Happy Birthday To You-***Singing The Blues For His Lord- The Reverend Gary Davis Is On Stage

Happy Birthday To You-

By Lester Lannon

I am devoted to a local folk station WUMB which is run out of the campus of U/Mass-Boston over near Boston Harbor. At one time this station was an independent one based in Cambridge but went under when their significant demographic base deserted or just passed on once the remnant of the folk minute really did sink below the horizon.

So much for radio folk history except to say that the DJs on many of the programs go out of their ways to commemorate or celebrate the birthdays of many folk, rock, blues and related genre artists. So many and so often that I have had a hard time keeping up with noting those occurrences in this space which after all is dedicated to such happening along the historical continuum.

To “solve” this problem I have decided to send birthday to that grouping of musicians on an arbitrary basis as I come across their names in other contents or as someone here has written about them and we have them in the archives. This may not be the best way to acknowledge them, but it does do so in a respectful manner.    

Click on the headline to link to a YouTube film clip of the Reverend Gary Davis playing Children Of Zion on Pete Seeger's 1960 television show Rainbow Quest.

CD Review

Twelve Gates To The City: Reverend Gary Davis: In Concert 1962-1966, Shanachie Records, 2000

I have mentioned many of the old time black male country blues singers in this space, for example, Son House, Bukka White and Skip James. I have also mentioned the close connection between this rural music, the routine of life on the farm (mainly the Mississippi Delta plantations or sharecropping) and simple religious expression in their works. The blues singer under review meets all of those criteria and more. The Reverend Gary Davis, although not as well known in the country blues pantheon, has had many of his songs covered by the denizens of the folk revival of the 1960's and some rock groups, like The Grateful Dead, looking for a connection with their roots. Thus, by one of the ironies of fate his tradition lives on in popular music. I would also mention here that his work was prominently displayed in one of the Masters Of The Blues documentaries that I have reviewed in this space. That placement is insurance that that the Reverend's musical virtuosity is of the highest order. As an instrumentalist he steals the show in that film. Enough said.

Stick out songs here are the much-covered Samson and Delilah (most famously, I think, by Dave Van Ronk), Cocaine Blues (from when it was legal, of course), Twelve Keys To The City and the gospelly Blow Gabriel and Who Shall Deliver Poor Me.

Some Biographical Information From the Back Cover Of This Album

Durham, North Carolina in the 1930's was a moderate sized town whose economy was driven by tobacco farming. The tobacco crop acted somewhat as a buffer against the worst ravages of the Depression. During the fall harvest, with its attendant tobacco auctions, there was a bit more money around, and that, naturally, attracted musicians. Performers would drift in from the countryside and frequently took up residence and stayed on. Two master musicians who made Durham their home, whose careers extended decades until they become literally world famous, were Reverend Gary Davis and Sonny Terry.

REV. GARY DAVIS

Reverend Gary Davis was one of the greatest traditional guitarists of the century. He could play fluently in all major keys and improvise continually without repetition. His finger picking style was remarkably free, executing a rapid treble run with his thumb as easily as with his index finger and he had great command of many different styles, representing most aspects of black music he heard as a young man at he beginning of the century. Beyond his blues-gospel guitar, Davis was equally adept at ragtime, marches, breakdowns, vaudeville songs, and much more. Born in Lawrence County, South Carolina in 1895, Davis was raised by his grandmother, who made his first guitar for him. Learning from relatives and itinerant musicians, he also took up banjo and harmonica. His blindness was probably due to a congenital condition. By the time he was a young man he was considered among the elite musicians in his area of South Carolina where, as in most Southern coastal states, clean and fancy finger picking with emphasis on the melody was the favored style. Sometime in the early 1950's, Davis started a ministry and repudiated blues. In 1935, he recorded twelve gospel songs that rank among the masterpieces of the genre. In 1944, he moved to New York where he continued his church work, and sometimes did some street singing in Harlem. By the early 1960's, with the re-emergence of interest in traditional black music, Davis finally received the recognition and prominences he so richly deserved.

The Centennial Of Pete Seeger’s Birthday (1919-2014)- ***Songs To While Away The Class Struggle By- Pete Seeger's "Waist Deep In The Big Muddy"

Click on the title to link to a "YouTube " film clip of Pete Seeger performing his classic anti-war cautionary tale, ""Waist Deep In The Big Muddy".

No, today I am not going to beat you over the head with a screed about how music, in whatever form, is not the revolution. You know that already, and if not life itself should have disabused you of that notion long ago. Music, however, has always had an important place in the history of progressive movements as a way to rouse the troops and keep the faith. I think back to the days of Cromwell’s plebeian New Model Army, singing New Testament psalms, while going off to do battle against England’s King Charles I’s royalist forces that started the whole modern revolutionary movement. Or the songs of the French revolution. Or those of the modern labor movement like “The Internationale”. I could go on, but you get the point.

In this series, presented under the headline “Songs To While Away The Class Struggle By”, I will post some songs that I think will help us get through the “dog days” of the struggle for our communist future. I do not vouch for the political thrust of the songs; for the most part they are done by pacifists, social democrats, hell, even just plain old ordinary democrats. And, occasionally, a communist, although hard communist musicians have historically been scarce on the ground. Thus, here we have a regular "popular front" on the music scene. While this would not be acceptable for our political prospects, it will suffice for our purposes here.


Markin comment:

This is a repost of an entry I have placed on this site many, too many times. Today, unfortunately, it bears repeating:

Every once in a while (more frequently than I would like) old Pete Seeger's song about his World War II adventures that served as a parable for President Lyndon Johnson and his constant Vietnam escalations, "Waist Deep In The Big Muddy” just seems appropriate. This is one of those occasions. Just switch "Big Poppy" for "Big Muddy" and you will have it just about right. And to make sure we have it right- Obama- Immediate, Unconditional Withdrawal Of All U.S./Allied Troops And Mercenaries From Afghanistan and Iraq!

"Waist Deep In The Big Muddy"-Pete Seeger

It was back in nineteen forty-two,
I was a member of a good platoon.
We were on maneuvers in-a Loozianna,
One night by the light of the moon.
The captain told us to ford a river,
That's how it all begun.
We were -- knee deep in the Big Muddy,
But the big fool said to push on.

The Sergeant said, "Sir, are you sure,
This is the best way back to the base?"
"Sergeant, go on! I forded this river
'Bout a mile above this place.
It'll be a little soggy but just keep slogging.
We'll soon be on dry ground."
We were -- waist deep in the Big Muddy
And the big fool said to push on.

The Sergeant said, "Sir, with all this equipment
No man will be able to swim."
"Sergeant, don't be a Nervous Nellie,"
The Captain said to him.
"All we need is a little determination;
Men, follow me, I'll lead on."
We were -- neck deep in the Big Muddy
And the big fool said to push on.

All at once, the moon clouded over,
We heard a gurgling cry.
A few seconds later, the captain's helmet
Was all that floated by.
The Sergeant said, "Turn around men!
I'm in charge from now on."
And we just made it out of the Big Muddy
With the captain dead and gone.

We stripped and dived and found his body
Stuck in the old quicksand.
I guess he didn't know that the water was deeper
Than the place he'd once before been.
Another stream had joined the Big Muddy
'Bout a half mile from where we'd gone.
We were lucky to escape from the Big Muddy
When the big fool said to push on.

Well, I'm not going to point any moral;
I'll leave that for yourself
Maybe you're still walking, you're still talking
You'd like to keep your health.
But every time I read the papers
That old feeling comes on;
We're -- waist deep in the Big Muddy
And the big fool says to push on.

Waist deep in the Big Muddy
And the big fool says to push on.
Waist deep in the Big Muddy
And the big fool says to push on.
Waist deep! Neck deep! Soon even a
Tall man'll be over his head, we're
Waist deep in the Big Muddy!
And the big fool says to push on!

For Kate McGarrigle’s Birthday- *From The Folk Archives-The Folksinger Kate MCGarrigle Passes On- Speak To Me Of Mendicino, Please

Click on the title to link to a "The New York Times" online obituary about Kate McGarrigle of the famous folksinging sisters, Kate and Anna McGarrigle.



Markin comment:


I will always remember the first time I heard Kate and Anna McGarrigle performing ""Mendocino". Wow. I should also note, that, like Rosalie Sorrel and Utah Phillips, Kate McGarrigle was something of a fixture at different times in her life at the Cafe Lena in Saratoga, New York. "Mendocino", I believe, was written in honor of Lena Spencer the founder of Caffe Lena and "guardian angel" of the folk scene in that part of New York in the old days, the 1960s and a little later.

In Honor Of Johnny Hodges 112th Birthday-From The Archives (2009)The Duke Is Rockin’ His Castle- In Honor Of The 110th Birthday Anniversary Of Duke Ellington

Click On Title To Link To YouTube's Film Clip Of Duke Ellington And His Band Performing "C Jam Blues"

CD Review

In Honor Of The 110th Birthday Anniversary Of Duke Ellington

Duke Ellington: The Blanton-Webster Band, 1940-42, Bluebird, 1986

Those who follow the reviews in this space may have read a response to a commenter that I wrote recently in reviewing John Cohen’s (from the old folk group The New Lost City Ramblers) “There Is No Eye: Music For Photographs” CD. That CD contained many country blues, urban folk, city blues and rural mountain musical treats (as well as a little tribute to the “beats” of the 1950’s). The gist of my comment was an attempt to draw a connection between my leftist sympathies and the search for American roots music that has driven many of my reviews lately. That said, no one, at least no one with any sense of the American past can deny the importance of the emergence of jazz as a quintessentially American black music form of expression. In short, roots music. And if you want to look at the master, or at least one of the masters (if you need to include King Oliver and Louis Armstrong, as well), of the early years of this genre then look no further- you are home. Duke is in his castle.

Now I am by no means a jazz aficionado. In fact, if anything, I am a Johnnie-come- lately to an appreciation of jazz. More to the point as a youth I never really liked it (except some of the more bluesy-oriented pieces that I would occasionally hear like Armstrong’s “Potato Blues” that I was crazy for when I first heard them) as against the other musical genres that I was interested in. Then, with all the hoopla over Duke’s 100th birthday anniversary ten years ago, in 1999, I decided to investigate further. I had to ask someone what would be a good CD of Duke’s to listen to. This Blanton-Webster Band of 1940-42 was what was suggested. And that person was not wrong. This thing is hot, extremely hot.

Remember these Ellington tone poems, that is all I can think to call them, were done back in the day when dukes, counts, kings, queens and empresses ruled the jazz empire. Others may have their favorites from this period but can one really beat a jazz combo that has Cootie Williams, Barney Bigard, Harry Carney, Jimmy Blanton, Ben Webster and my favorite Ellington player, tenor sax man Johnny Hodges, on it. You had better go “big” if you’re going to beat that group of talented musicians. Okay, what about the pieces. On Disc One how about a jumping “Jack The Bear, “Ko-Ko’, “Dusk” and “In A Mellotone”. On Disc Two “Five O’clock Whistle”, the classic “Take The “A” Train”, “I Got It Bad (And That Ain't Good) and “Blue Serge”. On Disc Three, a sultry carib-flavored “Moon Over Cuba”, the sardonic “Rocks In My Bed”, “Perdido”, the haunting “Moon Mist” and the famous “Sentimental Lady”. Nice. I may not be a jazz aficionado but that isn’t a bad list, is it?

The Anniversary Of The Summer Of Love- California Dreamin’- The Music Of The Mamas And The Papas

The Anniversary Of The Summer Of Love- California Dreamin’- The Music Of The Mamas And The Papas

The Best of the Mamas and the Papas, The Mamas and the Papas, SPA, 1998

Over the past couple of years I have reviewed a fair number of performers from the folk revival of the 1960s. Looking over quickly the names of those reviewed discloses a personal predilection for individual performers, although there were plenty of good to excellent groups around at the time, like the New Lost City Ramblers, The Greenbriar Boys, The Chambers Brothers, The Clancy Brothers, and other such groups who did traditional folk music.

As folk evolved, in the mid-1960s, a little away from those more traditional forms and into something like folk rock, younger groups picked up on the spirit of the movement with their own more modern lyrics and more harmonic works. The classic example in this genre would probably be Peter, Paul and Mary but the group under review, the Mamas and the Papas, also fits that description as well. Led vocally by big-voiced "Mama" Cass and with lyrics written by lead male singer "Papa" John Phillips the group had a number of hits in that folk rock moment, many of them on this compilation.

So what is still good almost half a century later? Well, "California Dreamin" still holds its own as a signature song for the foursome. As does "Monday, Monday" and "Words Of Love". The real surprise is their cover of the old Benny King classic (written by Jerry Leiber and Phil Spector), "Spanish Harlem". That song also displays the great harmonics, the feel and balance, as well as the understated performance that was the M&P hallmark.

California Dreamin' Lyrics-John Phillips, Michelle Phillips

All the leaves are brown
(All the leaves are brown)
And the sky is gray.
(And the sky is gray).
I've been for a walk
(I've been for a walk)
On a winter's day.
(On a winter's day).

I'd be safe and warm
(I'd be safe and warm)
if I was in L.A.
(If I was in L.A.)
California dreamin'
(California dreamin') on such a winter's day.

Stopped in to a church I passed along the way.
Well I got down on my knees
(got down on my knees)
And I pretend to pray.
(I pretend to pray).
You know the preacher likes the cold.
(preacher likes the cold).
He knows I'm gonna stay.
(knows I'm gonna stay).
California dreamin'
(California dreamin') on such a winter's day.

(Bridge)

All the leaves are brown
(All the leaves are brown)
And the sky is gray.
(And the sky is gray).
I've been for a walk
(I've been for a walk)
On a winter's day.
(On a winter's day).

If I didn't tell her
(If I didn't tell her)
I could leave today.
(I could leave today).
California dreamin' (California dreamin')on such a winter's day,
California dreamin' on such a winter's day,
California dreamin' on such a winter's day.

From Boston IndyMedia-A Protest Song For The Fourth Of July

Click on the headline to link to a Boston IndyMedia website entry for a Fourth Of July protest song.

***Once More Into The Time Capsule, Part Three- The New York Folk Revival Scene in the Early 1960’s-Richie Haven

Click on to title to link to YouTubes' film clip of Richie Havens performing Bob Dylan's "Just Like A Woman"

CD Review

Washington Square Memoirs: The Great Urban Folk Revival Boom, 1950-1970, various artists, 3CD set, Rhino Records, 2001

Except for the reference to the origins of the talent brought to the city the same comments apply for this CD.Rather than repeat information that is readily available in the booklet and on the discs I’ll finish up here with some recommendations of songs that I believe that you should be sure to listen to:


Disc Three: Phil Ochs on “I Ain’t Marching Anymore”, Richard &Mimi Farina on “Pack Up Your Sorrows”, John Hammond on “Drop Down Mama”, Jim Kweskin & The Jug Band on “Rag Mama”, John Denver on “Bells Of Rhymney”, Gordon Lightfoot on "Early Morning Rain”, Eric Andersen on “Thirsty Boots”, Tim Hardin on “Reason To Believe”, Richie Havens on “Just Like A Woman”, Judy Collins on “Suzanne”, Tim Buckley on “Once I Was”, Tom Rush on “The Circle Game”, Taj Mahal on “Candy Man”, Loudon Wainwright III on “School Days”and Arlo Guthrie on “The Motorcycle Song”

Richie Havens on “Just Like A Woman”. I have mentioned earlier that good Pete Seeger covers are hard to find. That is definitely not the case with Brother Dylan. While he has placed his signature on many of his songs there have been so many that other singers had a chance to make their mark covering his work. That is the case here. Haven’s version of this song is the definite one for timing, sense of the song, phrasing, hell, everything. He is also one of the few, Taj Mahal being another, black folk artists who came out of that 1960s folk revival. Strange in a way, because without the ‘discovery’ of old black 1920s country blues singers, like Son House, Skip James and John Hurt, and other black sources of the revival it would have lost quite a lot of it authentic flavor.

Just Like A Woman

Nobody feels any pain
Tonight as I stand inside the rain
Ev'rybody knows
That Baby's got new clothes
But lately I see her ribbons and her bows
Have fallen from her curls.
She takes just like a woman, yes, she does
She makes love just like a woman, yes, she does
And she aches just like a woman
But she breaks just like a little girl.

Queen Mary, she's my friend
Yes, I believe I'll go see her again
Nobody has to guess
That Baby can't be blessed
Till she sees finally that she's like all the rest
With her fog, her amphetamine and her pearls.
She takes just like a woman, yes, she does
She makes love just like a woman, yes, she does
And she aches just like a woman
But she breaks just like a little girl.

It was raining from the first
And I was dying there of thirst
So I came in here
And your long-time curse hurts
But what's worse
Is this pain in here
I can't stay in here
Ain't it clear that--

I just can't fit
Yes, I believe it's time for us to quit
When we meet again
Introduced as friends
Please don't let on that you knew me when
I was hungry and it was your world.
Ah, you fake just like a woman, yes, you do
You make love just like a woman, yes, you do
Then you ache just like a woman
But you break just like a little girl.

Copyright ©1966; renewed 1994 Dwarf Music

***A Man Of Africa- The Music Of Tony Bird

Click on title to link to Rounder Record promotional material on the "Sorry Africa" CD reviewed below. I could find nothing on YouTube of Tony Bird doing that title song, "Mango Time" or the incredible "Rift Valley" and my personal favorite "She Came From The Karoo". Maybe someone else will have more luck.

CD REVIEW

Sorry Africa, Tony Bird, Rounder Records, 1990

Blues and rural folk music, historically important on the American music scene, have always been in debt, acknowledged or not, to the sounds of Africa. Without getting into a treatise here on that subject if one is interested in the blues then it should be one's business as it was for a poet like Langston Hughes, for example, to dig into the African roots. The same quest, obviously, needs to be taken for those in who live in an increasing urbanized Africa today. Tony Bird, the artist under review here, is a man of Africa and takes that identity seriously. Moreover he is a white man of Africa. And to top that off he is a white man, one of the few unfortunately when it counted, who stood up against colonialism, neo-colonialism, white racism and apartheid. Hats off.

Somehow, someway Tony Bird through that experience has incorporated the language, the sound and, most importantly, the spirit of Africa in his music. That feat is put on display front and center in this nicely done, although all too short, CD that shows that he has assimilated those traditions. Starting from the lushly poetic, upbeat "Rift Valley" through to his signature jump tune "Mango Time" through the politically-driven title track "Sorry Africa" his sense of his African homeland shines through. He is not as successful when he slows down the beat and gets caught up with trying to deliver a message on a track like "Athlone Place" but that is merely a minor flaw in this well-produced CD by Rounder Records. By the way, Tony, for your efforts against colonialism and white racism there is no need to say sorry. The new Africa that is struggling, painfully, fitfully and with reverses to be `aborning' should recognize that.

Note: I first heard Tony Bird many years ago on an old vinyl record album entitled "Tony Bird" where I was mesmerized by his "Rift Valley" and more so by "She Came From The Karoo". The reason that I am reviewing this 1990 CD is that I recently attended a Tony Bird concert where he did a few of the songs from that old album. I make the same comment about that performance as I do about this CD. He does his Africa-centered songs as lustily and with the verve of twenty years ago, and still is as mesmerizing. His `message' songs, none of them included here, are more uneven. "New Jerusalem' is very powerful (if a little long) concerning the need for some kind of just settlement to the Palestinian question. However, "Mr. Meanie" a parable about the Bush years, "Aint't Nobody's Business Who You Love" about the varieties of possibilities inherent in the love experience and "Well Done, America", his Africa tribute to the election of Barack Obama as the first black American president were less so. Still, if you get a chance, he is well worth seeing when he hits his stride.