Croce Plays Croce for The Angelina Arts Alliance...
Labels: electric guitar, music, New Orleans
Labels: electric guitar, music, New Orleans
Labels: sensitive, subversive, war
Labels: electric guitar, music
Labels: big white dog, subversive, weird old america
Labels: banjo, Doches, drums, Lufkin Brass, music, Nacogdoches, New Orleans, tuba
Labels: electric guitar, festival, jazz fest, music, New Orleans
Labels: Black History, jazz fest, music, New Orleans
Labels: big white dog, Grand kids
Labels: 5 gallons of stink bait, birds, catfish, lake, meat, pontoon, retirement
Labels: catfish, Cathy, family, Grand kids, Sabine, white bass
Back in the late 1970s/early 1980s I was lucky enough to see blues duo Sonny Terry and Brownie McGee two times. I can't really take any credit for knowing much about them at the time. I was a big blues fan and they performed in a small bar that is now a parking lot in an East Texas collage town. All my friends were going and many of those there that evening are still my friends. All this is as good a reason as you can find to realize that Black History matters.
Sonny, a harmonica player lost his sight to injuries by the time he was 16. That left him music as one of the only ways to make a living and he began performing around North Carolina. By 1938 he appeared at Carnegie Hall as part of promoter John Hammond's Spirituals to Swing Concert and recorded for the Library of Congress. He teamed with Brownie by the 1940s and was in the original Broadway cast of Finian's Rainbow and Cat on a Hot Tin Roof. Musicologist Ned Sublette links Sonny's harp style to the music of African Pigmies who using what a European would call pan pipes alternated sung notes and blown notes to tell the story of the hunt. Sonny recorded "Fox Chase" in 1938 alternating whoops with the harp notes to add to the ancient tribal story of how to hunt large game without getting stepped on.
Labels: Black History, Doches, electric guitar, Nacogdoches