to

treat me right...34:47 An unidentified song. Lyrics: I search in town, from door to door, I got to

find my baby...37:40 An unidentified song. Lyrics: Some women call me Dr. Clayton, others call

me their loving man....40:27 An unidentified song. Lyrics: I was in my prime, not so very long ago....43:08 An unidentified song. Lyrics: You've sealing my heart honey, your

fingerprint is all over mine...45:51 An unidentified song. Lyrics: This is my own blues in 1942, my thought is

mellow...48:35 An unidentified song. Lyrics: December 7th, 1941....The Japanese flew over

the Pearl Harbor, The Japanese is so ungrateful, just a stray god going onthe street.....

51:37 An unidentified song. Lyrics: All aboard, train conductor, don't let thatengine stop....

54:44 An unidentified song. Lyrics: My head in a mirror, my heart in a flame, mywhole life is full of pain, I need my baby.....

57:51 An unidentified song. Lyrics: I know how that can be heaven, New York isright down here...

01:00:53

An unidentified song. Lyrics: I ain't drink no more Whisky, you are takingadvantage of me....

01:03:49

An unidentified song. Poor Quality.

01:06:44

An unidentified song. Poor Quality. Lyrics: I woke up this morning, a littlegirl calling me...

01:09:36

An unidentified song. Lyrics: gamble night and day, a sinful man, without asoul, he was cold as ice....


Container Contents


Time Content01:12:

50An unidentified song. Lyrics: If I can get a train ticket to south...Mr.

Brakeman, let me ride your train....01:15:

56An unidentified song. Poor sound quality. Lyrics: I ain't superstitious....I love

black cat....01:18:

48An unidentified song. Poor sound quality. Lyrics: I am a good time mama....

01:21:32

An unidentified song. Poor sound quality. Lyrics: Early this morning, blueknock on my door....

01:24:40

An unidentified song. Poor sound quality. Lyrics: I woke up this morninghalf past four, somebody knocking on my door, I went out to see what itwas about, they told me my man was gone...

01:27:41

An unidentified song. Lyrics: I cry and I worry all my life...I used to weighttwo hundreds, now I am down to skin and bone....

01:30:40

An unidentified song. Lyrics: One day every week, I propped myself at myfront door...

01:32:51

End

Channel 2Time ContentStart An unidentified song. Very poor sound quality. Multiples songs can be heard

simultaneously.05:17 An unidentified song.06:42 An unidentified song. Lyrics: I met a city woman, I believe I changed my

mind....09:34 An unidentified song. Very poor sound quality. Multiples songs can be heard

simultaneously. Lyrics: I got up late this morning, makes me sad...12:30 An unidentified song. Very poor sound quality. Multiples songs can be heard

simultaneously. Lyrics: Looking out my window....17:06 An unidentified song. Very poor sound quality. Unrecognizable lyrics.19:15 An unidentified song. Lyrics: Somehow my money run low, I could not find

a friend....22:00 An unidentified song.24:48 An unidentified song. Lyrics: My name in Memphis now, they call me

the .....if you are my customer, I will let you have it on an easy plate....27:54 An unidentified song. Lyrics: I walk into a big tavern, to give a girl a nice

time, I brought 5 dollars when I enter, when I left I have only one dime...31:10 An unidentified song. Lyrics: I've been out drinking Whisky and Gin...I am

drinking not because I am thirsty, but because I am blue....33:52 An unidentified song. Lyrics: I don't have to put up with those low down

ways you do....36:38 An unidentified song. Lyrics: Baby lend me your love, you got a mortgage

of my love....39:50 An unidentified song. Lyrics: Don't think you are smart, woman, because

you got every man in town...42:51 An unidentified piece performed by an unidentified band.45:32 An unidentified song. Lyrics: I don't know what to do, feeling so blue, just

thinking of you...48:17 An unidentified song. Lyrics: People people, you don't know my mind, got

the blues for somebody, little girl I left behind...51:16 An unidentified song. Lyrics: Let's go out all night tonight, we will cover a

lot of spots....


Container Contents


Time Content53:36 An unidentified song. Lyrics: She was wasted this morning, she didn't even

say one word....56:37 An unidentified song. Lyrics: If you have a loved one, then your heart is full

of pain, she is gone, the memory still remains.....59:20 An unidentified song. Lyrics: Pack my suitcase, I will be on my way, got to

find my baby, leaving town today....01:02:

11An unidentified song. Lyrics: I am crying crying, crying my heart out for

you, you said you are gonna leave me, what am I gonna do....01:05:

29An unidentified song. Lyrics: My baby was home, she looks good to me, she

is on her way, my luck day....01:08:

06An unidentified song. Lyrics: Be careful, call before you go home.....

01:11:12

An unidentified song. Lyrics: I love my baby, but my baby don't love me...

01:14:14

An unidentified song. Lyrics: Back in November 1952, when that youngmother, brought in another crew....next time we will do better, if we canjust see it through...

01:17:08

An unidentified song. Lyrics: Woke up this morning, with the blues allaround my head...

01:19:59

An unidentified song. Lyrics: I feel kind of lonesome, since my baby put medown...

01:22:52

An unidentified song. Lyrics: She really rocks me, night and day, she rocksmy blues away...

01:25:28

An unidentified song. Lyrics: You've been having your fun, no gettingalong....

01:28:03

An unidentified song. Lyrics: My morning is dreary, and my evening isblue....

01:30:30

An unidentified song. Lyrics: Baby it is train in town, you just tell my mom,I will be home some day, I don't have anything to explain, I am leavingyou.....

01:33:17

End

Channel 3Time ContentStart An unidentified song. Lyrics: I wonder why, that south bound trains don't

run.....02:59 An unidentified song. Lyrics: Alright baby, you can do any ways you

choose.....05:59 An unidentified song. Lyrics: I got a little city woman, I believe I changed

my mind....08:53 An unidentified song. Lyrics: I got a letter this morning, made me sad and

blue...11:48 An unidentified song. Lyrics: Poke your head out of window, I got

something on my mind...15:18 An unidentified song. Lyrics: I got out of bed, I got lay down....I got to see

what is going on, my man has gone....18:33 An unidentified song. Lyrics: My money runs low, I can't find a friend....21:19 An unidentified song. Lyrics: Everybody wants to know, how my family

gets by.....24:07 An unidentified song. Lyrics: My name in Memphis, they call me the grand

of mem, if you are my customer, I will let you have an easy plate...


Container Contents


Time Content27:11 An unidentified song. Lyrics: I walked into a big tavern, met a girl of a life

time, I brought five dollar when I entered, when I left I have one dime....30:28 An unidentified song. Lyrics: I've been out drinking Whisky and Gin...I am

drinking not because I am thirsty, but because I am blue....33:10 An unidentified song. Lyrics: I don't have to put up with those low down

ways you do....35:57 An unidentified song. Lyrics: Baby lend me your love, you got a mortgage

of my love....39:21 An unidentified song. Lyrics: Don't think you are smart, woman, because

you got every man in town...42:10 An unidentified piece performed by an unidentified band.44:52 An unidentified song. Lyrics: I don't know what to do, feeling so blue, just

thinking of you...47:36 An unidentified song. Lyrics: People people, you don't know my mind, got

the blues for somebody, little girl I left behind...50:34 An unidentified song. Lyrics: Let's stay out all night tonight, we will cover a

lot of spots....52:56 An unidentified song. Lyrics: She was wasted this morning, she didn't even

say one word....55:57 An unidentified song. Lyrics: If you have a loved one, then your heart is full

of pain, she is gone, the memory still remains.....58:39 An unidentified song. Lyrics: Pack my suitcase, I will be on my way, got to

find my baby, leaving town today....01:01:

30An unidentified song. Lyrics: I am crying crying, crying my heart out for

you, you said you are gonna leave me, what am I gonna do....01:04:

46An unidentified song. Lyrics: My baby was home, she looks good to me, she

is on her way, my luck day....01:07:

26An unidentified song. Lyrics: Be careful, call before you go home.....

01:10:32

An unidentified song. Lyrics: I love my baby, but my baby don't love me...

01:13:34

An unidentified song. Lyrics: Back in November 1952, when that youngmother, brought in another crew....next time we will do better, if we canjust see it through...

01:16:27

An unidentified song. Lyrics: Woke up this morning, with the blues allaround my head...

01:19:18

An unidentified song. Lyrics: I feel kind of lonesome, since my baby put medown...

01:22:10

An unidentified song. Lyrics: She really rocks me, night and day, she rocksmy blues away...

01:24:47

An unidentified song. Lyrics: You've been having your fun, no gettingalong....

01:27:24

An unidentified song. Lyrics: My morning is dreary, and my evening isblue....

01:29:51

An unidentified song. Lyrics: Baby it is train in town, you just tell my mom,I will be home some day, I don't have anything to explain, I am leavingyou.....

01:33:17

End


Container Contents




Rack number: RXH 4641Extent: 1 sound tape reel (Channel 1:01:35:01, Channel 2: 00:59:07, Channel 3:

01:32:14) : analog, 3 3/4 ips, stereo ; 7 in.Archivist's note: the fourth channel has not yet been digitized.Digitization vendor's note: Channel 1: stereo. Channels 2 and 3: mono. Channel 1:

right channel cuts out between 01:27:08 and 01:27:52. Channel 2: program volumefluctuates throughout tape, simultaneous programs can be heard at start, the program isdistorted at times, there is static on tape, as well as clicks and pops, and also crosstalk.

Logger's note: dubs of blues songs by various unidentified singers.Channel 1

Time ContentStart An unidentified song. Lyrics: This pain in my heart, sometimes it is rude,

it makes me happy sometimes at the pool. This pain in my heart is onlyhere for you....

03:15 An unidentified song. Lyrics: To my love, baby doll, one, two, many more...05:26 An unidentified song. Lyrics: You pretty girl, you don't cry no more....07:48 An unidentified song. Lyrics: I am crazy about my baby.....10:36 An unidentified song. Lyrics: I give you some money, and everything you

need....13:09 An unidentified song. Lyrics: I have the blues at sunrise....15:45 An unidentified song.18:25 An unidentified song. Lyrics: I wonder I wonder why my baby won't let me

in....21:16 An unidentified song. Lyrics: I got a weird-head woman, I gave her my

money, she goes out and throw them away....24:07 An unidentified song. Poor sound quality.26:45 An unidentified song. Poor sound quality. Lyrics: Come back baby, please

don't go, please don't leave me....29:19 An unidentified song. Poor sound quality. Lyrics: My baby loves so much, I

don't know what to do...32:08 An unidentified song. Poor sound quality. Lyrics: I am tired of Whisky, and I

am tired of gin...I am tired of coffee, I am tired of tea...35:17 An unidentified song. Poor sound quality. Lyrics: Yeah my baby is coming

home....38:14 An unidentified song. Poor sound quality.40:58 An unidentified song. Poor sound quality. Lyrics: I hear that whistle of the

train....No.9, No. 9, please take me off the line...44:05 An unidentified song. Poor sound quality. Lyrics: There is no meat, no meat

on the bone...waitress, waitress, what have you got to eat...46:50 An unidentified song. Poor sound quality. Lyrics: Baby you said you love

me, what do we have to prove...49:40 An unidentified song. Poor sound quality. Lyrics: I ain't got no money, I got

no place to go...52:24 An unidentified song. Poor sound quality.54:53 An unidentified song. Poor sound quality. Lyrics: Baby you are gonna be

sorry the way you treated me...57:50 An unidentified song.01:00:

00An unidentified song. Lyrics: I have no place to go...


Container Contents


Time Content01:02:

51An unidentified song. Lyrics: 4'oclock in the morning, I saw a mule....

01:04:55

An unidentified song. Poor sound quality. Lyrics: A man from NewOrleans...

01:07:53

An unidentified song. Poor sound quality. Lyrics: I am here right now, I amwaiting on you baby....

01:10:56

An unidentified song. Poor sound quality. Lyrics: I give you all my money,what more can I do....

01:14:00

An unidentified song. Poor sound quality. Lyrics: You want me walk out ofyour way, that's all right baby, if you will need my help someday....

01:17:04

An unidentified song. Poor sound quality. Lyrics: My head can't rest nomore....

01:20:14

An unidentified song. Poor sound quality. Lyrics: I laid in my bed, can't evengo to sleep...

01:23:06

An unidentified song. Poor sound quality. Lyrics: Bring my baby back tome....

01:25:49

An unidentified song. Lyrics: He said you better get on it, I know what I amtalking about...

01:28:37

An unidentified song. Lyrics: You are a mean bad man, telling yousomething wrong...

01:31:52

An unidentified song. Lyrics: Sunday morning won't be long, you are gonnacall me while I am gone...I am satisfied, you are gonna need my helpsomeday...

01:35:01

End

Channel 2Time ContentStart An unidentified song. Poor sound quality. Lyrics: That's the only way to get

it done....03:11 An unidentified song. Poor sound quality. Lyrics: I need some money, you

used to give me some, but not anymore, all gone now....06:15 An unidentified song. Poor sound quality.08:40 An unidentified song. Poor sound quality.11:18 Several unrecognizable songs. Very poor sound quality.22:10 An unidentified song. Poor sound quality. Lyrics: Blue leggings ain't no

good no more...25:02 An unidentified song. Poor sound quality.28:03 An unidentified song. Lyrics: I woke up this morning, my gal was gone, fell

on the bed side, I have the railroad blue.....30:48 An unidentified song. Poor sound quality. Lyrics: I ain't no ice man, but I

can keep you cool, until the ice man comes....I ain't no wood chopper...33:34 An unidentified song. Poor sound quality. Lyrics: I got the sweetest girl in

town.....36:19 An unidentified song. Lyrics: You said you love me, I stay home all night

through...39:13 An unidentified song. Poor sound quality. Lyrics: I got a gal who drink no

rum....41:53 An unidentified song. Poor sound quality. Lyrics: Don't you laugh about me?

I got a ribbon in my hand....44:29 An unidentified song. Lyrics: If you got a good women, you better pin her to

your side...


Container Contents


Time Content47:18 An unidentified song. Lyrics: Now I am through, I never will come back to

you....50:19 An unidentified song. Lyrics: My heart, in denial, broken deep inside, all

because of you...53:06 An unidentified song. Lyrics: I send a telegram to my baby, this is the way it

read....56:05 An unidentified song. Poor sound quality.59:07 End

Channel 3Time ContentStart An unidentified song. Lyrics: One day every week, I propped myself at the

front door...02:54 An unidentified song. Lyrics: When you lose money, don't lose your mind....06:12 An unidentified song. Lyrics: I've never seen such a real hard time before,

keep walking around my door....09:05 An unidentified song. Lyrics: I used to say, I've never seen a day, when the

love crazily flood me...I can't quit that man....11:57 An unidentified song. Lyrics: You wonder why I am grieving and feeling

blue, all I do is mourn and cry....15:01 An unidentified song. Lyrics: Going down to the river, take a pad and a

rod....18:22 An unidentified song. Lyrics: Stop it, Joe, won't you stop it, I don't mind

being in your company....21:32 An unidentified song. Lyrics: Evolution Mama, don't try to make a monkey

of me...24:45 An unidentified song. Poor sound quality.27:39 An unidentified piece played by the band.30:18 An unidentified piece played by the band.33:09 An unidentified song. Lyrics: I am tired of hustling and running too, just to

lay it on the wood for you, now you do it, that's the only way to get itdone....

36:17 An unidentified song. Lyrics: My gal has money, she used to give me some,but that ain't where I get it from, it is all gone now....

39:20 An unidentified song. Poor sound quality. Lyrics: That's my girl, I need yourhelp....

41:45 An unidentified song. Poor sound quality. Lyrics: I take the railway home....44:20 An unidentified song. Poor sound quality. Lyrics: Take me back baby, you

know that I have been......46:57 An unidentified song. Poor sound quality. Lyrics: How do I do right baby....I

don't want no body...49:37 An unidentified song. Poor sound quality. Lyrics: Howdy howdy, baby what

do you want me to do...52:39 An unidentified song. Poor sound quality. Lyrics: She is a good woman,

amazing in every way...55:16 An unidentified song. Poor sound quality. Lyrics: Blue legging ain't no good

no more....58:07 An unidentified song. Poor sound quality. Lyrics: I am a good spike driver,

my spike driving is well done....01:01:

09An unidentified song. Lyrics: I woke up this morning, my gal was gone, fell

on the bed side, I have the railroad blue.....


Container Contents


Time Content01:04:

08An unidentified song. Lyrics: I ain't no ice man, but I can keep you cool,

until the ice man comes....I ain't no wood chopper...01:06:

43An unidentified song. Lyrics: I got the sweetest girl in town.....

01:09:26

An unidentified song. Lyrics: You said you love me, I stay home all nightthrough...

01:12:20

An unidentified song. Lyrics: I got a gal who drink no rum....

01:14:58

An unidentified song. Lyrics: Don't you laugh about me? I got a ribbon inmy hand....

01:17:37

An unidentified song. Lyrics: If you got a good women, you better pin her toyour side...

01:20:25

An unidentified song. Lyrics: Now I am through, I never will come back toyou....

01:23:27

An unidentified song. Lyrics: My heart, in denial, broken deep inside, allbecause of you...

01:26:14

An unidentified song. Lyrics: I send a telegram to my baby, this is the way itread....

01:29:12

An unidentified song. Poor sound quality. Lyrics: Please tell me what todo....

01:32:14

End




7 in.Vendor's digitization note: the program is distorted at times, and crosstalk on the tape. On

Side B: there are drop-outs and the right channel has a very low level from 00:37:12 to01:03:46, and a gap from 01:03:46 to 01:17:03.

Logger's note: dubs of blues songs of various unidentified singers.Side A

Time ContentStart An unidentified song. Lyrics: Days out days in, what is the matter with

you....03:07 An unidentified song. Lyrics: You said you are here....05:56 An unidentified song. Lyrics: Don't you recall the year of 1929....08:47 An unidentified song.11:43 An unidentified song. Lyrics: I am here baby, swing with me....let's swing...14:12 An unidentified song. Lyrics: I am in love with somebody...17:08 An unidentified song. Lyrics: I want a daddy who is ready every time I

call....19:56 An unidentified song. Lyrics: Listen to what I have to say....23:19 An unidentified song. Lyrics: I am so blue, every day is a cloudy day for

me....26:30 An unidentified song. Lyrics: It is blue Monday upon sugar hill, that's how

you get your thrill...28:49 An unidentified song. Lyrics: Oh Uncle Joe....31:32 An unidentified song. Lyrics: Sun don't shine in my back door....


Container Contents


Time Content34:36 An unidentified song. Lyrics: I got the blues....I am going back to Jamaica,

won't be back until this fall....37:44 An unidentified song. Lyrics: Good morning Susie I'll cut your hair....40:56 An unidentified song. Lyrics: I like women...44:00 An unidentified song. Lyrics: Nobody knows where I would be this

morning....47:15 An unidentified song. Lyrics: When I met you baby, you are the sweetest girl

in town....50:22 An unidentified song. Lyrics: I got a gal from the country....52:58 An unidentified song. Lyrics: Honey, turn around and around.....56:01 An unidentified song. Lyrics: I've running around drinking.....59:07 An unidentified song. Lyrics: I've been down so low, I have to look up to the

ground...01:12:

14An unidentified song. Lyrics: When my daddy left me I was sad.....

01:05:22

An unidentified song. Lyrics: I am awful lonesome, ain't got nobody....

01:08:50

An unidentified song. Lyrics: My mellow man, nobody treat me like mymellow man...

01:11:49

An unidentified song. Lyrics: I love you baby, tell you no lie, I want you bymy side...

01:14:22

An unidentified song. Lyrics: I love you baby, but I hate to call your name....

01:17:21

An unidentified song. Lyrics: Little girl and boy, I got one stick, I am gonnaknock myself out...

01:20:22

An unidentified song. Lyrics: Get out of here get me some money too....

01:23:19

An unidentified song. Lyrics: I tried hard a long time, to get you change yourmind, just love me....

01:26:18

An unidentified song. Lyrics: I got a man, a real handsome one, he ain'tlowball, he is just a little country boy....

01:29:18

An unidentified song. Lyrics: What's the matter with love, you got me crazyabout you, darling, what more can I do....

01:32:27

An unidentified song. Lyrics: Darling you mistreated me, our romance is atragedy, how can I go on.....

01:35:06

An unidentified song. Lyrics: You are pretty as a picture, I am going to fixyou baby, I can copyright your love, so I will always know where youare.... The song ends abruptly.

01:36:11

End

Side BTime ContentStart An unidentified song. Lyrics: I ain't in a hurry, and I didn't come here to

stay...I just come here baby, for you to drive my blues away...03:27 An unidentified song. Lyrics: Sometimes I am lonesome, and I swear

sometimes I am blue...06:21 An unidentified song. Lyrics: have to live, have to give and take, have to

make believe, have to take it over....09:10 An unidentified song. Lyrics: I got a rock-hearted woman.....12:19 An unidentified song. Lyrics: Give me love and I don't care what she said....


Container Contents


Time Content15:34 An unidentified song. Lyrics: I feel like walking, I got no walking shoes, I

got nobody, to got my trouble to...19:00 An unidentified song. Very poor sound quality. Lyrics: In the evening....The

sun goes down...22:19 An unidentified song. Very poor sound quality.25:20 An unidentified song. Lyrics: The woman I love, she doesn't let me down...28:08 An unidentified song. Lyrics: ....old train, I meet you in the bottom all the

water rising....31:07 An unidentified song. Lyrics: Keep looking madam....34:21 An unidentified song. Lyrics: Bring my shoes and clothes, meet me at the

corner....37:15 An unidentified song. Lyrics: I am gonna make life happy....40:18 An unidentified song. Lyrics: And it is long time if your love is not

around....43:12 An unidentified song. Poor sound quality.46:22 An unidentified song. Poor sound quality.49:26 An unidentified song. Poor sound quality. Lyrics: Why don't you take your

time...I promise not to hurry....52:20 An unidentified song. Poor sound quality. Lyrics: My baby went away, the

whole world has changed now....54:48 An unidentified song. Poor sound quality. Lyrics: Why don't you get

yourself a job...57:50 An unidentified song. Poor sound quality.01:00:

46An unidentified song. Poor sound quality.

01:20:05

An unidentified song. Lyrics: Strange angels, how is everything up there...

01:22:43

An unidentified song. Lyrics: Woke up this morning, I found my babygone....

01:25:46

An unidentified song. Lyrics: I am gonna tell everybody, what my baby didto me one day, he broke my heart.....

01:28:32

An unidentified song. Lyrics: You are dirty miss...you know me no onewomen no good...

01:31:38

An unidentified song. Lyrics: I know my men is cheating, I have no proof.....

01:34:53

End




00:35:06) : analog, 3 3/4 ips, quarter track, mono ; 7 in.Archivist's note: the fourth channel has not yet been digitized.Digitization vendor notes: static on tape, plus clicks and pops on the tape. The program is

distorted at times, with crosstalk on the tape. Side 2 has two programs simultaneouslyplaying in opposite directions. Side 3 is stereo, left channel only from 00:11:47 to theend, with a gap from 00:20:34 to 00:32:15.

Logger's note: dubs of blues songs of various unidentified singers.Channel 1


Container Contents


Time ContentStart An unidentified song. Lyrics: You are sweet as a man can be, I am gonna fix

you up, I am gonna copyright your love....03:15 An unidentified song. Lyrics: I make my own living, I get along fine.....06:32 An unidentified song. Lyrics: I have a lot of trouble, trying to make ends

meet....09:28 An unidentified song. Lyrics: You have been dodging from door to door, just

because you don't want me no more....12:14 An unidentified song. Lyrics: You say I am a fool, and everyone knows....14:43 An unidentified song. Lyrics: I am so dumb-headed, daddy you have made

me sick-hearted....17:44 An unidentified song. Lyrics: Don't worry me now, you know I would if I

could...20:34 An unidentified song. Lyrics: I wake up every morning with the rhyme with

the song...23:38 An unidentified song. Lyrics: You are very bad, if you want to share your

love with me, love me your best...26:26 An unidentified song. Lyrics: I got bad news baby, and you are the first to

know....29:15 An unidentified song. Lyrics: I got a man in Tennessee, that's why I am blue

as I can be...32:05 An unidentified song. Lyrics: I saw you last night, and got that old feeling,

and when you came in sight, I got that old feeling....34:53 An unidentified song. Lyrics: You told me you are leaving without the cause

of reason, because you want the love of someone new....37:51 An unidentified song. Lyrics: How come you do me like you do, why do you

make me feel so blue, I've done nothing to you...40:38 An unidentified song. Lyrics: I got a no-good man, but I just can't put him

down....43:15 An unidentified song. Lyrics: Daddy let me tell you, please get out of my

side...46:34 An unidentified song. Lyrics: Take me back to little rock and rock me...49:16 An unidentified song. Lyrics: Did you ever heard the story about boat....54:35 An unidentified song. Lyrics: You knew me when I could, you know me

when I can...57:21 An unidentified song. Lyrics: If you want to stop the lesson, you got to do

just right....01:00:

05An unidentified song. Lyrics: You know, I know, you were meant for me....

01:02:52

An unidentified song. Lyrics: Way back in the country where they ask foryou...

01:05:18

An unidentified song. Lyrics: If you want to go, come with me....

01:07:58

An unidentified song. Lyrics: You won't do nothing, you won't stay athome...

01:10:40

An unidentified song. Lyrics: See what you have to say, she married a man ayear ago...somebody has been treated me wrong...

01:13:18

An unidentified song. Lyrics: I know it will be all in vain...I need to get out,get the freight train...

01:16:02

An unidentified song. Very poor sound quality.


Time Content01:18:

56An unidentified song. Very poor sound quality.

01:22:02

An unidentified song. Lyrics: I've been freezing all night long because mymen has done me wrong...

01:25:13


01:28:30


01:31:35


01:34:27

End

Channel 2Time ContentStart Silence and little noise.00:56 An unidentified song. Very poor sound quality.04:16 An unidentified song. Lyrics: You can always tell when your man get a

brand new front...06:45 An unidentified song. Lyrics: Daddy daddy let me tell you what you must

do...09:43 An unidentified song. Lyrics: Look at me, I am in need of a symphony....12:25 Sounds of multiple pieces playing simultaneously.15:27 An unidentified song. Lyrics: I have a man and I got him care, my man

wants me to do right, he won't do right himself....18:48 An unidentified song. Lyrics: When I make money, I will spend on myself....22:12 Sounds of multiple pieces playing simultaneously.24:25 An unidentified song. Very poor sound quality. Lyrics: I am getting me a

mama who cheers me up at night...28:03 An unidentified song. Very poor sound quality. Sounds of multiple pieces

playing simultaneously.30:47 An unidentified song. Very poor sound quality. Sounds of multiple pieces

playing simultaneously. Lyrics: Walking on the street all night andday....walking the blues away...

34:36 An unidentified song. Very poor sound quality. Sounds of multiple piecesplaying simultaneously.

37:28 An unidentified song. Very poor sound quality. Sounds of multiple piecesplaying simultaneously. Lyrics: I was sad, I was blue....

40:28 An unidentified song. Very poor sound quality. Sounds of multiple piecesplaying simultaneously. Lyrics: Lose all my mind....




53:05 An unidentified song. Very poor sound quality. Sounds of multiple piecesplaying simultaneously. Lyrics: I got to yell at Mama....

56:01 An unidentified song. Very poor sound quality. Sounds of multiple piecesplaying simultaneously. Lyrics: I am heading to Georgia where Ibelong....


Container Contents


Time Content59:08 An unidentified song. Very poor sound quality. Sounds of multiple pieces

playing simultaneously.01:01:

42An unidentified song. Very poor sound quality. Sounds of multiple pieces

playing simultaneously. Lyrics: I am gonna ride and tell mama....01:04:

36An unidentified song. Very poor sound quality. Sounds of multiple pieces

playing simultaneously. Lyrics: Down in Memphis Tennessee, lived agirl names Sidney...

01:07:25

An unidentified song. Very poor sound quality. Sounds of multiple piecesplaying simultaneously.

01:10:14

An unidentified song. Very poor sound quality. Sounds of multiple piecesplaying simultaneously. Lyrics: Coming town this morning, feelingawfully dry....don't tailgate no more...

01:13:00

An unidentified song. Very poor sound quality. Sounds of multiple piecesplaying simultaneously. Lyrics: People went to church to hear pastorpreach...you ain't living right, stop what you are doing...

01:15:27

End

Channel 3Time ContentStart An unidentified song. Lyrics: You heard them talk about me, papa....03:05 An unidentified song. Lyrics: Every day this week I told you what I need....05:56 An unidentified song. Lyrics: I am all alone, I don't know what to do...08:55 An unidentified song. Lyrics: My mama told me when I was young, things I

should do to get along....11:50 An unidentified song. Lyrics: I got the freight train blues.....14:50 An unidentified song. Lyrics: I feel low down....17:59 An unidentified song. Poor sound quality. Lyrics: Oh baby What's on your

very mind....20:21 Silence to end.35:06 End




7 in.Logger's note: dubs of blues songs of various unidentified singers.Vendor's digitization note: the program is distorted at times, and there is crosstalk from the

tape.Side A

Time ContentStart An unidentified song. Lyrics: How can you swing that thing....03:02 An unidentified song. Lyrics: I will fix a drink you really like....05: 54 An unidentified song. Lyrics: A cop fell off the car today...08:49 An unidentified song. Lyrics: going on ever since...11:44 An unidentified song. Lyrics: Where would I be last night....14:32 An unidentified song. Lyrics: You never have nothing, as long as you live in

sugar land....17:25 An unidentified song. Lyrics: I didn't come here Tuesday a long time....20:02 An unidentified song. Lyrics: When you fall in love with a woman, she try to

keep you down...


Container Contents


Time Content22:47 An unidentified song. Lyrics: You know I'd be lonely, you know I'd be

blue...25:34 An unidentified song. Lyrics: My words are all in vain, you knew you didn't

care....28:29 An unidentified song. Lyrics: Now I am just a little ice man, selling the

coldest stuffs in town...31:45 An unidentified song. Lyrics: Hello Ma'am, I am a coal man, selling the

hottest stuffs in town...34:34 An unidentified song. Lyrics: ...waiting for my train, walking talking to

myself....37:43 An unidentified song. Lyrics: ....keep me worry, I am going to South, I am

gonna keep walking....40:48 An unidentified song. Lyrics: We are going on a picnic day on an excursion

train...43:23 An unidentified song. Lyrics: ....give my good food away, my friends used to

call me, but if they call me right now, not a drop of food they will find...46:40 An unidentified song. Poor sound quality.49:51 An unidentified song. Poor sound quality.52:48 An unidentified song. Lyrics: I call my baby sugar, that's what my sugar is

called....56:04 An unidentified song. Lyrics: Lord, I'd rather be there then, any place I

know.....59:12 An unidentified song. Lyrics: My man don't love me....01:02:

02An unidentified song. Lyrics: I woke up this morning, somebody calling

me....01:04:

56An unidentified song. Lyrics: I want somebody...he got to be ambitious...

01:07:29

An unidentified song. Lyrics: There are a couple of eating places, in myhometown....

01:09:52

An unidentified song. Lyrics: I don't know where to go, if I am lucky toleave here, I sure will not come back no more...

01:12:22

An unidentified song. Lyrics: Did you every wake up, with the blues aroundyour bed, and you have nobody to hold...

01:15:19


01:18:23

An unidentified song. Poor sound quality. Lyrics: It breaks my heart....

01:21:29

An unidentified song. Poor sound quality. Lyrics: Everybody in town....

01:24:26


01:27:08

An unidentified song. Poor sound quality. Lyrics: My blues keeps comingdown...

01:29:37


01:32:50

End

Side BTime ContentStart An unidentified song. Poor sound quality. Lyrics: How can I get it, you keep

on holding it back...


Container Contents


Time Content03:03 An unidentified song. Poor sound quality. Lyrics: And fan it, fan it, you

gotta fan it and cool it. Honey till the cows come home....06:27 An unidentified song. Poor sound quality. Lyrics: Get some buckets, get

some buckets, everybody knock them down...09:38 An unidentified song. Lyrics: He was phenomenal, he was fantastic...Harry I

love you, everybody knows...wait until he gets home...12:47 An unidentified song. Lyrics: I am gonna take his place now, follow

me...come with me, ask no questions, good bye blues, I am throughwith you....

15:50 An unidentified song. Lyrics: My mama don't allow that kind of stuffs inhere, My mama don't allow no ribbon done in here....

18:46 An unidentified song. Lyrics: Farmer Jones has trouble with his crop, Hecouldn't get no rain where or not...here is my advice, you got to wait, youbetter wet it....

21:37 An unidentified song. Lyrics: I got a gal she is short and squatty, oh shebring me down...

24:20 An unidentified song. Lyrics: Oh she loves so good, everyone wants her....27:07 An unidentified song. Lyrics: Don't blame me no fool just swing out loud,

kicking it around, swinging around town...29:55 An unidentified song. Lyrics: I knock myself out when I start thinking of

you, you knock me down, you smack me out...32:45 An unidentified song. Lyrics: Now you heard of jokes new and old, now

here is a joke on me that's never been told.....35:24 An unidentified song. Lyrics: You can't make believe that good is evil,

you can't make believe that snow is black...you leave me along everyevening....

38:12 An unidentified song. Lyrics: I got a gal, and her name is Corinne, cominghome late...are you tired of cheating on your papa...

41:00 An unidentified song. Lyrics: Let me ride your train, pay you when I comeback home again...

43:26 An unidentified song. Lyrics: What goes up, must come down, so be yournatural self....

45:50 An unidentified song. Lyrics: These long tall gals, she always wears asmile....

48:27 An unidentified song. Lyrics: I want to be decent, don't want to talk aboutbad....

50:56 An unidentified song. Lyrics: Turn over, turn over, let's have a Jamboree....53:41 An unidentified song. Lyrics: You can't tell, don't trust nobody....56:32 An unidentified song. Lyrics: Louis, Louis, baby where can you be, hurry

home....59:16 An unidentified song. Lyrics: When I find the house, I couldn't find the door,

oh got the blues....01:01:

46An unidentified song. Lyrics: I love my baby, chocolate candy, the same old

candy, it is gonna carry me away...01:04:

19An unidentified song. Lyrics: I have had my fun, if I don't get well no more,

my health is failing me...01:07:

37An unidentified song. Lyrics: Selling nuts, hot nuts, anybody want to buy

my nuts, you buy 'em from the peanut man...01:10:

55An unidentified song. Lyrics: Give it to me baby, you don't understand,

where to you put that thing, just press my button, give my bell a ring...


Time Content01:14:

15An unidentified song. Lyrics: I got all night long...I didn't make money, I

will go back home...01:17:


01:20:11

An unidentified song. Poor sound quality. Lyrics: You know my man is outof town, let's get drunk...

01:23:19

An unidentified song. Poor sound quality. Lyrics: He is the kind of man thatI want around...

01:26:16


01:29:07


01:32:05

An unidentified song. Poor sound quality. Lyrics: Now tell me when canI get it, do I have to wait all night, don't you know you are doing mewrong....

01:34:16

End




7 in.Logger's note: dubs of blues songs of various unidentified singers.Vendor's digitization note: the program is distorted at times, and there is significant hum

and buzz from the tape.Side A

Time ContentStart An unidentified song. Lyrics: Now tell me when can I get it, do I have to

wait all night, don't you know you are doing me wrong....02:52 An unidentified song. Lyrics: I am broken-hearted as can be....05:25 An unidentified song. Poor sound quality. Lyrics: My man have done me

dirty, don't want to live no more...08:20 An unidentified song. Poor sound quality. Lyrics: I am in New York today,

going to down south...11:22 An unidentified song. Lyrics: I want you people to let them hear song,

remember me when the day is gone....13:56 An unidentified song. Lyrics: I am right by myself, no one loves me

anymore....16:48 An unidentified song. Poor sound quality. Lyrics: When the sun rises this

morning I was laying on my floor, and when the moon starts to shine, theblues was all around...

19:53 An unidentified song. Lyrics: How can I love the woman, I can never be sokind....

22:47 An unidentified song. Lyrics: I got myself a mama, she always got mefeeling blue....

25:39 An unidentified song. Lyrics: The blue sky is my blanket....the black cat andthe owl keep my company, they understand my sorrow....

28:31 Tin Can Alley Blues. Poor sound quality. Lyrics: I was down in tan canalley, loaded down with that bust-head gin. The police took me to thejailhouse, I got out and come right back...


Container Contents


Time Content31:02 Bitin' Fleas Blues. Poor sound quality. Lyrics: I've got a cat and a dog, they

sleeps out in the hall; they scratches off all the fleas, and they come inmy room to have a ball.

34:08 An unidentified song. Poor sound quality. Lyrics: you can always tell whenyour woman's man comes to town.....

36:43 An unidentified song. Poor sound quality. Lyrics: Look down, look down,that long and lonesome road...

39:13 An unidentified song. Poor sound quality. Lyrics: I've been blues thisday....my woman has done wrong...

41:53 An unidentified song. Poor sound quality. Lyrics: You can feel yourselftaking down, if you change your way of loving, then you must changeyour town...

44:58 "It Feels So Good-part 1." Poor sound quality. Lyrics: Because it feels sogood, ah, it feels so good, ah. Everybody's doin' it 'cause it feels so good.The monkey and the baboon playin' in the grass....

48:10 "It Feels So Good-part 2." Poor sound quality. Lyrics: Uncle Joe with hiswooden leg, Doin' [says] the mooche while he sets the peg....

51:02 "Careless Love." Poor sound quality. Lyrics: Love oh love oh careless love,you have caused me to weep, you have caused me to moan...

54:02 An unidentified song. Poor sound quality. Lyrics: tell me blue and trouble,they walk hand in hand...

57:08 An unidentified song. Lyrics: Way down yonder a bull frog sat on a muddybank oh it feels so good.....

01:00:10

"It Feels So Good-part 4." Lyrics: Last night I saw a big baboon combin' hishead by the light of the moon. He said, It feels so good, ah, it feels sogood....

01:02:58

An unidentified song. Lyrics: Sister Kate says to Mr. Neal, you can't ride inmy automobile unless you wipe it off, I am tired of keep telling you towipe it off....

01:06:18

"Monkey and the Baboon." Lyrics: Monkey and the baboon playin' in thegrass, monkey says, "Baboon you play too fast."....

01:08:54

An unidentified song. Lyrics: I can see you don't mean to do good, by thethings you said you do....

01:11:35

An unidentified song. Lyrics: You think you are good looking....a black galcame and stealed your man away....

01:14:05

An unidentified song. Lyrics: You sweet woman, why you are so mean andhateful to me....

01:16:35

An unidentified song. Lyrics: People are having a hard time, tell me what itis all about ... I don't know why they should...

01:19:11

An unidentified song. Lyrics: I can see you mean no good, baby, by thethings you say and do...

01:21:46

An unidentified song. Poor sound quality. Lyrics: Some places through myown home town, the water is above my knee...the water began rising, thesun began sinking down...

01:24:29

An unidentified song. Poor sound quality. Lyrics: Good morning blues, whyhave you been so long....

01:27:12

An unidentified song. Poor sound quality. Lyrics: I seemed lonely, when yougot a valley by your side...my mother left me, when I was too small tohelp myself....


Time Content01:30:

22An unidentified song. Poor sound quality. Lyrics: I want you all people to

listen to why I get to sing, if you don't get no rhythm, it don't mean athing...

01:33:00

An unidentified song. Poor sound quality. Lyrics: I wait all day long for you,until the sun goes down...

01:35:37

End

Side BTime ContentStart An unidentified song. Lyrics: Mmm, something cold is creeping around,

blues it got me, I feel myself sinking down...02:54 An unidentified song. Lyrics: I've been drinking all night long, I start again

today...05:33 An unidentified song. Lyrics: Baby please don't leave me, all the love I feel

in my heart, I can't trust nobody...08:26 "I'm Just Dumb." Lyrics: It is a pity the way I love you, and you ain't worth a

dime.... You talk all night in your sleep, baby then you wake up lyin'.....11:16 An unidentified song. Lyrics: Night and day I've been drinking, tried to get

you off my mind...14:15 An unidentified song. Lyrics: Someday I won't be with you, and you won't

have to stay up from home...17:09 An unidentified song. Lyrics: Love is only a game, when you are losing

love, there is only yourself to blame...19:55 An unidentified song. Lyrics: She was working on a project, she is too lazy,

she can't make coffee, and she can't comb her hair, she is the laziest girlin town...

22:49 An unidentified song. Lyrics: Chicago is alright to visit, but please don'thang around....

25:24 An unidentified song. Lyrics: Give me my money, my love too, trying mybest to put you through...tell me baby, what can a poor man do...

28:16 An unidentified song. Lyrics: Stay close by me baby, don't leave me for asingle day...

31:05 An unidentified song. Lyrics: Just a few more hours, and a few more days,and I will be fine... you can't keep the things that you really love in yourlife...

34:09 An unidentified song. Lyrics: I love good jelly rolls...it is good for the sick,it is good for the old...

37:12 An unidentified song. Lyrics: When you are feeling low down, tell yourtrouble, you will never be happy until you find your love....

39:58 An unidentified song. Lyrics: You ran away with that man, what did it do toyou, your mind is all gone, it got no more use for you...

42:57 An unidentified song. Lyrics: You've been gone all day baby....46:01 An unidentified song. Lyrics: You got to fly right baby if you want to get

along with me...49:08 An unidentified song. Lyrics: I found brown-skinned woman, really filled

my empty space...I am a known rambler...51:53 An unidentified song. Lyrics: Look down the lonesome road, I am defeated

but still I got to go....there is no train to my hometown...54:46 An unidentified song. Poor sound quality. Lyrics: I feel sorry for you baby,

there is nothing I can do...


Container Contents


Time Content57:35 An unidentified song. Lyrics: Give you my money, my love too, try my best

to put you through...tell me baby what can a poor man do...01:00:

32An unidentified song. Lyrics: What makes a rooster crow, waking before

sunrise, sleeping sixteen hours a day...01:03:

00An unidentified song. Lyrics: Don't you understand me baby, there will

never be no other one but you...01:06:

01An unidentified song. Poor sound quality. Lyrics: I give you all my mind.....

01:11:52

An unidentified song. Lyrics: I want to talk to you baby, please don't walkaway, every time I come home, why is it you are always gone...

01:14:42

An unidentified song. Lyrics: What does it matter if every sweetheart goeswild, as long as I can hold you every night...

01:17:27

An unidentified song. Lyrics: How can you be so mean to me, baby, I'vebeen so good to you...

01:20:11

An unidentified song. Lyrics: Take care of the woman you got, let your bestfriends get along....

01:22:57

An unidentified song. Lyrics: Tell me why I love you baby, it is something Ican't figure out myself...

01:25:45

An unidentified song. Lyrics: I got robbed of my bank, and I just can't liveno more...

01:28:38

An unidentified song. Lyrics: This sure has been a long, lonesome day, I cansee my baby, but still she is still so many miles away....

01:31:17

End





and buzz from the tape.Side A

Time ContentStart An unidentified song. Lyrics: Yes I am so glad, I found you out just in time,

I don't have to cry for you no more....02:30 An unidentified song. Lyrics: What makes a rooster crow every morning

'fore day....05:11 An unidentified song. Lyrics: Love, love is only a game...07:45 An unidentified song. Lyrics: I got the blues for my baby, she won't be home

no more....10:19 An unidentified song. Lyrics: I feel so lonesome, I feel so all alone....13:13 An unidentified song. Lyrics: As long as I live, I want to give all my love to

you....16:13 An unidentified song. Lyrics: You are mine, you belong to me, I need you

night and day...18:49 An unidentified song. Lyrics: Oh my baby, don't break your daddy's heart,

my baby I will love you.....21:52 An unidentified song. Lyrics: Another day going by, darling, what am I

going to do...


Container Contents


Time Content24:32 An unidentified song. Lyrics: Your kiss is as real as new as...I fell in love,

what can I do, Take me, I am yours....only your love to carry me on...27:13 An unidentified song. Lyrics: Baby, what is the matter with you, I have

everything I know, I can't get along with you....30:16 An unidentified song. Lyrics: Today is long lonesome day, I've been

drinking all night long, I can't drive the blues away.....33:32 An unidentified song. Lyrics: Yes this love of mine, goes on and on, love is

empty since you are gone....36:08 An unidentified song. Lyrics: I found a dream, and it really came true, I

found a dream when I found you....38:45 An unidentified song. Lyrics: You know I love you, love everything you

do....41:21 An unidentified song. Lyrics: Baby you have been gone all night long, and

the sun rises and glows...44:01 An unidentified song. Lyrics: I didn't believe them, baby, but now I know,

you are in love with my best friend, and how could you hurt me so....46:38 An unidentified song. Lyrics: I am so in love, no one can understand....49:19 An unidentified song. Lyrics: You got to stick with me, you are right kind of

gal for me...51:46 "Tomorrow Night." Lyrics: Tomorrow night, would you remember what you

say tonight...54:49 An unidentified song. Lyrics: You don't know, you don't know, you don't

know my mind...57:29 An unidentified song. Lyrics: All alone, got the blues, it cannot be true...01:00:

23An unidentified song. Lyrics: There is nothing I can't do, nothing I can't

say...01:03:


01:06:18

An unidentified song. Lyrics: I feel bad, always there, driving me mad, I amalmost through, what can I do...

01:09:15

An unidentified song. Lyrics: I am going away, I am coming back with myman in my arm, I got things to bring him back to town...

01:12:14

An unidentified song. Lyrics: Get on boat, country man, come along thewater bank...

01:15:21


01:18:19

An unidentified song. Lyrics: Woke up this morning, look around myblues....

01:21:25

An unidentified song. Lyrics: Always trouble, something going on wrong...

01:24:16


01:27:12


01:29:50

An unidentified song. Lyrics: I worry deep down in my thought..

01:32:48

An unidentified song. Very poor sound quality. Lyrics: I am going away, yesgoing away....

01:35:17

End

Side B


Container Contents


Time ContentStart An unidentified song. Very poor sound quality. Lyrics: I am going away, yes

going away ... daddy daddy would you be kind.2:44 An unidentified song. Very poor sound quality. Lyrics: I don't know what to

do to cure these blues...05:42 An unidentified song. Very poor sound quality. Lyrics: I've been a good

woman, everybody knows...08:30 An unidentified song. Very poor sound quality.11:33 An unidentified song. Very poor sound quality.14:30 An unidentified song. Very poor sound quality. Lyrics: I cry, come back

daddy , to ease my pain...pain in my mind...16:53 An unidentified song. Very poor sound quality. Lyrics: I may be crazy, but I

ain't no fool....19:56 An unidentified song. Very poor sound quality. Lyrics: Yellow man is evil, I

am going to get a black man to drive the blues away...22:43 An unidentified song. Very poor sound quality. Lyrics: I have to go, and

leave my daddy behind....25:20 An unidentified song. Very poor sound quality. Lyrics: Now once more, fly,

oh fly, now bounce, New Orleans bounce will make you a good day...28:09 An unidentified song. Very poor sound quality. Lyrics: Let me tell you what

Uncle Sam has done to me...31:05 An unidentified song. Very poor sound quality. Lyrics: If you ever have

feeling, feeling...34:04 An unidentified song. Very poor sound quality. Lyrics: I got a man, a very

lazy man...37:15 An unidentified song. Poor sound quality. Lyrics: This morning I woke up,

I'd know I really have some blues...40:16 An unidentified song. Poor sound quality. Lyrics: Let me be your company...43:24 An unidentified song. Very poor sound quality. Lyrics: It was midnight I was

scared, I was frightened... I know somebody was about to die...46:21 An unidentified song. Very poor sound quality. Lyrics: I don't know what is

with my man, I can't eat breakfast, I have no appetite, I just can't makehim understand...

49:17 An unidentified song. Very poor sound quality.51:50 An unidentified song. Very poor sound quality. Lyrics: Have you ever had a

feeling....54:54 An unidentified song. Very poor sound quality. Lyrics: Get away from my

window, don't knock at my door...58:10 An unidentified song. Very poor sound quality. Lyrics: Be everywhere, see

everything...I don't let any one man worry me...01:00:

55An unidentified song. Poor sound quality. Lyrics: Railroad take me back...I

got no time to loose.....01:03:

58An unidentified song. Poor sound quality. Lyrics: There is a funny feeling,

over me this evening...got to buy a ticket for this train....01:06:

50An unidentified song. Poor sound quality. Lyrics: In Mississippi there is a

man I know...01:09:

50An unidentified song. Poor sound quality. Lyrics: I got the blues I don't want

to go back home....01:12:

37An unidentified song. Poor sound quality. Lyrics: I am all alone, I will get a

ticket to go back home...01:15:

42An unidentified song. Poor sound quality. Lyrics: You are going to wake up

that morning, and it won't be long...


Time Content01:18:


01:22:10

An unidentified song. Poor sound quality. Lyrics: I was born in Texas but Ididn't stay...

01:25:20

An unidentified song. Poor sound quality. Lyrics: I never did wrong, I canhear him moan when I pass his window...

01:28:37


01:31:20


01:33:59


01:34:30

End





from the tape.Side A

Time ContentStart An unidentified song. Very poor sound quality.02:40 An unidentified song. Very poor sound quality. Lyrics: You know her, that

little girl looking glad....One week later, my man run away...05:35 An unidentified song. Lyrics: You better stop your man from hacking me

where I am...he is always around my house...08:40 An unidentified song. Lyrics: I can always tell when my man don't want me

around....11:32 An unidentified song. Lyrics: You ain't fooling me...don't think I am

sleeping, I am wide awake...14:22 An unidentified song. Poor sound quality. Lyrics: Early one morning, I

called my daddy but he has gone away...17:30 An unidentified song. Poor sound quality.19:46 An unidentified song. Poor sound quality. Lyrics: I love my man but he just

won't behave...22:09 An unidentified song. Poor sound quality. Lyrics: He is the man that I don't

understand..25:14 An unidentified song. Poor sound quality. Lyrics: I got the blues, blue as

blue can be...28:16 An unidentified song. Poor sound quality. Lyrics: You said you need me....30:59 An unidentified song. Poor sound quality. Lyrics: How can I be yours, you

be mine..33:54 An unidentified song. Lyrics: My gal is hot oh baby, I am going crazy...36:32 An unidentified song. Lyrics: I've been working all day long, now my bone

is weary...39:39 An unidentified song. Poor sound quality. Lyrics: You are at work, I am all

alone.....


Container Contents


Time Content42:33 An unidentified song. Poor sound quality. Lyrics: There are two kinds of

people that I can't stand...45:10 An unidentified song. Poor sound quality. Lyrics: I can see how some of

these men miss me....48:04 An unidentified song. Poor sound quality. Lyrics: You drink muddy water,

you sleep all alone...50:42 An unidentified song. Poor sound quality. Lyrics: I am looking for no

trouble, to let my man alone....53:48 An unidentified song. Poor sound quality. Lyrics: My mama once told me....56:32 An unidentified song. Poor sound quality. Lyrics: You are my dream, I want

to marry you....I am leaving you...59:44 An unidentified song. Poor sound quality. Lyrics: You try to get away day by

day.....01:02:

30An unidentified song. Possibly performed by Butterbeans and Susie. Lyrics:

Papa ain't no Santa Claus, and Mama ain't no Christmas tree...01:05:


What it takes to bring you back, your mama keep you all the time...01:08:


Now my father is a preacher of a big church down in Newport Newswhere I belong...

01:11:27

An unidentified song. Possibly performed by Butterbeans and Susie. Lyrics:You are my man, you said I have to sleep in a tent, you never pay norent.....baby you can walk right out...

01:14:24

An unidentified song. Poor sound quality. Lyrics: I know I've been bad,please think over before you leave....dive my blues away....

01:16:56


01:19:54

An unidentified song. Very poor sound quality. Lyrics: Women talk aboutme...I am just a working gal....

01:23:03

An unidentified song. Poor sound quality. Lyrics: Everyday somebody tellme about my man, but I know he is not the worst of the men...

01:25:50

An unidentified song. Poor sound quality. Lyrics: I am getting sick and tired,I am telling you to shake that thing, and old folks teach young folks toshake that thing...

01:28:55

An unidentified song. Poor sound quality. Lyrics: I can say what I like...I cansmile I can wink....because I am no man's mama now...

01:31:51

End

Side BTime ContentStart An unidentified song. Poor sound quality. Lyrics: The pale moon shining on

a field below, soft wind blowing through the pinewood tweaks....02:36 An unidentified song. Poor sound quality. Lyrics: Why do I sigh, days pass

me by...since you've been gone, everything's been wrong...04:55 An unidentified song. Poor sound quality. Lyrics: I am packing my stuffs

and heading out tonight, good bye honey, I will see you again...07:38 An unidentified song. Poor sound quality. Lyrics: I am going to do

something that I've never done....10:28 An unidentified song. Lyrics: Ain't no walking in the morning, walking

when the sun goes down...


Container Contents


Time Content13:25 An unidentified song. Lyrics: I've heard your love, I got a man....trying to

get money, to get my man of out of jail...16:23 An unidentified song. Poor sound quality. Lyrics: I worked so long to buy

myself a loaf of bread...My heart is so heavy....19:07 An unidentified song. Poor sound quality.21:48 An unidentified song. Poor sound quality. Lyrics: If I see you tomorrow

while I see you today....24:24 An unidentified song. Poor sound quality. Lyrics: Oh don't treat me the way

you do...27:16 An unidentified song. Very poor sound quality. Lyrics: I think I've been a

good girl...30:13 An unidentified song. Very poor sound quality. Lyrics: If I were a bird, I

build my nest in the heart of town...33:18 An unidentified song. Poor sound quality. Lyrics: I worked all day I just

came home ... come to your papa, what do you want me to do...36:06 Come on, pitch boogie-woogie, I boogie-woogie all night long..39:12 An unidentified song. Poor sound quality. Lyrics: I want my hands on it...I

don't buy nothing....41:59 An unidentified song. Poor sound quality. Lyrics: In my pocket I ain't got a

dime, I can do nothing....44:54 An unidentified song. Lyrics: I've got a woman, she lives upon the hill, when

she put her arms around me, I get the thrill...I love loving....48:03 An unidentified song. Lyrics: Hey mama, why baby, why you and I slow

down, you don't do nothing but drink moonshine...51:06 An unidentified song. Lyrics: I've got a woman, she lives upon the hill, when

she put her arms around me, I get the thrill...I love loving....54:15 An unidentified song. Lyrics: If you don't love me, why don't you tell me

so...57:13 An unidentified song. Lyrics: I am not jealous, you are driving me wild....01:00:

27An unidentified song. Poor sound quality. Lyrics: Mama said take your

time...01:03:

10An unidentified song. Poor sound quality. Lyrics: I am on my way to

Memphis, and I can't stop...I really want some good looking womanto drive my blues away..

01:06:40

An unidentified song. Poor sound quality. Lyrics: She is gone, she is gone,but she will be back someday...

01:09:17

An unidentified song. Lyrics: I feel blues about my baby, just as blue as Ican be...

01:11:48

An unidentified song. Lyrics: I am breathing out of worry, mama, about theway you do...don't give me love through other man...

01:14:26

An unidentified song. Lyrics: I don't have no money, and I could not gohome...I am broke and hungry....

01:17:13

An unidentified song. Lyrics: She said the money doesn't excite me, and thatwe all know it well...

01:20:24

An unidentified song. Lyrics: And right is right, wrong is wrong...

01:23:17


01:25:56

An unidentified song. Poor sound quality. Lyrics: I am going to leave youand I won't be back to home....


Time Content01:28:

46End




7 in.Notes from the original tap box: Side 1 - Merline Johnson #8 thru #24. Side 2 - Merline

Johnson #25 thru #43 Nora Lee King.Logger's note: dubs of blues songs by Merline Johnson and other unidentified singers.Vendor's digitization note: the program is distorted at times, and there is significant hum

from the tape.Side A

Time ContentStart "Blues Before Daybreak." Lyrics: I get the blues before day break...it is such

a miserable feeling...I am gonna cast my trouble, down to the deep bluesea....

02:26 An unidentified song. Lyrics: Darling you mistreated me, our romance is atragedy, until I know the results will be, how can I go on....

05:07 An unidentified song. Lyrics: I've been talking to you ma'am, and I ain'tgonna talk no more...

07:46 An unidentified song. Lyrics: Everything is gone, I wonder where itgoes...my man loved me but it was so long ago...if you have so muchtrouble, you can't be living right...

10:24 An unidentified song. Lyrics: I am going to Foggy Bottom to live my easyway, I was raised in Foggy Bottom, born in Tennessee....

12:56 An unidentified song. Lyrics: I am a weak little woman, my man fights meall the time ... my man fights me like King Kong...

15:30 An unidentified song. Lyrics: I will never forget you, you didn't want me,baby why don't you tell me so...

17:49 An unidentified song. Lyrics: I am at the crossroad, I have nomoney....everybody seems to know me, everybody passes me by....

20:19 An unidentified song. Poor sound quality. Lyrics: I love my baby, my babydon't love me...

22:44 An unidentified song. Poor sound quality.25:36 An unidentified song. Poor sound quality. Lyrics: Please stop breaking

down, it gonna make you lose your mind...27:51 An unidentified song. Poor sound quality.30:03 An unidentified song. Poor sound quality.32:07 An unidentified song. Poor sound quality. Lyrics: I believe it is time to go....34:35 An unidentified piece played by an unidentified pianist.37:22 An unidentified piece played by an unidentified pianist.40:05 An unidentified song. Poor sound quality. Lyrics: I am going to buy me a

picture, hanging on the wall...I got a low down woman, she don't donothing but run around....

42:45 An unidentified song. Poor sound quality. Lyrics: I was shipwrecked on theocean ... When you get to Chicago, mama please remember me....

45:28 An unidentified song. Lyrics: I got nobody to testify my mind....you talkedabout blues, now I keep it day by day...

48:12 An unidentified song. Lyrics: Yes that lemonade is good, I stay in my roomand squeeze it, I am pretty good at it...


Container Contents


Time Content50:47 An unidentified song. Lyrics: I was born in Alabama, raised in Tennessee,

these Creole woman, make a bad mouth about me...53:51 An unidentified song. Lyrics: Have you ever been to South in the old New

Orleans, the street is made of diamond...57:09 An unidentified song. Poor sound quality. Lyrics: I got tired the way my

baby treated me....59:29 An unidentified song. Lyrics: I will keep your clothes nice and neat, I love

my little baby because she so nice and sweet...01:01:

47An unidentified song. Poor sound quality. Lyrics: You are the honeysuckle

down in Tennessee, baby let me be your bees...01:04:

50An unidentified song. Poor sound quality. Lyrics: I got a sweet woman, she

is as sweet as she can be, baby please listen to this song....01:07:


01:10:58

An unidentified song. Poor sound quality. Lyrics: I was around women...

01:13:37

An unidentified song. Poor sound quality. Lyrics: I get that blue when itrains...

01:15:58

An unidentified song. Poor sound quality. Lyrics: I woke up this morning,and I am feeling bad, I think about the good time I used to have...

01:18:53

An unidentified song. Very poor sound quality. Lyrics: I am leaving thisweekend, I am going down to another city...

01:21:30


01:24:23

An unidentified song. Lyrics: I've never lonesome, I've never blue, I amalways happy when I am with you baby, sweetest thing I know...

01:27:20

An unidentified song. Lyrics: My man is a diver, he can dash to the bottom,he came home one evening with his spirit way up high....

01:29:58

An unidentified song. Lyrics: I am a long time mama, let me rock youhome....

01:32:27

An unidentified song. Lyrics: I have no love no affection to this man...I don'tdeserve someone sweet as you, I have been unfair when I shouldn't havebeen to...

01:35:00

End

Side BTime ContentStart An unidentified song. Lyrics: I think of you each and every day...but now

since you have gone back home, do you expect me to live alone, I'drather drink muddy water...

02:59 An unidentified song. Lyrics: I don't fool with women...I was crying andbegging, daddy please don't go...

06:15 An unidentified song. Poor sound quality. Lyrics: I had a worry about theway you do... now you trick me and let me fall.....

09:07 An unidentified song. Poor sound quality. Lyrics: There is blue everywhere Igo...there is blue in my house ...there is blue in my room, I don't know ifI am right or wrong....

11:56 An unidentified song. Poor sound quality. Lyrics: I ain't going to tellanybody, I ain't drink no more...for the man I am loving, he doesn'twant me no more...


Container Contents


Time Content14:43 An unidentified song. Poor sound quality. Lyrics: I am telling everybody

both young and old, don't be bad, once upon a time, it is on my mind, Iwill stop the feeling....

17:24 An unidentified song. Poor sound quality. Lyrics: He talks about he lovesme, every once in a while...my independent man...

20:06 An unidentified song. Poor sound quality. Lyrics: My mama told me when Iwas a child, when I get older, please don't be so wild...

22:42 An unidentified song. Poor sound quality. Lyrics: Girl I got a man...he is sogood-looking ... he is long and thin..

25:19 An unidentified song. Poor sound quality. Lyrics: I've been out tonight andthe night before...I am running down my man, I can get no rest....

28:00 An unidentified song. Poor sound quality. Lyrics: Don't you leave me here,you make me leave my old hometown....

30:53 An unidentified song. Lyrics: Baby baby tell me what you see that night...Iwouldn't have been here if it weren't has been for you...

33:24 An unidentified song. Lyrics: Don't you feel my legs, don't you feel mythigh....

35:58 An unidentified song. Lyrics: If you gonna love a man, love him with thefeeling, cuz if you don't, other woman will...

38:45 An unidentified song. Lyrics: My man he don't love me, he treated all somean, he is the lowest men I've ever seen...

41:33 An unidentified song. Lyrics: Nobody knows how bad I feel this morning, hedon't care that I live to die...

44:21 An unidentified song. Lyrics: You can have another man, keep your mindopen....

47:03 An unidentified song. Lyrics: It is blues everywhere I go, I'd rather be gonethan anywhere I know...you keep on drinking then you lose your home....

49:31 An unidentified song. Lyrics: You may be everything to your mother, but sheis pain in the neck to me...

52:13 An unidentified song. Lyrics: You don't know, you don't know my mind, Iam thinking about the good man...

54:40 An unidentified song. Lyrics: Although it seems that we must part, you willbe forever be in my heart...although you say now we are through, mylove remain for only you...

57:26 An unidentified song. Lyrics: Now that's school learning, cuz I could notmake a grade....I don't work but nobody but every week the rent getpaid...

01:00:12

An unidentified song. Lyrics: I knocked on my baby's front door, he refusedto let me in...

01:02:40

An unidentified song. Lyrics: I met the man gain, I tried to treat him right....

01:05:12

An unidentified song. Lyrics: Every morning the milk man brings the milkto me...

01:07:55

An unidentified song. Lyrics: I got the blues for my baby, I really love thatman...

01:10:28

An unidentified song. Poor sound quality. Lyrics: You know it ain't right todo me like you do, when you don't want me...

01:12:58

An unidentified song. Poor sound quality. Lyrics: Every time I go to sleep,as blues as I can be....My man doesn't want me no more....

01:15:39

An unidentified song. Poor sound quality. Lyrics: Having a good time isnice, running around is no good...


Time Content01:18:

19An unidentified song. Poor sound quality. Lyrics: My heart is worried, my

mind has misery....I tried to be good...01:21:

58An unidentified song. Poor sound quality. Lyrics: I will try to forget,

goodbye, You will always regret, goodbye, I don't like the way you'rebehaving...

01:23:30

An unidentified song. Poor sound quality. Lyrics: The turkey man left SusieQ, take your time watch what you do, let's pitch Boogie-Woogie....

01:26:08

An unidentified song. Poor sound quality. Lyrics: don't you want yourfortune told...when you get lonesome, and begin to feeling blue, go see ablack Gypsy....

01:28:58

An unidentified song. Poor sound quality. Lyrics: I am good to that man, asany girls could be, you may call me crazy, cuz I treat him like I do....

01:31:47

End


Compilation of blues recordings, undated


7 in.Archivist's note: While the tape box reads "Christmas America" and has a few song titles,

the tape is a compilation of various blues recordings, some recorded live, which mayappear elsewhere in this collection. The current title was supplied by the archivist


Blues recordings, #1 (78 rpm singles), undated


7 in.Vendor's digitization note: the programs are distorted at times, and there is significant hum

from the tape, as well as crosstalk. Side B has an audio gap from 00:03:07 to 00:05:59.Item-ID: AFC 2011/053:SR428

Blues recordings, #2 (78 rpm), undated




Blues fiddle #1, Mississippi Sheiks, undated

Rack number: RXH 4653Extent: 1 sound tape reel (00:30:53) : analog, 7 1/2 ips, full track, stereo ; 7 in.Logger's note: dubs of commercial recordings by Mississippi Sheiks.Vendor's digitization note: the program is distorted at times.

Time ContentStart Sitting On Top of the World by Mississippi Sheiks (poor sound quality)03:33 "Lonely One In This Town" by Mississippi Sheiks (poor sound quality)06:54 "Bootleggers' Blues" by Mississippi Sheiks10:30 "Loose Like That" by Mississippi Sheiks13:50 "Unhappy Blues" by Mississippi Sheiks17:17 "Stop and Listen Blues No. 2" by Mississippi Sheiks20:37 "Please Don't Wake It Up" by Mississippi Sheiks


Container Contents


Time Content24:10 "The World is Going Wrong" by Mississippi Sheiks27:38 "Kind Treatment" by Mississippi Sheiks30:53 End


Blues fiddle #2, Mississippi Sheiks, undated


Time ContentStart "Lazy, Lazy River" by Mississippi Sheiks03:22 "Bed Spring Poker" by Mississippi Sheiks06:36 "I've Got Blood In My Eyes For You" by Mississippi Sheiks09:56 "Last Stage Blues" by Mississippi Sheiks13:14 "She is So Fair" by Mississippi Sheiks16:33 "Rolling and Stumbling Blues" by Mississippi Sheiks19:46 "Texas Troublesome Blues" by Mississippi Sheiks23:10 "C C Rider" by Big Bill Broonzy26:40 "Royal Palm Special BL" by Sloppy Henry29:53 "Oh Yeah" by Butterbeans and Susie32:59 End


Blues Fiddle #3, Tampa Joe and Macon Ed, undated

Rack number: RXH 4655Extent: 1 sound tape reel (00:22:16) : analog, 7 1/2 ips, stereo ; 7 in.Logger's note: dubs of commercial recordings by Tampa Joe and Macon Ed.Vendor's digitization note: the program is distorted at times, and there is also a warble.

Time ContentStart Song #1: An unidentified blues/jazz song played by a band02:40 Song #2: An unidentified blues/jazz song played by a band05:25 Song #3: An unidentified blues/jazz song played by a band08:04 Song #4: An unidentified blues/jazz song played by a band10:53 Song #5: An unidentified blues/jazz song played by a band13:58 Song #6: An unidentified blues/jazz song played by a band16:51 Song #7: An unidentified blues/jazz song played by a band22:16 End


Blues fiddle #4, Peg Leg Howell and His Gang, Lonnie Johnson, undated

Rack number: RXH 4656Extent: 1 sound tape reel (00:19:16) : analog, 7 1/2 ips, stereo ; 7 in.Logger's note: dubs of commercially-recorded blues songs by Peg Leg Howell and

His Gang, and Lonnie Johnson. There is a list of songs on the tape but the fadedhandwriting is mostly unreadable.

Vendor's digitization note: the program is distorted at times, and a speed fluctuation at theend of the tape.Time ContentStart An unidentified blues song #1; lyrics: He calls on me, I was not able to go, I

can barely lift my hand....04:14 An unidentified blues song #2; lyrics: just a king....I am thinking she maybe

my life...


Container Contents


Time Content07:21 An unidentified blues song #3; lyrics: The train is gone.....10:39 An unidentified blues song #4; lyrics: Doo-Doo-Doo...(vocalizations

alternating with harmonica and band section)13:43 An unidentified blues song #5; lyrics: sleeping in the swamp last

night....soon the moon is shining...16:42 An unidentified blues song #6; lyrics: Grandpa said just leave it alone, I am

putting new tools in the old trombone...Everybody does it now, let meshow you how.... The song ends abruptly.

19:16 EndItem-ID: AFC 2011/053:SR455

Anthology of Boogie KERA FM, 1976

Rack number: RXH 4695Extent: 1 sound tape reel (Side A, part 1: 01:51:44; Side A, part 2: 00:12:37, Side B, part

1: 01:51:59, Side B, part 2: 00:16:18) : analog, 3 3/4 ips, stereo ; 7 in.Vendor's digitization note: programs are distorted at times, and there is significant hum

from the tape. Four digital files were created: two from each tape side, due to file sizelimitations.


Boogie woogie, undated

Rack number: RXH 4696Extent: 1 sound tape reel (Side A: 01:18:20) : analog, 3 3/4 ips, mono ; 7 in.Dubs of three commercial recordings from 1943-1953.Archivist's note: Side B has not yet been digitized.


Chess female blues, undated




Chicago blues material - George Smith and others, undated


00:43:06, Channel 4: 00:00:07) : analog, 7 1/2 ips, mono ; 7 in.Dubs of commercial recordings performed by George "Harmonica" Smith and others.

Also bits of non-blues music by other performers and fooling around in a recordingstudio.

Vendor's digitization note: the program is distorted at times. Channel 1 has speedfluctuation on the tape at the tail. Channel 3 has two audio gaps: 00:09:23-17:30and 00:41:38-00:42:46.


Country blues dubs, undated



Country blues dubs, undated

Rack number: RXH 4663Extent: 1 sound tape reel (Side A: 01:04:46) : analog, 3 3/4 ips, mono ; 7 in.Archivist's note: Side B has not yet been digitized.


Container Contents


Vendor's digitization note: the program is distorted at times, and there is significant hissfrom the tape.


Country blues dubs (78s), undated



Country blues dubs, #1 or #7 (78s ), undated

Rack number: RXH 4657Extent: 1 sound tape reel (00:31:08) : analog, 7 1/2 ips, stereo ; 7 in.Logger's note: dubs of commercially-recorded country blues songs by Big Bill Broonzy,

Blind Boy Fuller, and Bull City Red.Vendor's digitization note: the program is distorted at times.

Time ContentStart An unidentified blues song #1, lyrics: Keep your hands off her, did you hear

what I say, she don't belong to you....03:18 An unidentified blues song #2, lyrics: I am sad and lonely...yes I am blue

and I am worried ... woman I gonna bring her home...06:30 An unidentified blues song #3, lyrics: Now Tell me, baby, who've fooling

you....you took my money and you spent it on somebody else....09:38 An unidentified blues song #4, lyrics: Love has been my name, love for 40

years and more...trying to take care my so-and-so....12:35 An unidentified blues song #5, lyrics: Early one morning mama...got to find

where my baby is, please come back to me mama...my woman call myname....

15:23 An unidentified blues song #6, lyrics: She is there...I am going away...18:16 An unidentified blues song #7, lyrics: Hey hey, there is one thing about my

woman I can't understand...I got my brown-skinned woman, she is longand slim...

21:40 An unidentified blues song #8, lyrics: Mama let me lean on you, I will giveyou anything of the world...

24:35 An unidentified blues song #9, lyrics: Now you said you are worried, andhave trouble all of your life...

27:27 An unidentified blues song #10, lyrics: I wanna call that woman...she putsomething in my coffee, and she poured some in the tea...

31:08 EndItem-ID: AFC 2011/053:SR418

Country blues dubs, #2 (78s), undated

Rack number: RXH 4658Extent: 1 sound tape reel (00:30:43) : analog, 7 1/2 ips, mono ; 7 in.Logger's note: dubs of country blues songs: of the ten songs four are by Buddy Moss and

one is by Nick NicholsVendor's digitization note: the program is distorted at times.

Time ContentStart An unidentified country blues song #1, lyrics: Early this morning my baby

meet me ...I love that mystery woman...she leaves me every morning anddon't come back late at night...

03:37 An unidentified country blues #2, lyrics: You are gonna miss me when I amdead and gone...


Container Contents


Time Content06:42 An unidentified blues song #3, lyrics: I know you are gonna need me, but it

won't do you no good...you better treat me as you should....09:43 An unidentified blues song #4, lyrics: Blue is trouble, that will drive you

wild, they will drive you crazy and make you suicide....12:21 An unidentified blues song #5, lyrics: Mama gonna be crazy about my brain,

somebody said I am not a good man...15:07 An unidentified blues song #6, lyrics: I am just a mistreated man, my baby

left me...ain't done nothing wrong...17:56 An unidentified blues song #7, lyrics: Tell me baby, what have I done

wrong, I thought I would be happy, but the trouble has just begun...21:06 An unidentified blues song #8, lyrics: I told you once, told you twice, you

can have my woman but leave my wife out...24:28 An unidentified blues song #9, lyrics: When you wake up in the morning,

I have no place to go, there is somebody knocking loud, I wonder whocould it be...

27:45 An unidentified blues song #10, lyrics: Right here in your town, a street theycall ....say you wake up in the morning, you hear that dou-dou-dou....thatmakes you wonder, make you want to go...

30:43 EndItem-ID: AFC 2011/053:SR419


Rack number: RXH 4659Extent: 1 sound tape reel (00:31:10) : analog, 7 1/2 ips, full track, mono ; 7 in.Logger's note: dubs of country blues songs by unidentified singers.Vendor's digitization note: the program is distorted at times.

Time ContentStart An unidentified blues song #1, lyrics: Oh Lord have mercy, when I got no

body, Lord have mercy on me....02:52 An unidentified blues song #2, lyrics: Look at the woman...I've got no home,

would you let me drink honey, woman you are my queen bee....06:05 An unidentified blues song #3, lyrics: I'll never know where is my good man

at...He left this morning...get my good man back...09:04 An unidentified blues song #4, lyrics: kind treatment...I got kind treatment

wherever I go...11:51 An unidentified blues song #5, lyrics: How do you know ....she is a good

woman....14:40 An unidentified blues song #6, lyrics: How can I get you off my mind... you

know you are that kind of woman who cheated me...17:20 An unidentified blues song #7, lyrics: I am lonesome, come back to my

door...I am gonna ask someone else take my place...20:08 An unidentified blues song #8, lyrics: When I walk on the 8th Ave, people

try to find you...I often think and wonder, what makes you treat me likeyou do...

22:42 An unidentified blues song #9, lyrics: When you come back baby, and tryme all over again, say we always love each other and stick to it to theend...

25:10 An unidentified blues song #10, lyrics: All of these school education didn'tmean a thing to me, when I met a good-looking woman, that was in theneed....

28:01 An unidentified blues song #11, lyrics: Coats and diamond, my money yougot it all...I made a resolution to leave you....


Container Contents





Rack number: RXH 4660Extent: 1 sound tape reel (00:33:28) : analog, 7 1/2 ips, full track, mono ; 7 in.Logger's note: dubs of country blues songs by unidentified singers.Vendor's digitization note: the program is distorted at times.

Time ContentStart An unidentified blues song #1, lyrics: My woman want my money, she

makes a monkey out of me...when she cashes my check, I can't see herno more...

02:45 An unidentified blues song #2, lyrics: Baby , you say you don't love me likeI love you ... the woman treated me mean, I asked for water, she gave megasoline...

06:03 An unidentified blues song #3, lyrics: Baby, the way you treat me, you actyou don't want me be around you no more...you are a bad woman, glad Iam done with you now...

08:48 An unidentified blues song #4, lyrics: Walking and walking by myself,because the woman I love become somebody else's....

11:53 An unidentified blues song #5, lyrics: Please give me a cigarette...I get drunkas I can be...

14:37 An unidentified blues song #6, lyrics: I've been mourning, mourning eversince you've been gone....I can't find my woman close....

17:50 An unidentified blues song #7, lyrics: I've been mourning, woman, sinceyou've been gone, since I went back home and I looked up on the shelf...

20:47 An unidentified blues song #8, lyrics: Mama you told me to stay home, and Iwouldn't...When the captain call you, you have to go....

23:45 An unidentified blues song #9, lyrics: when you see the smoke, set them tothe ground...you talk about trouble all my days....trouble to my grave...

26:54 An unidentified blues song #10, lyrics: I am worrying now but won't beworrying long....It takes a worrying woman to sing a worrying song...

30:14 An unidentified blues song #11, lyrics: Time to go to the country, won't beback in the Fall, won't be back at all....you mistreated me for anotherman....

33:28 EndItem-ID: AFC 2011/053:SR460

Disaster dubs #1, undated



Disaster dubs #2, undated

Rack number: RXH 4701Extent: 1 sound tape reel (00:30:57) : analog, 7 1/2 ips, mono ; 7 in.Dubs from commercial recordings.Vendor's digitization note: the program is distorted at times.


Hillbilly 78s, #4, undated



Container Contents




Rack number: RXH 4679Extent: 1 sound tape reel (01:05:22) : analog, 3 3/4 ips, mono ; 7 in.Logger's note: dubs of commercially-recorded gospel songs and blues songs by various

singers.Vendor's digitization note: the program is distorted at times.

Time ContentStart "Oh! Come" by The Deal Family03:27 "I'm on My Way to Glory" by The Deal Family06:10 "The Story of C.S. Carnes" by Dan Hornsby09:25 "The Shelby Disaster" by Dan Hornsby12:16 "The Prodigal's Return" by J. Frank Smith15:32 "The Drunkard's Child" by J. Frank Smith18:26 "Matthew Twenty Four" by Molly O'Day21:24 "The Black Sheep Returned to the Fold" by Molly O'Day24:12 "Jealous Hearted Me" by Carter Family26:52 "Lay My Head Beneath the Rose" by Carter Family29:25 "If You See My Saviour" by Molly O'Day32:32 "When My Time Comes to Go" by Molly O'Day35:25 "Keep A Light in Your Window" by Mac and Bob38:34 "Please Let Me Broadcast to Heaven" by Mac and Bob41:30 "Lovers Leap" by Billy Cox and Cliff Hobbs43:50 "The Last Letter" by Billy Cox and Cliff Hobbs46:47 "Liquor Bowl Blues" by Billy Cox and Cliff Hobbs49:46 "When Night Comes On" by Billy Cox and Cliff Hobbs52:32 "A Thousand Miles From Texas" by Vance Knowles and Red Lay55:07 "Two Chairs on the Porch for You and Me" by Vance Knowles and Red Lay57:25 "The Blood That Stained the Old Rugged Cross" by Carl Smith, Carter

Sisters and Mother Maybelle59:45 "Gethsemane" by Carl Smith, Carter Sisters and Mother Maybelle01:02:

11The Life of Hank Williams by Hawkshaw Hawkins

01:05:22

End



Rack number: RXH 4680Extent: 1 sound tape reel (01:06:10) : analog, 3 3/4 ips, mono ; 7 in.Logger's note: dubs of commercially-recorded blues songs and folk songs by various

singers.Vendor's digitization note: the program is distorted at times.

Time ContentStart "I'm Glad My Wife's In Europe" by Fiddlin' John Carson03:06 "Since She Took My Licker Form Me" by Fiddlin' John Carson06:15 "Lightning Express" by Ernest Thompson09:32 "Jessie James" by Ernest Thompson. [Instrumental piece]12:48 "Talking Blues" by Chris Bouchillon15:55 "Hannah" by Chris Bouchillon


Container Contents


Time Content18:58 "When the Saints Go Marching in" by Fiddlin' John Carson and Moonshine

Kate22:15 "Bear Me Away On Your Snowy Wings" by Fiddlin' John Carson and

Moonshine Kate25:22 "The Rovin' Gambler" by Al Craver28:25 "The Wreck of the 1256 (on the Main Line Of The C. And O.)" by Al Craver31:56 "Fr. O'Flynn" and "Haste to the Wedding" by Patrick J. Scanlon

[instrumental piece which features accordion and other instruments]35:10 "Keel Row" and "Money Musk" by Patrick J. Scanlon [Instrumental piece

which features accordion and other instruments]38:16 "The Ohio River Flood" by Dellinger Family41:11 "The Streamlined Cannonball" by Boy Acuff43:58 "Mule Skinner Blues" by Boy Acuff46:54 "Cumberland Gap" by Land Norris [Poor sound quality]50:09 "Kitty Puss" by Land Norris [poor sound quality]53:05 "So Happy I'll Be" by Enos Johnson Sacred Quartet55:12 "I'm Gonna Make Heaven My Home" by Enos Johnson Sacred Quartet57:09 "Unclouded Day" by Al Runyon59:09 "I'm Using My Bible For A Road Map" by Queen City Sacred Quartet01:01:

14"Lovely Tombs" by Queen City Sacred Quartet

01:03:16

An unidentified song. Lyrics: ...what would you give by exchange of yoursoul? Oh, if today God should call you away.

01:05:20

An unidentified song. Lyrics: This world is not my home I'm just a-passin'through. My treasures are laid up somewhere beyond the blue. The songends abruptly.

01:06:10

End



Rack number: RXH 4681Extent: 1 sound tape reel (01:03:31) : analog, 3 3/4 ips, mono ; 7 in.Logger's note: dubs of blues songs and folk songs by various singers.Vendor's digitization note: the program is distorted at times.

Time ContentStart "Never Grow Old" by Preston Ward02:06 "Holy Life Insurance" by Preston Ward04:07 "What Would You Give in Exchange For Your Soul" by Preston Ward06:08 "His World Is Not Mine" by Preston Ward08:09 "Mother Is With the Angels" by Wright Brothers Quartet11:10 "Somebody's Boy" by Wright Brothers Quartet13:55 "Lulu Walsh" by Walter Morris17:08 "You Will Never Miss Your Mother Until She Is Gone" by Fiddlin' John

Carson (poor sound quality)20:18 "Papa's Billy Goat" by Fiddlin' John Carson (poor sound quality)23:18 "Polly Ann" by Frank Wilson and His Blue Ridge Mountain Trio26:43 "Katy-Did Waltz" by Frank Wilson and His Blue Ridge Mountain Trio29:49 "Standing in the Need of Prayer" by The West Virginia Snake Hunters32:55 "Walk the Streets of Glory" by The West Virginia Snake Hunters35:56 "Little Bunch of Roses" by Murphy Brothers Harp Band


Container Contents


Time Content39:08 "Downfall of Paris" by Murphy Brothers Harp Band42:11 "Henry Whitter's Fox Chase" by Henry Whitter45:20 "Rain Crow Bill" by Henry Whitter48:25 "Louisburg Blues" by Uncle Bunt Stephens51:29 "Sail Away, Ladies" by Uncle Bunt Stephens54:30 "Papa's Billy Goat" by Fiddlin John Carson57:42 "Mama's Nanny Goat" by Fiddlin John Carson01:00:

45"Horse Neck Daddy" by Bill Cox & Cliff Hobbs

01:03:31

End




Time ContentStart "Runaway Train Blues" by Bill Cox and Cliff Hobbs.03:08 "Come And Dine" by The Happy Four06:03 "Climbing Up the Golden Stairs" by The Happy Four09:04 "Knocking on The Hen House Door" by Dock Walsh12:09 "We Courted in the Rain" by Dock Walsh15:13 "I Have a Friend" by The Thrasher Family18:05 "It Was For Me" by The Thrasher Family21:02 "The Flight Of Lucky Lindbergh" by Ernest Rogers (poor sound quality)24:00 "The Story Of The Mighty Mississippi" by Ernest Stoneman (poor sound

quality)26:58 "Crazy Coon" by Walter Morris30:03 "Betsy Brown" by Walter Morris33:08 "The White Rose" by Wilma Lee & Stoney Cooper35:57 "The Legend of the Dogwood Tree" by Wilma Lee & Stoney Cooper39:03 "Blue Eyes Crying In The Rain" by Roy Acuff And His Smoky Mountain

Boys41:44 "The Devil's Train" by Roy Acuff And His Smoky Mountain Boys44:20 "They Can Only Fill One Grave" by Roy Acuff And His Smoky Mountain

Boys47:05 "Do You Wonder Why" by Roy Acuff And His Smoky Mountain Boys49:57 "Step It Up And Go" by Harmonica Frank (Floyd)52:19 "Swamp Root" by Harmonica Frank (Floyd)54:53 End


Hillbilly dubs, undated


Time ContentStart "The Rainbow Division" by Darby and Tarlton


Container Contents


Time Content03:27 "Country Girl Valley" by Darby and Tarlton06:40 "Lafayette" by Joseph F. Falcon09:48 "The Waltz That Carried Me to My Grave" by Joseph F. Falcon12:40 "Ain't She Sweet?" by McMichen's Harmony Boys15:58 "Sweetheart Days" by McMichen's Harmony Boys19:02 "Pork Chop" by Darby and Tarlton22:31 "Hard Time Blues" Darby and Tarlton25:49 "The Mother's Plea For her Son" by Charlie Poole and The North Carolina

Ramblers28:51 End


Hillbilly dubs, undated

Rack number: RXH 4684Extent: 1 sound tape reel (00:31:33) : analog, 7 1/2 ips, full track, mono ; 7 in.Logger's note: dubs of blues songs and folk songs by various singers.Vendor's digitization note: the program is distorted at times, and there is significant hiss

from the tape.Time ContentStart "Say Darling Won't You Love Me" by Wilmer Watt and The Lonely Eagles

(poor sound quality)03:11 "Banjo Sam" by Wilmer Watts and The Lonely Eagles06:13 "The Kicking Mule" by The Logan County trio09:11 "Forked Deer" by The Clinch Valley Boys (violin and banjo)11:54 "Give That Nigger Ham" by Charlie Parker and Mack Woolbright (banjo

and guitar)15:06 "Rabbit Chase" by Charlie Parker (bnjo)"18:11 "Left in the Dark Blues" by Uncle Bunt Stephens21:09 "Candy Girl" by Uncle Bunt Stephens24:09 "Kitty Wells" by Obed Pickard of Station WSM27:24 "Sand Cave" by George Ake accompanied by Jolly Four Orchestra (poor

sound quality)30:14 An unidentified song [poor sound quality. The song plays for the first few

phrases and ends abruptly.]31:33 End


Hillbilly dubs 78s, undated



Hillbilly 78s dubs, undated



Hillbilly 78s, undated



Container Contents



Hillbilly 78s, undated



Hillbilly and Papa Charlie Jackson, undated

Rack number: RXH 4685Extent: 1 sound tape reel (00:31:51) : analog, 3 3/4 ips, mono ; 7 in.Logger's note: dubs of blues songs and folk songs by various singers.Vendor's digitization note: the program is distorted at times, and there is warbling during

the program. The speed increases gradually, from 00:21:10 to the end of the program.Time ContentStart "Brown Kelly Waltz" part 1, by Alexander Campbell "Eck" Robertson and

Family02:54 "Brown Kelly Waltz" part 2, by Alexander Campbell "Eck" Robertson and

Family05:42 "Sally Gooden" by Alexander Campbell "Eck" Robertson08:58 "Arkansas Traveler" by Henry C. Gilliland and Alexander Campbell "Eck"

Robertson11:58 "Turkey in the Straw" by Henry C. Gilliland and Alexander Campbell "Eck"

Robertson15:07 "Ragtime Annie" by Alexander Campbell "Eck" Robertson (poor sound

quality)18:33 "Adam and Eve in the Garden" by Bogus Ben Covington21:13 "Skoodle-Um-Skoo" by Papa Charlie Jackson24:31 "What's That Thing She's Shaking" by Papa Charlie Jackson27:28 An unidentified song. Lyrics: I am lonesome as I can be, baby please come

home to me, you know I love you...29:49 An unidentified song. Lyrics: When you are drug in the alley, they will tie

you with a string... [It seemed like the recording speed is inaccurate andcauses problem in the playback.]

31:51 EndItem-ID: AFC 2011/053:SR450

Hillbilly 78s - Hedy 64 - dubs, undated



Mississippi hill country blues, #1, undated

Rack number: RXH 4702Extent: 1 sound tape reel (Side A: 00:30:05) : analog, 7 1/2 ips, stereo ; 7 in.Collector's original ID number: 221.Archivist's note: Side B has not yet been digitized.Vendor's digitization note: the program is distorted at times.


Mississippi hill country blues, #2, undated

Rack number: RXH 4703Extent: 1 sound tape reel (Side A: 00:13:22) : analog, 7 1/2 ips, stereo ; 5 in.Collector's original ID number: 222.Archivist's note: Side B has not yet been digitized.


Container Contents



Postwar blues dubs, #1 (78s), undated









Prestige Chicago Blues, undated



Topical Dubs - Postwar blues, #4, undated



Topical blues dubs, 8 (WWII and after), undated

Rack number: RXH 4665Extent: 1 sound tape reel (00:50:57) : analog, 3 3/4 ips, mono ; 7 in.Vendor's digitization note: the program is distorted at times, and there is significant hiss


Topical blues, 5 (Army), undated



Topical blues dubs, #6, undated



Topical blues dubs, #7, undated



Container Contents



West Coast blues dubs, undated



Late 1960s blues recordings, undated

Rack number: RXH 4126Extent: on one side of 1 sound tape reel (polyester, 00:25:07) : analog, 15 ips and 7 1/2

ips, quarter track and half track, stereo and mono ; 7 in.Archivist's note: the recording is misidentified on the tape box as "Joe Albany, #4."LC engineer's note 1: track 1 and track 2 are identical except for speed. Track 1 is 15 ips

and track 2 is 7 1/2 ips. They are also half-track stereo. The performers and song titleare unknown and sound like an advanced experimental demo, not a finished product.Cuts 3 through 6 are in quarter-track stereo format and are from a Ted HawkinsLP project dating from the early 1970s but not released until 1986. The mixes aredifferent to what was issued in 1986. They are also in mono sound.

LC engineer's note 2: Side B, while not technically blank, contains no audio information.It appears the tape was poorly bulk erased before use, with only Side A subsequentlyrecorded. Side B contains nothing but loud hiss and a high frequency whine.


Mid-1970s music sampler, circa 1974-1976

Rack number: RXH 4123Extent: 1 sound tape reel (acetate and polyester mix, 00:08:45) : analog, 7 1/2 ips, half

track, stereo ; 7 in.Archivist's note: the recording is misidentified on the tape box spine as "Joe Albany, #1."

The tape has six unidentified songs, ranging from pop to R & B to gospel, and all areof the easy-listening variety.


Polished demos of East Coast soft rock, circa late 1970s

Rack number: RXH 4125Extent: 1 sound tape reel (polyester, 00:20:45) : analog, 7 1/2 ips, half track, stereo ; 7 in.Archivist's note: the recording is misidentified on the tape box as "Joe Albany, #3." Rob

Cristarella identified the style of music on the tape and its approximate era.

Subseries 3: Library of Congress dubs


Folk song material from the Library of Congress, undated



Folk Material / Library of Congress, undated



S. Hemphill - Library of Congress, undated



Container Contents



David Edwards - Library of Congress #1, undated












Library of Congress - Muddy Waters #1, undated



AFS selections / Library of Congress, #2, undated


Subseries 4: Various recordingsRecordings for which there is minimal or no available information, or the content is not

readily organized elsewhere in the sound recording series.


"Timex All-Star Jazz Show" [?], Reel 2339, circa 1957-1959


01:25:27, Channel 4: 01:33:52) : analog, 3 3/4 ips, mono ; 7 in.Vendor's digitization note: For Channel 2, there is a gap in the program (from the source

tape) from 01:16:43 - 01:23:13, and the program is distorted at times. For Channel 3,there is a gap in the program (from the source tape) from 01:13:39 - 01:19:12. ForChannel 4, there is a speed fluctuation at the start of the program (from the sourcetape), and crosstalk on the tape.


Jazz - Reel 376 - Big Bands Remotes, undated



Job material, #1, undated

Rack number: RXH 5424Extent: 1 sound tape reel (00:11:02) : analog, 7 1/2 ips, stereo ; 7 in.Archivist's note: compilation of blues recordings by various artists.Vendor's digitization note: the program is distorted at times. Right channel only from

00:07:20 to 00:07:48.


Container Contents



Job material, #2, undated

Rack number: RXH 5425Extent: 1 sound tape reel (00:32:48) : analog, 7 1/2 ips, mono ; 7 in.See the note for SR563.Vendor's digitization note: the program is distorted at times.


Humorous radio broadcast recordings, undated

Rack number: RXJ 7392Extent: 1 sound tape reel (01:12:15) : analog ; 7 in.Contents include a gag radio broadcast, with someone imitating Lionel Barrymore tells

a story about a bear (circa 1953-1954). Frank Goss is the announcer. Other comedysketches are included on the tape.


Air check from WBAI-FM, New York, during a pledge drive, June 1977


ips, quarter track, stereo ; 7 in.LC engineer's note: undated aircheck from WBAI-FM, New York during a pledge drive.

The presence of the Bob Marley tune "So Much Things to Say" on the tape mentionedas being a brand new release (June 3, 1977) places the aircheck from early June 1977.

Side ALogger's note: the first part of the recording is Brazilian music. The second part has

reggae music.Time ContentStart An unidentified woman DJ, called only Mildred, introduces a song written

by the Brazilian composer Benito Repala, "Charlie Brown."05:01 The DJ introduces a second song by Benito Repala, "Maria Baina Maria."08:50 An unidentified man makes a pitch for donations to the radio station.11:30 The DJ introduces a song by Vondoo, "Mega Obaluway."15:50 An unidentified man makes a pitch for donations to the radio station. The DJ

introduces a song by Marcus Vanesius, "Etcetera and Other Things."17:45 "Etcetera and Other Things"21:06 An unidentified man, and the DJ, make a pitch for donations to the radio

station.21:50 "Conta Conta"24:30 The DJ asks for pledges. She announces a Brazilian band playing in SOHO.

The unidentified man asks for pledges.26:00 Unidentified Brazilian song.28:28 Start of Reggae portion of the sound recording.28:28 "So Much Things to Say" - Bob Marley and the Wailers31:35 Roger Chilling, the DJ, introduces the Reggae program. An unidentified

song plays in the background. He discusses the original makeup of theWailers, the breakup of that group, and the formation of Bob Marley,Peter Tosh and Bunny Wailer.

34:35 "Get Up, Stand Up" by Tosh and Marley38:16 "Down Presser Man, Where You Gonna Run To" - from a new album by

Peter Tosh44:43 Chilling talks about Reggae, Buddhism and the Bible. He talks about the

Wailers.


Container Contents


Time Content46:19 Chilling introduces the nest two songs from the Bunny Wailer album "Black

Heart Man."47:12 "Fight Against Conviction" - Bunny Wailer53:02 "The Oppressed Song" - Bunny Wailer56:20 Chilling introduces the next song.56:57 "Equal Rights" - Peter Tosh1:00:5

0End

Side BLogger's note: the DJ is Mildred Norman. All of the music is Brazilian.

Time ContentStart Getting ready.00:21 The announcer introduces WBAI 99.5 FM in New York City. He says that

coming up is Mildred Norman (MN).00:30 MN introduces the song playing in the background. It is a carnival samba

"Tanyo Tanyo" She introduces the next song. It is a samba, but not acarnival samba.

02:00 "Musai Abruzzo"05:40 MN talks about Brazilian composers recoding their own songs. She plays

'Musai Abruzzo" again.10:04 MN introduces the next song, a samba, "Apesar de Voce" by Chico Buarque.

She says that when the song came out there a problem with censorship.15:38 MN introduces the next song, "Mas Que Nada" [More than Anything] by

Jorge Ben.19:28 "Piestro Pical" by Jorge Ben.23:55 "Africa Brazil" by Jorge Ben, from the album of the same name.28:16 "Chico do Silva" [Xica da Silva] by Jorge Ben, from the "Africa Brazil."32:30 MN tells a story about Jorge Ben. She then asks for donations to the radio

station.33:55 MN talks about Milton Nascimento. She introduces the next song which

Nascimento recorded with Wayne shorter on the "Native Dancer" album.The song is "Ponta de Areia."

35:27 The same song, "Ponta de Areia." This version was recorded in Brazil.41:40 A third version of "Ponta de Areia."45:17 MN discusses the two previous songs. She asks for donations to the radio

station.46:40 "O Que Sara" by Chico Toquinho.50:47 MN gives the correct information about the previous song.51:50 "Canta Canta Minha Gente" a samba by Martinho da Vila.55:26 "Disritmia" [rhythm that is not rhythm] by Martinho da Vila.57:42 End


Performances of blues and jazz songs; one incomplete episode of a radio show, December23-24, 1974Rack number: RXK 1298Extent: 1 sound tape reel (Side A: 00:50:45, Side B: 01:00:45) : analog, 3 3/4 ips, stereo ;

7 in.Vendor digitization notes: the programs are distorted at times, and there is phasing from

the tape. Mold was cleaned from the tape prior to digitization.Side A


Container Contents


Time ContentStart an unidentified singer singing along with the band. Song #1 which opens

with lyrics: If I only....04:36 an unidentified singer singing along with the band. Song #2 which has

lyrics: I got trouble....09:26 an unidentified singer singing along with the band. Song #3.13:53 an unidentified piece played by the band.18:18 an unidentified singer singing along with the band. Song #4.24:37 an unidentified piece played by the band.28:36 an unidentified singer singing along with the band. Song #5 which has

lyrics: she got to wake up....she doesn't have to worry.34:22 an unidentified piece played by the band.41:50 an episode of talk on the radio "Conversation at Chicago" presented by the

University of42:40 RL asks Prof. Gibson Winter (GW) about the main point of the book. GW

answers that we created a high technology culture, people are given thestatus by belonging to it. To be free is first to belong, to be counted in,to have a guaranteed income, or some kind of assurance to belong to thatsociety. This is a starting point.

43:35 RL asks, so there are two different senses of freedom. The old one is lackingof freedom

44:54 An unidentified female voice says "I don't see young people today seefreedom as a goal. In the process of being free, we should be careful wedon't take on another yoke under the name of freedom."

45:27 GW says he sees two levels of the problems: organizational level offreedom, and cultural meaning of freedom in the society.

46:43 All guest speakers continue to discuss about organizational level of freedom.GW says there are two aspects of what we need to be free. We need tobelong, and we need to have a voice.

48:24 An unidentified man asks why is there change from the old sense of freedomto the new freedom. He speaks of John Adams as an example to explainthe idea. GW and guests continue to discuss the issues of freedom.

50:45 The discussion ends abruptly at the end of the tape.Side B

Time ContentStart an unidentified singer singing along with the band. Song #1.07:35 an unidentified singer singing along with the piano and harmonica. Song #2

"baby I gonna let you go..."11:58 an unidentified Boogie-woogie piece played by the harmonica and the band.17:47 Musicians talk about adjusting the balance of the instruments and test the

sound.20:28 an unidentified singer singing along with the band. Song #3 "We are going

down the road ... going to downtown, to the market...she borrowed somemoney to go to the salon."

25:15 an unidentified singer singing along with the band. Song #4.32:06 an unidentified singer singing along with the band. Song #5.36:49 an unidentified singer singing along with the band. Song #6.44:08 an unidentified piece played by the band.48:05 an unidentified piece played by the band.56:03 an unidentified singer singing along with the band. Song #7.


Container Contents


Time Content01:00:

45End


Sermons and songs, October 22, 1961

Rack number: RXH 4604Extent: 1 sound tape reel (00:32:16) : analog, 7 1/2 ips, mono ; 7 in.Performances by an unidentified singer accompanied by guitar. Tape box spine: #2.

Collector's original ID number: 83.Logger's note: notes from the original tape box: Song "I don't want to be buried." First

thirty seconds lost. Sermon and Songs.Vendor's digitization note: there is significant hum from the tape.

Time ContentStart Singing and preaching the gospel of an unidentified song #1. The style is

strong improvisation and reciting. Lyrics: Jesus Son of David, the seed ofAbraham, so kind and true, do you know him...

02:03 Talking about the seed of Abraham and the reason why Jesus is the Son ofDavid

03:05 Singing and preaching the gospel continues04:29 Singing an unidentified song #2. Lyrics: Lord, I am doing all the good I can,

I praise your name all I can, I lift up your name all I can...07:15 Talking and preaching about God should to be lifted up and honored.07:48 Singing an unidentified song #3. Lyrics: This victory shall be mine, this joy

shall be mine, this happiness shall be mine, this peace shall be mine, thisholiness shall be mine, this love shall be mine.

10:38 Singing an unidentified song #4. Lyrics: If I labor God's gonna give me acrown.

12:35 Singing an unidentified song #5. Lyrics: Let Jesus fix it for you. Wheneveryou pray, let Him has His will.

14:57 Preaching the gospel. Jesus fixes all your trouble. Jesus was born the man todo it all. He died on Calvary, sin was drive out.

15:45 Singing an unidentified song #6. Lyrics: Lord, I am running for eternal life.I am praying for eternal life. Lift up your name for eternal life. I amteaching for eternal life.

18:06 Preaching the gospel. Scripture John 6:47: "Very truly I tell you, the onewho believes has eternal." God said, I am the bread of life. He is God ofthe day, God of peace, God of living.

20:48 Singing an unidentified song #7. Lyrics: I know the Lord will make a way.Yes. He will.

23:38 Brief talking23:58 Singing an unidentified song #8. Lyrics: The Lord got a hold of my hands

and He leads me. The Lord is in my mind, and He leads me. Lead meJesus.

25:03 Preaching the gospel: 1 Corinthians 15:51 "Listen, I tell you a mystery: Wewill not all sleep, but we will all be changed."

25:42 Singing an unidentified song #9. Lyrics: There is rest, sweet rest, at theMaster's feet. There is favor now at the mercy seat. We may call on Himev'ry grief and care. There is always a blessing, a blessing in prayer.

26:48 Singing an unidentified song #10. Lyrics: Go down, Moses. Way down inEgypt's land. Tell old Pharaoh. Let my people go.

28:28 Singing an unidentified song #11. Lyrics: I am the living bread. I am thebread that came down from heaven.


Container Contents


Time Content31:31 Talking and preaching the gospel. Scripture John 1: 1 In the beginning was

the Word, and the Word was with God, and the Word was God.32:16 End


Five tunes from the radio, circa 1970

Rack number: RXH 5565Extent: 1 sound tape reel (00:19:30) : analog, 7 1/2 ips, stereo ; 7 in.Archivist's note: the tape includes two takes of the 1970 song, "Fire and Rain," performed

by an unidentified female vocalist.Vendor's digitization note: the program is distorted at times.


Discussion of country blues and urban blues, undated

Rack number: RXH 5584Extent: 1 sound tape reel (polyester, 00:03:54) : analog, 3 3/4 ips, full track, mono ; 7 in.Logger's note: a group of unidentified men speak about country blues and urban blues.

Time ContentStart An unidentified man talks about differences between country blues and city

blues.03:54 End


Two atonal jazz pieces, undated

Rack number: RXH 5585Extent: 1 sound tape reel (polyester, 00:05:29) : analog, 15 ips, half track, stereo ; 7 in.Logger's notes: Two atonal jazz pieces. The musicians are not identified.

Time ContentStart Atonal jazz music. The musicians are (at least) piano and saxophone.02:25 blank02:55 Atonal jazz music. The musicians are (at least) percussion and clarinet or

saxophone.05:29 End


Solo guitar tunes, played by an unidentified musician, on an acoustic guitar, undated

Rack number: RXH 5587Extent: 1 sound tape reel (polyester, 00:15:30) : analog, 15 ips, half track, stereo ; 7 in.The title was supplied by the logger.

Time ContentStart Tune #1 - unidentified02:57 Tune #2 - unidentified05:46 Tune #3 - unidentified09:15 Tune #4 - unidentified11:34 Tune #5 - unidentified13:12 Tune #6 - unidentified15:30 End


A singer, a guitar, and 30 seconds of a song, undated

Rack number: RXH 5588Extent: 1 sound tape reel (acetate, 00:00:30) : analog, 15 ips, half track, stereo ; 7 in.The title was supplied by the logger.


Container Contents



One instrumental piece played by a full orchestra, undated

Rack number: RXH 5589Extent: 1 sound tape reel (polyester, 00:06:00 : analog, 15 ips, half track, stereo ; 7 in.The title was supplied by the logger.


Interview with unidentified drummers, undated


quarter track, mono ; 7 in.Logger's note: an unidentified person interviews two unidentified drummers.LC engineer's notes: this file contains audio from the left track of the tape, which was in

reverse (highly unusual). This was corrected in both preservation and access files. Thissuggests the tape was recorded in the half-track mono format and later altered on aquarter-track stereo machine. The audio is almost completely inaudible from 00:24:50to the end of the file but there is audio. It sounds like poor erasure.

Side ATime ContentStart Blank and getting ready.01:05 Start of interview.07:05 The interviewer asks about a what a young drummer: what studies should he

seek and should he study another instrument. The drummers reply.10:14 [Construction noise makes the interview even more difficult to understand.]14:25 One of the drummers says that it would be good for the young drummer to

study mathematics.15:04 The interviewer asks: "What is the most important thing for a drummer t

know or for a drummer to do? The drummers reply.18:29 The interviewer asks: "How much do you practice and how?" The drummers

reply.24:50 Blank until the End of recording.41:14 End

Side BTime ContentStart The interviewer asks: "Some drummers swing and some drummers don't.

What is swinging and what is not swinging?"2:49 Discussion of various time signatures, like 3/4, 4/4, 5/4 etc.07:20 Discussion of other rhythms, such as African and Indian.10:18 The interviewer asks" "How does big band experience help a drummer." The

drummers respond.13:56 Wrapping up the interview with social talk.16:35 End


An unidentified old-fashioned string band plays three songs, undated

Rack number: RXH 5592Extent: 1 sound tape reel (polyester, 00:07:50) : analog, 7 1/2 ips, half track, mono ; 7 in.Logger's note: the band sounds like an "old fashioned string band" with at least a fiddle

and guitar. The vocalists are not identified. The first lines of the songs with vocal arenot intelligible.Time ContentStart Unidentified song - band and vocal03:35 Unidentified song - band and vocal


Container Contents


Time Content06:37 Unidentified song - band, no vocal07:50 End


Songs by a woman and man, with an acoustic guitar, undated

Rack number: RXH 5593Extent: 1 sound tape reel (polyester, 00:14:35) : analog, 15 ips, half track, stereo ; 7 in.Archivist's note: the title was supplied by the archivist. SR716, SR720, and SR721,

feature the same singers, and SR716 and SR720 have at least one song in common.SR725 may also feature the same singers.

Logger's note: an unidentified man and an unidentified woman sing four songs. Someoneplays acoustic guitar accompaniment.Time ContentStart unidentified song. Woman sings lead, man sing harmony.03:48 first line: "I've been long at sea, in an open boat." Man sings solo.08:10 first line: "[?] on the airplane, flying home to heaven." Duet.11:07 first line: "If I were a red wing black bird, I'd fly so high." Man sings lead,

woman harmony.11:35 End



Rack number: RXH 5597Extent: 1 sound tape reel (polyester, 00:15:32) : analog, 15 ips, half track, stereo ; 7 in.See the archivist's note for SR716.



Rack number: RXH 5598Extent: 1 sound tape reel (polyester, 00:07:30) : analog, 15 ips, half track, stereo ; 7 in.The title was supplied by the archivist. See the note for SR716.



Rack number: RXH 5602Extent: 1 sound tape reel (polyester, 00:14:20) : analog, 15 ips, half track, stereo ; 7 in.See the archivist's note for SR716.Logger's note: an unidentified man and an unidentified woman perform folk songs. All

songs are accompanied by a solo guitar.Time ContentStart first line: "If I were a red wing blackbird" - man lead, woman harmony03:20 first line: "Pine tree, pine tree, tell me what I should be" woman lead, man

harmony07:03 first line: "In my native land, the snow would stand, astride each rocky hill"

- man solo10:15 first line: "Stumbled all over, found a wedding ring in the woods, the girl

can't hide the way she feels" - man solo14:20 End


An unidentified female singer performs eight songs before a live audience, undated

Rack number: RXH 5594Extent: 1 sound tape reel (polyester, 00:28:00) : analog, 3 3/4 ips, quarter track, stereo ; 7

in.


Container Contents


Logger's note: An unidentified female singer performs eight songs before live audience.She [probably] accompanies herself on guitar. The timeline for Side B (a duplicate ofSide A) is slightly different.

LC engineer's note: the tape appears to have been recorded on a four-track (multitrack)machine due to the way the tracks are organized. As a result all files from this tapewere from one side of the tape, as opposed to a true quarter-track tape, which wouldneed to be flipped to play back the other side. Both files contain the same content; it isnot a mistake in the transfer.

Side ATime ContentStart first line: If it's cold when you walk in, it's warm in your heart"04:15 first line: "There's a bus leaves here this morning', got my ticket in my hand"07:25 first line: "You are friends of mine, you make me happy, you make me feel

fine"08:59 first line: "We blame you in the lazy, we blame you in the crazy, but you're

alright with me"11:40 first line: "High above Colorado there's a cool, clear voice calling me"15:25 first line: "She looks like a lady, she moves like a fawn"20:04 first line: "Some folks they like to stand in the front yard and watch the cars

go by"24:17 first line: "Last night I dreamed you were my friend, we laughed and cried

and cried and laughed again"Item-ID: AFC 2011/053:SR718

An unidentified jazz trio, undated

Rack number: RXH 5595Extent: 1 sound tape reel (polyester, 00:18:15) : analog, 7 1/2 ips, half track, stereo ; 7 in.An unidentified jazz trio plays four tunes. The band is composed of saxophone, guitar and

bass.Time ContentStart unidentified jazz tune04:48 unidentified jazz tune09:53 unidentified jazz tune14:57 unidentified jazz tune [ may be titled "Stockholm"]18:15 End


Pete Welding and Raymond Welding, circa 1967-1969

Rack number: RXH 5596Extent: 1 sound tape reel : analog ; 7 in.Audio is on three tracks, all recorded in the same direction. The track layout is very

unusual and needed to be played on a four-track machine to capture the audio. Twoof the files are home recordings of Pete Welding and a very young Raymond Welding(born 1965). The other is a unknown recording, possibly a demo, that sounds mid tolate 1960s in style.


Jazz music, performed by an unidentified ensemble, undated

Rack number: RXH 5599Extent: 1 sound tape reel (Side A: 01:36:30, Side B: 01:36:32) : analog, 3 3/4 ips, quarter

track, stereo ; 7 in.The title was supplied by the archivist.


Container Contents



One song, performed by two guitarist, and one male vocalist, undated

Rack number: RXH 5600Extent: 1 sound tape reel (polyester, 00:10:27) : analog, 15 ips, half track, stereo ; 7 in.Title supplied by the archivist.


A young girl tells a story she makes up as she speaks, undated

Rack number: RXH 5601Extent: 1 sound tape reel (polyester, 00:07:00) : analog, 7 1/2 ips, half track, mono ; 7 in.Title supplied by the logger.Logger's note: a young girl tells a story she makes up as she speaks. She talks about two

people discussing what they want to do. She talks about something called a "thumpas."She talks a lot about shooting guns.


Jazz tunes, dubbed from commercial records, undated


ips, quarter track, stereo ; 7 in.Title supplied by the archivist.Logger's note: Jazz tunes, dubbed from commercial records. Except for the last cut on

Side A, none of the musicians or tunes are identified. The first 12 tunes on Side Afeature clarinet and piano, sometimes with bass, drums, or percussion. The next threeare by an unidentified Dixieland band. The final cut is by Jazz of Storyville withWild Bill Davidson, playing "The Jazz Band Ball." On Side B, the instruments featureclarinet and piano, sometimes with bass, drums or percussion.

Side ATime ContentStart Tune #107:00 Tune #212:02 Tune #318:00 Tune #422:45 Tune #530:00 Tune #631:59 Tune #736:00 Tune #839:35 Tune #943:13 Tune #1046:59 Tune #1150:12 Tune #1253:59 Dixieland Tune #157:04 Dixieland Tune #259:23 Dixieland Tune #31:00:4

6The Jazz Band Ball

Side BTime ContentStart Tune #100:25 Tune #2 [May be "Between the Devil and the Deep Blue Sea"]05:21 Tune #310:02 Tune #416:21 Tune #5 [live audience]


Container Contents


Time Content20:23 Tune #6 [live audience]25:33 Tune #7 [live audience]31:50 Tune #8 [live audience]39:42 Tune #9 [love audience] [My be "Chinatown, My Chinatown"]43:39 Tune #1050:14 Tune #11 [piano only]50:47 Tune #12 [May be "After You're Gone"]56:30 Tune #131:02:1

8End


Hard rock dubs, circa 1973-1979

Rack number: RXH 5604Extent: 1 sound tape reel (acetate: Side A: 00:31:16; Side B: 00:30:20) : analog, 3 3/4 ips

and 7 1/2 ips, quarter track, stereo ; 7 in.Title supplied by the archivist. Side A and the first two songs of Side B are dubbed from a

copy of the AC/DC album, "Let There Be Rock" (1977). The balance of songs are byvarious bands.

Side ATime ContentStart "Go Down"05:28 "Dog Eat Dog"09:10 "Let There Be Rock"15:21 "Bad Boy Boogie"19:51 "I Am a Problem Child"25:22 "Overdose"

Side BTime ContentStart "Hell Ain't a Bad Place"04:36 "Whole Lotta Rosie"10:08 "All the Way Down," by Cheap Trick (1979)19:29 "A National Acrobat," by Black Sabbath (1973)25:00 "Get Down, Make Love," by Queen (1977). IN the last few seconds before

the end of the tape are a few measures of music not classified as hardrock.

30:02 EndItem-ID: AFC 2011/053:SR728

Blues band with a female lead singer (dub recording), undated

Rack number: RXH 5605Extent: 1 sound tape reel (polyester, 00:11:34) : analog, 15 ips, full track, mono ; 7 in.Dubs from a commercial recording of an unidentified female blues singer with a band.

Electric guitar playing is featured. Some of the lyrics are difficult to understand, sonone of the songs could be identified.Time ContentStart Song #102:54 Song #2; first line: "I'm 'bout to leave, sure don't wanna go [sung twice]/

Well, I can't be bothered with your girlfriend no more"06:00 Song #3; first line: "Mmm, I wants [sic] to ask you, dear [sung twice]/If

what you told me long time ago...."


Container Contents


Time Content09:04 Song #411:34 End


Jazz band plays unidentified tunes, undated


ips, quarter track, stereo ; 7 in.Title supplied by the archivist.A jazz band plays unidentified tunes. The band is composed of saxophone, piano, drums

and bass. A second sax player is invited to join the band for the fifth tune. There isapplause throughout the SR, so the recording was made before a live audience.

Side ATime ContentStart Tune #1 - unidentified08:15 Tune #2 - unidentified18:35 Tune #3 - "All the Things You Are"30:54 Tune #4 - unidentified40:38 Tune #5 - unidentified49:10 Tune #6 - Unidentified - Warren Marsh joins the band. He plays a second

saxophone.1:01:4

6End

Side BTime ContentStart Tune #1 - unidentified04:30 Tune #2 - unidentified13:24 Tune #3 - unidentified22:50 Tune #4 - unidentified29:30 Tune #5 - unidentified - [perhaps "Imagination is Funny"]39:57 Tune #6 - unidentified47:55 Tune #7 - unidentified - [perhaps "All the Things You Are"]58:22 Tune #8 - unidentified01:04:

40End


Dub recordings of jazz, undated


ips, quarter track, stereo ; 7 in.Archivist's note: title supplied by the archivist. The tape also includes a music-comedy

sketch from a radio broadcast (at the end of Side A).Item-ID: AFC 2011/053:SR734

Unidentified jazz recordings, undated


stereo ; 7 in.Archivist's note: title supplied by the archivist. The recordings feature, clarinet, piano,

standup bass, and drums. No vocals.


Container Contents



Unidentified harpsichord music, undated

Rack number: RXH 5613Extent: 1 sound tape reel (polyester, 00:31:07) : analog, 7 1/2 ips, half track, stereo ; 7 in.The title was supplied by the archivist.


Unidentified jazz ensemble and other recordings, 1954; undated

Rack number: RXH 5614Extent: 1 sound tape reel (Side A: 00:43:00, Side B: 01:03:40) : analog, 3 3/4 ips, quarter

track, stereo ; 7 in.Title supplied by the archivist. Side A features an ensemble includes trumpet (as

the featured instrument), standup bass, piano, and drums. Side B includes dubbedrecordings by Chet Baker, from the album "Chet Baker Sings" (1954).


Compilation of jazz recordings, circa 1930s


ips, half track, mono ; 7 in.Archivist's note: dubbed from a disc, possibly a 78 rpm sound recording.


Unidentified composition for keyboard (probably a synthesizer), undated

Rack number: RXH 5616Extent: 1 sound tape reel (polyester, 00:04:15) : analog, 7 1/2 ips, half track, stereo ; 7 in.Title supplied by the archivist.LC engineer's note: The tape was recorded in the half track stereo format, but was also

recorded on a four-track stereo recorder in four-track mono format which results in aconfusing number of tracks for this tape, some of which have bleed through and badcrosstalk from the mix of the two formats. However, aside from the main file whichis unique content, no other files were made from the remaining contents because theyare all incomplete snatches of commercial recordings which hold no value even forresearch.


Unidentified male blues singer, with guitar and harmonica, undated

Rack number: RAA 59340Extent: 1 sound tape reel (00:17:03) : analog, 7 1/2 ips, half track, stereo ; 10 in.Title supplied by the archivist.Vendor's digitization note: the program has distortion and hiss from the source tape.


Single, brief tone (no music), undated

Rack number: RAA 59341Extent: 1 sound tape reel (00:00:13) : analog, 15 ips, full track, mono ; 10 in.Title supplied by the archivist.Vendor's digitization note: the program has audio hiss and print-through from the source


Easy listening versions of two hymns, undated

Rack number: RAA 59342Extent: 1 sound tape reel (00:06:31) : analog, 15 ips, half track, stereo ; 10 in.Two hymns sung by an unidentified chorus, with musical accompaniment: "What a Friend

We Have in Jesus" and "In the Garden."Vendor's digitization note: the program has distortion and hiss from the source tape.


Container Contents



Unidentified African American gospel group, undated

Rack number: RAA 59346Extent: 1 sound tape reel (00:32:24) : analog, 15 ips, half track, stereo ; 10 in.Title supplied by the archivist.Gospel-rock vocal group, with musical accompaniment.

Time ContentStart

(00:00:02)

"The Last Mile of the Way"

00:03:31

"A Change Has Come Over Me"

00:10:12

"Do You Know Him" (first time)

00:17:18

"Do You Know Him" (second time; false start)

00:17:36

"Do You Know Him" (second time; complete)

00:25:16

"I'm Ready to Serve the Lord"

00:28:38

"By and By"

00:32:24

End


Roberto Miranda, November 23, 1975

Rack number: RAA 59352Extent: 1 sound tape reel (00:0x:xx) : analog ; 10 in.

Time ContentStart St. Martin (solo bass)00:00 Prayer #1 (first take) - with Stephanie Glass, voice00:00 Prayer #1 (second take) - with tape delay00:00 End


Unidentified jazz ensemble (big band-style), undated


stereo ; 7 in.Archivist's note: the title was supplied by the archivist. The recordings seem to be dubs of

commercial recordings.Time ContentStart

(00:00:07)

Unidentified instrumental work 1

00:03:16

Unidentified instrumental work 2


Container Contents


Time Content00:07:

04Unidentified instrumental work 3

00:10:00

End


If You Can Believe Your Eyes and Ears (selections) - The Mamas and the Papas, 1966

Rack number: RXH 5427Extent: 1 sound tape reel (00:25:08) : analog, 7 1/2 ips, stereo ; 7 in.The tape box indicates this should be a dub of "Comedy from the Second City" (Mercury

- OCS 6201), released in 1961. Instead, this recording includes dubs (not all in order)from The Mamas and the Papas LP.


"I Met A Man Last Night" (rough version with time guide vocal), circa mid-1970s

Rack number: RXH 4200Extent: 1 sound tape reel (00:04:44) : analog, 15 ips, stereo ; 7 in.Archivist's note: an unidentified woman sings a Christian pop song, with a voice

reminiscent of an early-career Olivia Newton-John.Item-ID: AFC 2011/053:SR485

Ethnic: Spain Flamenco Guitar - CBS Records, undated



Ethnic African - Ethnic American Indian, undated

Rack number: RXH 5581Extent: 1 sound tape reel : analog ; 7 in.Commercial recording


[no information], undated















Container Contents






























Unidentified recording, undated

Extent: 1 sound tape reel : analog ; 10 in.Archivist's note: SR832 has not yet been digitized, due to condition issues. The title was

supplied by the archivist.


Subseries 1: Black-and-white prints and contact sheetsBOX-FOLDER 21/1 Ammons and Johnson, circa 1940-1941

Extent: 4 photographs : black-and-white prints ; 9 in. x 10 in. or smaller4 photographs. Folder includes manuscript items, one affixed to the verso of a photo.


Container Contents


BOX-FOLDER 21/2 Bean Blossom Blues Festival, undatedExtent: 10 photographs : black-and-white prints ; 3 1/2 in. x 3 1/2 in.10 photographs and a photo development lab envelope. See Box 28 for black-and-white

negatives.BOX-FOLDER 21/3 Ted Bogan, undated

Extent: 1 photograph : black-and-white contact sheet (10 frames) ; 8 1/2 in. x 11 in. orsmaller

1 contact sheet (received with one frame clipped out) and a glassine photo developmentlab sleeve for negatives. See Box 28 for black-and-white negatives.

BOX-FOLDER 21/4 Jimmy Brewer, circa 1960sExtent: 12 photographs : black-and-white prints ; 3 1/2 in. x 3 1/2 in.12 photographs (taken on Maxwell Street, Chicago) and a photo development lab

envelope. See Box 28 for black-and-white negatives.BOX-FOLDER 21/5 Fannie Brewer and Jimmy Brewer, circa 1962

Extent: 6 photographs : black-and-white prints ; 10 in. x 8 in. or smaller; 1 photograph :black-and-white contact sheet (12 frames) ; 8 1/2 in. x 11 in. or smaller

6 photographs (taken at the flea market, on Maxwell Street, Chicago) and a glassine photodevelopment lab sleeve for negatives. See Box 28 for black-and-white negatives.

BOX-FOLDER 21/6 Brother Amos, circa 1960sExtent: 1 photograph : black-and- white print ; 10 in. x 8 in. or smaller1 photograph taken on Maxwell Street, Chicago. Brother Amos was a religious singer and

member of Jimmy Brewer's group.BOX-FOLDER 21/7 Paul Butterfield, undated

Extent: 1 photograph : black-and- white print ; 10 in. x 8 in. or smaller1 photograph.

BOX-FOLDER 21/8 Clifton Chenier, January 1968Extent: 20 photographs : black-and-white prints ; 3 in. x 4 in. or smaller20 photographs and a photo development lab envelope. See Box 28 for black-and-white

negatives.BOX-FOLDER 21/9 Chicago String Band, June 1966

Extent: 1 photograph : black-and- white print ; 9 1/2 in. x 8 in. or smaller; 1 photograph :black-and-white print contact sheet (10 frames) ; 10 in. x 8 in. or smaller

1 photograph and 1 contact sheet. Photos taken on Maxwell Street, Chicago, ofthe Chicago String Band Carl Martin, John Wrencher, Johnny Young, John LeeGranderson), individually and as a group. The contact sheet originally had 12 frames;two were cut out before the sheet arrived at AFC. The folder includes a photocopyof the original folder plus an original glassine envelope for negatives. See Box 28 forblack-and-white negatives.

BOX-FOLDER 21/10 Nettie Compton, undatedExtent: 7 photographs : black-and-white prints ; 3 1/2 in. x 3 1/2 in.7 photographs and a photo development lab envelope. See Box 28 for black-and-white

negatives.BOX-FOLDER 21/11 Leroy Dallas

Extent: 10 photographs : black-and-white prints ; 3 1/2 in. x 3 1/2 in.10 photographs and an envelope with handwritten notes. The photo borders are lab-

stamped with the date February 1962.BOX-FOLDER 21/12 Teddy Darby, circa 1950s-1960s

Extent: 1 photograph : black-and- white print ; 3 1/2 in. x 5 1/2 in. or smaller1 photograph, which originally accompanied materials in box-folder 1/25.


Container Contents


BOX-FOLDER 21/13 Buddy DeFranco, undatedExtent: 4 photographs : black-and-white print contact sheets (47 frames) ; 8 1/2 in. x 11

in.4 contact sheets, with a single frame cut out from one of them (before it arrived at AFC). 7

glassine envelopes for negatives. See Box 28 for black-and-white negatives.BOX-FOLDER 21/14 David "Honeyboy" Edwards, July 1967

Extent: 1 photograph : black-and- white ; 10 in. x 8 in.1 photograph, plus a photocopy of the original folder.

BOX-FOLDER 21/15 Sleepy John Estes, undatedExtent: 1 photograph : black-and- white ; 5 in. x 7 in.1 photograph.

BOX-FOLDER 21/16 Sleepy John Estes and Hammie Nixon, October 1964Extent: 1 photograph : black-and- white print ; 3 1/2 in. x 3 1/2 in.1 photograph and 1 envelope. The photo was taken on either October 19 or October 25.

The event (for both dates) was the American Negro Blues Festival, held at FairfieldHalls, Croydon, England.

BOX-FOLDER 21/17 Aretha Franklin, circa 1960sExtent: 4 photographs : black-and-white prints ; 3 1/2 in. x 3 1/2 in.4 photographs and 1 envelope. See Box 28 for black-and-white negatives.

BOX-FOLDER 21/18 Galax, undatedExtent: 27 photographs : black-and-white prints ; 3 1/4 in. x 4 1/2 in.; 3 photographs :

black-and- white contact sheets (34 frames) ; 10 in. x 8 in.27 photos and 3 contact sheets (two contact sheets have frames cut out), 2 photo

development lab envelopes, and 4 glassine envelopes for negatives. See Box 28 forblack-and-white negatives.

BOX-FOLDER 21/19 Arvella Gray, circa 1962-1963Extent: 19 photographs : black-and-white prints ; 3 1/2 in. x 3 1/2 in.19 photographs and a photo development lab envelope. The photographs were taken on

Maxwell Street, Chicago. See Box 28 for black-and-white negatives.BOX-FOLDER 21/20 Bobby Green, July 17, 1961

Extent: 1 envelope : white ; 3 3/4 in. x 6 1/2 in. or smaller1 envelope with handwritten information. The images were taken at the Settlement

School. See Box 28 for black-and-white negatives.BOX-FOLDER 21/21 Willie Hatcher, undated

Extent: 6 photographs : black-and-white prints ; 3 1/2 in. x 3 1/2 in.6 photographs and 2 envelopes (one from a photo development lab). See Box 28 for

black-and-white negatives.BOX-FOLDER 21/22 John Lee Henley, 1962

Extent: 11 photographs : black-and-white ; 10 in. x 8 in.; 1 photograph : black-and-whitecontact sheet (10 frames) ; 8 1/2 in. x 11 in.

11 photographs, 1 contact sheet, and 1 glassine envelope for negatives. See Box 28 forblack-and- white negatives.

BOX-FOLDER 21/23 Carl Hodges, undatedExtent: 6 photographs : black-and-white prints ; 3 1/2 in. x 3 1/2 in.6 photographs and a photo development lab envelope.

BOX-FOLDER 21/24 Homesick James, undatedExtent: 6 photographs : black-and-white prints ; 3 1/2 in. x 3 1/2 in.6 photographs and a photo development lab envelope. See Box 28 for black-and-white

negatives.


Container Contents


BOX-FOLDER 21/25 Sam "Lightnin'" Hopkins, undatedExtent: 1 photograph : black-and- white print ; 7 1/2 in. x 8 in. or smaller1 photograph. Photo credit: Andrew A. Hanson. The photograph originally accompanied

materials in box-folder 2/17.BOX-FOLDER 21/26 Son House, undated

Extent: 30 photographs : black-and-white prints ; 3 1/2 in. x 3 1/2 in.30 photographs, plus two envelopes (one from a photo development lab). See Box 28 for

black-and-white negatives.BOX-FOLDER 21/27 Son House, Jimmy Brewer, Thomas Swain, undated

Extent: 2 manuscripts : black-and-white photocopies ; 8 1/2 in. x 11 in.Photocopies of the original slide container. See Box 29 for color slides.

BOX-FOLDER 21/28 Peg Leg Howell, March 1963; October 1963Extent: 10 photographs : black-and-white prints ; 3 1/2 in. x 3 1/2 in.; 1 manuscript :

black-and- white photographic print ; 8 1/2 in. 11 in.3 photos are dated March 1963 and seven photos are dated October 1963. The

photographic print is inkjet or laser print on glossy stock paper, and is dated October1963. The folder also includes an envelope with handwritten information.

BOX-FOLDER 21/29 Howlin' Wolf, undatedExtent: 2 photos : black-and- white prints ; 7 in. x 6 in. or smaller; 1 photograph :

black-and- white print contact sheet (6 frames) ; 10 in. x 5 1/2 in. or smallerThe contact sheet is incomplete; 6 frames were removed before the collection came to the

American Folklife Center. The folder includes a glassine envelope with handwritteninformation. See Box 28 for one black-and-white negative.

BOX-FOLDER 21/30 J.B. Hutto, undatedExtent: 2 photos : black-and- white prints ; 8 in. x 10 in. or smaller; 1 photograph :

black-and- white print contact sheet (12 frames) ; 10 in. x 5 1/2 in. or smaller3 photographs, a glassine envelope for negative strips, and a sheet of paper with

handwritten notes regarding dimensions and publication layout. See Box 28 for black-and-white negatives.

BOX-FOLDER 21/31 Bill Jackson, undatedExtent: 8 photographs : black-and-white prints ; 5 1/8 in. x 3 1/2 in.8 photographs and an envelope with typed and handwritten information.

BOX-FOLDER 21/32 Melvin "Lil' Son" Jackson, undatedExtent: 2 photographs : black-and-white prints ; 8 in. x 10 in. or smaller2 photographs. Photo credit for both: Chris Strachwitz.

BOX-FOLDER 21/33 Skip James, undatedExtent: 1 photograph : black-and- white print ; 10 in. x 8 in. or smaller1 photograph. The folder includes a glassine envelope for negative strips, although there

were no negatives in this folder.BOX-FOLDER 21/34 Prof. Clarence Johnson; Sister Mabel Washington, undated

Extent: 8 photographs : black-and-white prints ; 3 1/2 in. x 3 1/2 in.; 1 photograph:black-and-white print ; 10 in. x 8 in. or smaller

9 photographs and an envelope with handwritten and typed information. See Box 28 forblack-and-white negatives.

BOX-FOLDER 21/35 Mary Johnson, 1962Extent: 1 photograph : black-and- white print ; 10 in. x 8 in. or smaller1 photograph.

BOX-FOLDER 21/36 Pete Johnson, undatedExtent: 2 photographs : black-and-white prints ; 10 in. x 8 1/8 in. or smaller


Container Contents


2 photographs; one with Sister Mabel Washington. Originally housed with materials inbox-folder 3/10.

BOX-FOLDER 21/37 Rube [Rubin] Lacy, 1966Extent: 2 photographs : black-and-white contact sheets (20 frames) ; 10 in. x 8 1/8 in. or

smaller2 contact sheets and 2 glassine envelopes for negatives. See Box 28 for black-and-white

negatives.BOX-FOLDER 21/38 Larry Lindgron, undated

Extent: 5 photographs : black-and-white prints ; 3 1/2 in. x 3 1/2 in.5 photographs and a development lab envelope. See Box 28 for black-and-white

negatives.BOX-FOLDER 21/39 Mance Lipscomb, undated

Extent: 12 photographs : black-and-white prints ; 3 1/2 in. x 3 1/2 in.12 photographs and a development lab envelope. See Box 28 for black-and-white

negatives.BOX-FOLDER 21/40 Carl Martin, June 1966


BOX-FOLDER 22/1 Maxwell Street Jimmy, undatedExtent: 33 photographs : black-and-white prints ; 3 1/2 in. x 3 1/2 in.33 photographs and a photo development lab envelope. See Box 28 for black-and-white

negatives.BOX-FOLDER 22/2 Maxwell Street Jimmy; Sister Marie Bean, undated

Extent: 15 photographs : black-and-white prints ; 3 1/2 in. x 3 1/2 in.15 photographs (taken on Maxwell Street, Chicago) and a photo development lab

envelope. See Box 28 for black-and-white negatives.BOX-FOLDER 22/3 George, Ethel, and [Ruby?] McCoy, 1967

Extent: 2 photographs : black-and-white prints ; 10 in. x 8 in. or smaller; 1 photograph :black-and-white contact print (12 frames) ; 8 in. x 10 in. or smaller

3 photographs and a glassine envelope for negatives. See Box 28 for black-and-whitenegatives.

BOX-FOLDER 22/4 Fred McDowell, undatedExtent: 24 photographs : black-and-white prints ; 8 in. x 10 in. or smaller; 2

photographs : black-and-white contact sheets (23 frames) ; 8 1/4 in. x 11 in. or smaller26 photographs, 3 glassine envelopes for negatives, and a paper envelope. See Box 28 for

the black-and-white negatives and Box 29 for the color slides.BOX-FOLDER 22/5 Elmon Mickle, undated

Extent: 5 photographs : black-and-white prints ; 5 in. x 7 in. or smaller5 photographs, 3 envelopes (one is a development lab envelop), and a sheet of paper used

for pre-publication formatting marks. See Box 28 for black-and-white negatives.Archivist's note: Elmon Mickle recorded variously under the names Drifting Slim and also

Model T Slim.BOX-FOLDER 22/6 Charlie Musselwhite, undated

Extent: 15 photographs : black-and-white prints ; 3 1/2 in. x 3 1/2 in.16 photographs and a photo development lab envelope. See Box 28 for black-and-white

negatives.BOX-FOLDER 22/7 Robert Nighthawk, undated

Extent: 1 photograph : black-and- white print ; 5 1/2 in. x 4 1/2 in. or smaller1 photograph and an envelope with Nighthawk's name and a number.


Container Contents


BOX-FOLDER 22/8 Harry Oster: Folk-Lyric Records, undatedExtent: 2 photographs : black-and-white prints ; 10 in. x 8 in. and 7 in x 5 in. or smaller2 photographs. Harry Oster is given photo credit for the smaller image. One photo was

relocated from box-folder 13/8BOX-FOLDER 22/9 Billie Pierce; De De Pierce, February 1967

Extent: 15 photographs : black-and-white prints ; 4 in. x 4 in.19 photographs (taken at Watts Towers, Los Angeles) and a photo development lab

envelope. The date appears on the borders of the photos. See Box 28 for black-and-white negatives.

BOX-FOLDER 22/10 Doug Quattlebaum, 1961; undatedExtent: 11 photographs : black-and-white prints ; 8 in. x 10 in. or smaller11 photographs and 2 envelopes, one from a photo development lab. See Box 28 for

black-and-white negatives.BOX-FOLDER 22/11 Quicksilver Messenger Service, April 3, 1968; undated

Extent: 1 photograph : black-and- white print ; 10 in. x 8 in. or smaller; 2 photographs :black-and- white prints (24 frames) ; 10 in. x 8 in. or smaller

3 photographs, 2 glassine envelopes for negatives, and photocopies of the boxes thatcontained the slides. While the band is identified in the collection as Quicksilver,the band's full name in 1968 was Quicksilver Messenger Service. Quicksilver wasthe commonly-used, shortened form of the name. See Box 28 for black-and-whitenegatives and box 29 for color slides.

BOX-FOLDER 22/12 Herb Quinn, undatedExtent: 1 photograph : black-and- white print ; 5 in. x 7 in. or smaller1 photograph.

BOX-FOLDER 22/13 James Robinson, undatedExtent: 10 photographs : black-and-white prints ; 3 1/2 in. x 3 1/2 in.10 photographs and an envelope. See Box 28 for black-and-white negatives.

BOX-FOLDER 22/14 Pete Robinson, undatedExtent: 8 photographs : black-and-white prints ; 10 in. x 8 in. or smaller8 photographs, relocated from box-folder 9/10.

BOX-FOLDER 22/15 Shakey Jake, circa December 18, 1968Extent: 1 photograph : black-and- white print ; 9 3/4 in. x 8 in.; 2 photographs : black-

and-white contact sheets (24 frames) ; 10 in. x 8 in. or smaller3 photographs and 2 glassine envelopes for negatives. The date is ink-stamped on the

glassine negative sleeves. See Box 29 for black-and-white negatives.BOX-FOLDER 22/16 Deacon Leroy Shinault, July 1967

Extent: 2 photographs : black-and-white prints ; 10 in. x 8 in. or smaller2 photographs.

BOX-FOLDER 22/17 Johnny Shines, December 23, 1968; November 1970; March 15, 1971; undatedExtent: 13 photographs : black-and-white prints ; 5 in. x 6 in. or smaller; 2 photographs :

black-and-white contact sheets (24 frames) ; 11 in. x 8 1/2 in. or smaller15 photographs (one is a frame cut from a contact sheet not with the collection) and

photocopies of the slide boxes. See box-folder 20/11 for an oversized photo of Shines,Box 28 for black-and-white negatives, and Box 29 for color slides.

BOX-FOLDER 22/18 Bessie Smith, circa 1920Extent: 1 photograph : black-and- white print of a negative ; 10 3/4 in. x 8 in. or smaller1 photograph.

BOX-FOLDER 22/19 Clarence "Pine Top" Smith, circa October 15, 1939Extent: 3 photographs : black-and-white prints ; 8 in. x 10 in. or smaller3 photographs; none including Smith himself. These were relocated from box-folder 6/13.


Container Contents


BOX-FOLDER 22/20 Otis Spann, undatedExtent: 1 photograph : black-and- white print ; 10 in. x 8 in. or smaller; 2 photographs :

black-and- white contact sheets (23 frames) ; 11 in. x 8 1/2 in. or smaller3 photographs (1 frame from a contact sheet was cut out prior to its arrival at AFC), 2

glassine envelopes for negatives, and 1 sheet of paper with layout instructions.BOX-FOLDER 22/21 Arthur "Big Boy" Spires, undated


BOX-FOLDER 22/22 Napoleon Strickland, 1970Extent: 2 photographs : black-and-white prints ; 6 1/2 in. x 6 1/2 in. or smaller and 5 in. x

7 in. or smaller2 photographs. Photo credit (both images): David Evans.

BOX-FOLDER 22/23 James F. Sullivan and Louise Sullivan, before June 15, 1951Extent: 1 photograph : black-and- white print ; 3 3/4 in. x 4 3/4 in.1 photograph and an envelope with handwritten notes. The date on the photo is

inconsistent with the era of the clothing in the photos, which would seem to be circa1930s.

BOX-FOLDER 23/1 Jimmie Tarlton, undatedExtent: 4 photographs : black-and-white prints ; 10 in. x 8 in. or smaller4 photographs and 3 envelopes (including a photo development lab envelope). The

envelopes have handwritten and typed notes. See Box 28 for black-and-whitenegatives.

BOX-FOLDER 23/2 Big Mama Thornton, January 1968Extent: 7 photographs : black-and-white prints ; 8 in. x 10 in.7 photographs, relocated from box-folder 7/4.

BOX-FOLDER 23/3 Coot Venson, 1963Extent: 7 photographs : black-and-white prints ; 8 in. x 10 in.7 photographs.

BOX-FOLDER 23/4 Ernie Watts, undatedExtent: 5 photographs : black-and-white prints ; 8 in. x 10 in. or smaller5 photographs; 4 have two images printed on each sheet, for a total of 9 images. These

photographs arrived at AFC in the same folder as the Pete Robinson photographs.BOX-FOLDER 23/5 Pete Welding, April 25, 1943-November 7, 1996

Extent: 7 photographs : color and black-and-white ; 8 in. x 10 in. or smaller7 photographs, relocated from box-folder 7/17.

BOX-FOLDER 23/6 Arthur Weston, June 1966Extent: 1 photograph : black-and- white print ; 10 in. x 8 in.1 photograph.

BOX-FOLDER 23/7-8 Big Joe Williams, circa 1962-1963; undatedExtent: 57 photographs : black-and-white prints ; 8 in. x 10 in. or smaller; 1 photograph:

black-and-white contact sheet (12 frames) : 8 1/2 in. x 11 in.58 photographs, 1 photo development lab envelope, and 6 glassine envelopes for

negatives. See Box 28 for black-and-white negatives.BOX-FOLDER 23/9 Robert Pete Williams, undated

Extent: 20 photographs : black-and-white prints ; 8 in. x 10 in. or smaller20 photographs and 1 envelope. See Box 28 for black-and-white negatives.

BOX-FOLDER 23/10 Tony Williams, undatedExtent: 4 photographs : black-and-white prints ; 3 1/2 in. x 3 1/2 in.4 photographs and 2 envelopes (one from a photo development lab). See Box 28 for

black-and-white negatives.


Container Contents


BOX-FOLDER 23/11 Douglas "Tex" Woods, undatedExtent: 8 photographs : black-and-white prints ; 3 1/2 in. x 3 1/2 in.8 photographs and a photo development lab envelope. See Box 28 for black-and-white

negatives.BOX-FOLDER 23/12 Phil Woods, undated

Extent: 5 photographs : black-and-white prints ; 8 in. x 10 in. or smaller5 photographs (two are printed on the same sheet) and 1 piece of paper with layout

information about a photo.BOX-FOLDER 23/13 Johnny Young, undated

Extent: 10 photographs : 8 in. x 10 in. or smaller; 6 photographs : black-and-whitecontact sheets (58 frames) : 8 1/2 in. x 11 in. or smaller; 1 photograph : black-and-white photographic print ; 3 10/16 in. x 2 1/2 in. on a 8 1/2 in. x 11 in. sheet

17 photographs , 4 glassine envelopes for negatives, and 2 envelopes. The photographicprint is inkjet or laser print on glossy stock paper. Two contact sheets are a singlestrip of photos each, cut from larger contact sheets. See Box 28 for black-and-whitenegatives.

BOX-FOLDER 23/14 Joe Zawinul, undatedExtent: 2 photographs : black-and-white contact sheets (21 frames) ; 8 in. x 10 in.2 photographs and a glassine envelope from a photo development lab. One of the contact

sheets is missing 3 images, cut out and removed prior to the collection's arrival at theAmerican Folklife Center. See Box 28 for black-and-white negatives.

BOX-FOLDER 23/15 St. Louis Ragtimey [sic], undatedExtent: 47 photographs : black-and-white prints ; 3 1/2 in. x 3 1/2 in.47 photographs and a photo development lab envelope. Photos of musicians, with some

uncertainty as to the identity of some of them. They may include Lawrence "SmokeyJoe" Henry, Henry Brown, and Elijah Brown. The folder title is original to this groupof photos. See Box 28 for black-and-white negatives.

BOX-FOLDER 23/16 Unidentified saxophone player, undatedExtent: 4 manuscript pages : 8 1/2 in. x 11 in.2 original pages and two photocopied pages. No photographs in this folder. See Box 28

for black-and-white copy negatives.BOX-FOLDER 23/17 "Call the Doctor: Breakdowns and Blues by Mississippi One-Man Band, Dr. Isaiah Ross"

(T-2206), circa 1965Extent: 7 photographs : black-and-white prints ; 10 in. x 8 in. or smaller; 1 photograph :

black-and-white photographic print ; 8 1/2 in. x 10 in.8 photographs, 12 glassine envelopes, and 1 manuscript page with photo layout

information. 5 images are clipped from one or more larger contact sheets. See Box28 for black-and-white copy negatives.

BOX-FOLDER 23/18 Testament RecordsExtent: 10 photographs : black-and-white prints ; 8 in. x 10 in.; 3 photographs : black-

and-white contact sheets (60 frames); 8 1/2 in. x 11 in.13 photographs. The photo credit for at least 4 images is assigned to Ray Flerlage. The

photos are of musicians who released commercial recordings on Testament Records.Relocated from 9/9.

BOX-FOLDER 23/19 Promotional photosExtent: 10 photographs : black-and-white prints ; 8 in. x 10 in. or smaller10 photographs.

BOX-FOLDER 23/20 Angola PrisonExtent: 2 photographs : black-and-white prints ; 65 in. x 7 in.2 photographs of prisoners at Angola Prison.


Container Contents


BOX-FOLDER 24/1 Maxwell Street (1 of 3), circa 1962-1968Extent: 6 photographs : color prints ; 8 in. x 10 in.; 78 photographs : black-and-white

prints ; 3 1/2 in. x 3 1/2 in.The folder also includes 5 envelopes (4 envelopes are from photo development labs). See

Box 28 for black-and-white copy negatives and Box 29 for color negatives.BOX-FOLDER 24/2 Maxwell Street (2 of 3), circa 1962-1968

Extent: 12 photocopies of slide containers and 2 envelopes.12 photocopies of slide containers and 2 envelopes. See Box 28 for black-and-white copy

negatives and Box 29 for color negatives.BOX-FOLDER 24/3 Maxwell Street (3 of 3), circa 1962-1968

Extent: 18 photographs : black-and-white prints ; 8 in. x 10 in.; 1 photograph : black-and-white contact sheet (12 frames) ; 8 1/2 in. x 11 in.

19 photographs. One photo is credited to R. Howard. See Box 28 for black-and-whitecopy negatives and Box 29 for color negatives.

BOX-FOLDER 24/4 Photography by Ray Flerlage, circa 1960s-1970sExtent: 22 photographs : black-and-white contact sheets (702 frames) ; 8 1/2 in. x 11 in.Some frames (not included in the count) were clipped from the contact sheets before the

photos arrived at the American Folklife Center.BOX-FOLDER 24/5 Photography by Stanley R. Shapin, undated

Extent: 2 photographs : black-and-white contact sheets (73 frames) ; 8 in. x 10 in.2 photographs.

BOX-FOLDER 24/6 Photography by Lars H. Swanberg, undatedExtent: 3 photographs : black-and-white prints ; 9 in. x 7 in. or smaller3 photographs.

BOX-FOLDER 24/7 Photography by Mark A. Weber, June 21, 1976-July 8, 1976Extent: 11 photographs : black-and-white prints ; 8 in. x 10 in.11 photographs. See Box 28 for black-and-white negatives.

BOX-FOLDER 24/8 Miscellaneous photographs (1 of 7), 1958-December 23, 1968Extent: 30 photographs : black-and-white prints (4 images are clipped from contact

sheets) ; 8 in. x 10 in. or smaller. 14 photographs : black-and-white contact sheets (206frames). 8 1/2 in. x 11 in. or smaller; 1 photograph : color print ; 4 1/4 in. x 3 1/4 in.

45 photographs, 4 paper envelopes, and 15 glassine envelopes. Some photos are creditedto Ray Flerlage. A drawing was relocated to box-folder 25/7.

BOX-FOLDER 25/1 Miscellaneous photographs (2 of 7), circa 1971Extent: 7 photographs : black-and-white prints ; 8 in. x 10 in. or smaller. 10 photographs :

black-and-white contact sheets (160 frames) ; 8 1/2 in. x 11 in. or smaller. 3 colorprints ; 8 in. x 10 in. or smaller

20 photographs, 4 paper envelopes, and 1 glassine envelope. Photo credits include FrankScott and Ted Williams.

BOX-FOLDER 25/2 Miscellaneous photographs (3 of 7), circa 1960s-1970sExtent: 3 photographs : black-and-white prints ; 8 in. x 10 in.. 1 photograph : black-and-

silver photographic print on a paper mount ; 11 3/4 in. x 8 3/4 in.4 photographs. The photographic print and 1 photo are credited to Don Schlitten. The

other two photos are credited to Peter Amft.BOX-FOLDER 25/3 Miscellaneous photographs (4 of 7), circa 1960s-1970s

Extent: 8 photographs : black-and-white prints ; 8 in. x 10 in. 5 photographs : black-and-white contact sheets (87 frames) ; 8 1/2 in. x 11 in. or smaller.

13 photographs. Includes photos credited to Frank Scott and other photos credited to RayFlerlage. Sketches have been relocated to box-folder 25/7.


Container Contents


BOX-FOLDER 25/4 Miscellaneous photographs (5 of 7), circa 1960s-1970sExtent: 3 photographs : black-and-white contact sheets (73 frames) ; 8 1/2 in. x 11 in. or

smaller.3 photographs. According to the original folder these photos were taken by Brad Barrett,

but the photo credit on the photo reverse is for Ray Flerlage. Because of this, thearchivist kept these photos grouped together.

BOX-FOLDER 25/5 Miscellaneous photographs (6 of 7), circa 1960s-1970sExtent: 3 photographs : black-and-white prints ; 8 in. x 10 in3 photographs.

BOX-FOLDER 25/6 Miscellaneous photographs (7 of 7), circa 1960s-1970sExtent: 1 photograph : black-and- white prints ; 8 in. x 10 in. 1 photograph : black-and-

white contact sheet (12 frames ) ; 8 in. x 10 in.2 photographs.

Subseries 2: Black-and-white negativesBOX 28 Bean Blossom Blues Festival, undated

Extent: 9 photographs : black-and-white film negatives ; 120 mm (roll format)See box-folder 21/2 for black-and-white prints.

BOX 28 Ted Bogan, undatedExtent: 6 photographs : black-and-white film negatives ; 120 mm (roll format)See box-folder 21/3 for black-and-white prints.

BOX 28 Jimmy Brewer, circa 1960sExtent: 12 photographs : black-and-white film negatives ; 120 mm (roll format)See box-folder 21/4 for black-and-white prints.

BOX 28 Fannie Brewer and Jimmy Brewer, circa 1962Extent: 20 photographs : black-and-white film negatives ; 120 mm (roll format)See box-folder 21/5 for black-and-white prints.

BOX 28 Clifton Chenier, January 1968Extent: 19 photographs : black-and-white film negatives ; 120 mm (roll format)See box-folder 21/8 for black-and-white prints.

BOX 28 Chicago String Band, June 1966Extent: 9 photographs : black-and-white film negatives ; 120 mm (roll format)See box-folder 21/9 for black-and-white prints.

BOX 28 Nettie Compton, undatedExtent: 18 photographs : black-and-white film negatives ; 120 mm (roll format)See box-folder 21/10 for black-and-white prints.

BOX 28 Buddy DeFranco, undatedExtent: 58 photographs : black-and-white film negatives ; 120 mm (roll format); 25

photographs : black-and-white film negatives ; 35 mm (roll format)See box-folder 21/13 for black-and-white prints.

BOX 28 Aretha Franklin, circa 1960sExtent: 4 photographs : black-and-white film negatives ; 120 mm (roll format)See box-folder 21/17 for black-and-white prints.

BOX 28 Galax, undatedExtent: 40 photographs : black-and-white film negatives ; 120 mm (roll format); 30

photographs : black-and-white film negatives ; 35 mm (roll format)See box-folder 21/18 for black-and-white prints.

BOX 28 Arvella Gray, circa 1962-1963Extent: 19 photographs : black-and-white film negatives ; 120 mm (roll format)


Container Contents


See box-folder 21/19for black-and-white prints.BOX 28 Bobby Green, July 17, 1961


BOX 28 Willie Hatcher, undatedExtent: 7 photographs : black-and-white film negatives ; 120 mm (roll format)See box-folder 21/21 for black-and-white prints.

BOX 28 John Lee Henley, 1962Extent: 11 photographs : black-and-white film negatives ; 120 mm (roll format)See box-folder 21/22 for black-and-white prints.

BOX 28 Homesick James, undatedExtent: 11 photographs : black-and-white film negatives ; 120 mm (roll format)See box-folder 21/24 for black-and-white prints.

BOX 28 Son House, undatedExtent: 27 photographs : black-and-white film negatives ; 120 mm (roll format)See box-folder 21/26 for black-and-white prints.

BOX 28 Howlin' Wolf, undatedExtent: 1 photograph : black-and- white film negative ; 120 mm (roll format)See box-folder 21/29 for black-and-white prints.

BOX 28 J. B. Hutton, undatedExtent: 10 photographs : black-and-white film negatives ; 120 mm (roll format)See box-folder 21/30 for black-and-white prints.

BOX 28 Prof. Clarence Johnson; Sister Mabel Washington, undatedExtent: 20 photographs : black-and-white film negatives ; 120 mm (roll format)There are 20 complete negatives and possibly two or more partial negatives, incautiously

trimmed prior to their arrival at AFC. See box-folder 21/34 for black-and-white prints.BOX 28 Rube [Rubin] Lacy, undated


BOX 28 Larry Lindgron, undatedExtent: 6 photographs : black-and-white film negatives ; 120 mm (roll format)See box-folder 21/38 for black-and-white prints.

BOX 28 Mance Lipscomb, undatedExtent: 16 photographs : black-and-white film negatives ; 120 mm (roll format)See box-folder 21/39 for black-and-white prints.

BOX 28 Maxwell Street Jimmy, undatedExtent: 42 photographs : black-and-white film negatives ; 120 mm (roll format)See box-folder 22/1 for black-and-white prints.

BOX 28 Maxwell Street Jimmy; Sister Marie Bean, undatedExtent: 15 photographs : black-and-white film negatives ; 120 mm (roll format)See box-folder 22/2 for black-and-white prints.

BOX 28 George, Ethel, and [Ruby?] McCoy, 1967Extent: 4 photographs : black-and-white film negatives ; 120 mm (roll format)See box-folder 22/3 for black-and-white prints.

BOX 28 Fred McDowell, undatedExtent: 18 photographs : black-and-white film negatives ; 120 mm (roll format); 1

photograph : black-and-white copy negative ; 4 in. x 4 1/4 in. or smallerSee box-folder 22/4 for the black-and-white prints, and Box 29 for the color slides.


Container Contents


BOX 28 Elmon Mickle, undatedExtent: 2 photographs : black-and-white film negative ; 35 mm (roll format)See box-folder 22/5 for black-and-white prints.

BOX 28 Charlie Musselwhite, undatedExtent: 16 photographs : black-and-white film negatives ; 120 mm (roll format)See box-folder 22/6 for black-and-white prints.

BOX 28 Billie Pierce; De De Pierce, February 1967Extent: 19 photographs : black-and-white film negatives ; 120 mm (roll format)See box-folder 22/9 for black-and-white prints.

BOX 28 Doug Quattlebaum, 1961Extent: 23 photographs : black-and-white film negatives ; 120 mm (roll format)See box-folder 22/10 for black-and-white prints.

BOX 28 Quicksilver Messenger Service, April 3, 1968Extent: 18 photographs : black-and-white film negatives ; 120 mm (roll format)See box-folder 22/11 for black-and-white prints.

BOX 28 James Robinson, undatedExtent: 12 photographs : black-and-white film negatives ; 120 mm (roll format)See box-folder 22/13 for black-and-white prints.

BOX 28 Shakey Jake, circa December 18, 1968Extent: 20 photographs : black-and-white film negatives ; 120 mm (roll format)See box-folder 22/15 for black-and-white prints.

BOX 28 Johnny Shines, March 15, 1971Extent: 12 photographs : black-and-white film negatives ; 120 mm (roll format)See box-folder 22/17 for black-and-white prints.

BOX 28 Jimmie Tarlton, undatedExtent: 2 photographs : black-and-white film negatives ; 120 mm (roll format)See box-folder 23/1 for black-and-white prints.

BOX 28 Big Joe Williams, circa 1962-1963; undatedExtent: 105 photographs : black-and-white film negatives ; 120 mm (roll format)See box-folder 23/7-8 for black-and-white prints.

BOX 28 Robert Pete Williams, undatedExtent: 18 photographs : black-and-white film negatives ; 120 mm (roll format)See box-folder 23/9 for black-and-white prints.

BOX 28 Tony Williams, undatedExtent: 5 photographs : black-and-white film negatives ; 120 mm (roll format)See box-folder 23/10 for black-and-white prints.

BOX 28 Douglas "Tex" Woods, undatedExtent: 10 photographs : black-and-white film negatives ; 120 mm (roll format)See box-folder 23/11 for black-and-white prints.

BOX 28 Johnny Young, undatedExtent: 53 photographs : black-and-white film negatives ; 120 mm (roll format)See box-folder 23/13 for black-and-white prints.

BOX 28 Joe Zawinul, undatedExtent: 12 photographs : black-and-white film negatives ; 120 mm (roll format)See box-folder 23/14 for black-and-white prints.

BOX 28 St. Louis Ragtimey [sic], undatedExtent: 54 photographs : black-and-white film negatives ; 120 mm (roll format)See box-folder 23/15 for black-and-white prints.


Container Contents


BOX 28 Unidentified saxophone player, undatedExtent: 4 photographs : black-and-white film copy negatives ; 8 in. x 10 in. or smallerSee box-folder 23/16 for black-and-white prints.

BOX 28 "Call the Doctor: Breakdowns and Blues by Mississippi One-Man Band, Dr. Isaiah Ross"(T-2206), circa 1965Extent: 15 photographs : black-and-white film negatives ; 120 mm (roll format)See box-folder 23/17for black-and-white prints.

BOX 28 Maxwell Street, 1960sExtent: 85 photographs : black-and-white film negatives ; 120 mm (roll format)See box-folder 24/1, 24/2, and 24/3 for black-and-white prints.

BOX 28 Miscellaneous photographs, 1958-December 23, 1968Extent: 149 photographs : black-and-white film negatives ; 120 mm (roll format); 2

photographs : black-and-white film copy negatives ; 4 in. x 5 in. or smallerSee box-folder 24/7 for black-and-white prints.

Subseries 3: Color slides and negativesBOX 29 Son House, Jimmy Brewer, Thomas Swain, undated

Extent: 8 photographs : color transparencies ; 120 mm (slide format)See box-folder 21/27 for black-and-white prints.

BOX 29 Fred McDowell, March 1968Extent: 12 photographs : color transparencies ; 120 mm (slide format)See box-folder 22/4 for the black-and-white prints, and Box 28 for the black-and-white

negatives.BOX 29 Quicksilver Messenger Service, April 3, 1968

Extent: 15 photographs : color transparencies ; 120 mm (slide format)See box-folder 22/11 for black-and-white prints.

BOX 29 Johnny Shines, 1960sExtent: 19 photographs : color transparencies ; 120 mm (slide format)See box-folder 22/17 for black-and-white prints.

BOX 29 Maxwell Street, undatedExtent: 57 photographs : color transparencies ; 120 mm (slide format); 6 photographs (2

strips) : color film negative ; 35 mm (roll format)See box-folder 24/2 and 24/3 for black-and-white prints.

BOX 29 Miscellaneous records, undatedExtent: 2 photographs : color transparencies ; 120 mm (slide format, unmounted); 2

photographs : color transparencies ; 35 mm (slide format)See box-folder 24/7 for black-and-white prints.

Series 10: Sketches

BOX-FOLDER 25/7,Subfolder A

Big Joe Turner, undated

Extent: 1 sketch : probably pencil on paper ; 7 3/4 in. x 9 in. or smallerDrawing by Pete Welding; originally housed in box-folder 25/3. Probably pencil on paper.

BOX-FOLDER 25/7,Subfolder B

"Practising [sic] the Piano," undated

Extent: 1 sketch : probably pencil on paper ; 7 3/4 in. x 11 in.Drawing by Pete Welding; originally housed in box-folder 25/3. Probably pencil on paper.


Container Contents


BOX-FOLDER 25/7,Subfolder C

"Elmer Snowden on the Frank Ford Show," July 20, 1960

Extent: 1 sketch : probably pencil on paper ; 7 1/2 in. x 5 1/2 in. or smallerDrawing by Hank Newmark; originally housed in box-folder 24/8. Probably pencil on paper.

Series 10: Sketches

Container Contents


Pete Welding collection [finding aid]. American Folklife Center ...

Documents

Transcript of Pete Welding collection [finding aid]. American Folklife Center ...