American Epic/The American Epic Sessions

Posted on July 7, 2017 by aaamc

Title: American Epic / The American Epic Sessions

Artist: Various

Label: PBS

Formats: DVD, BluRay

Release date: May 16, 2017

Title: American Epic (The Collection)

Artist: Various

Label: Legacy/Sony

Format: 5CD box set, MP3, Streaming

Release date: May 12, 2017

Title: The American Epic Sessions

Artist: Various

Label: Lo-Max/Columbia

Formats: 2CD, Vinyl, MP3, Streaming

Release date: June 9, 2017

First broadcast as a 3-part, 3.5-hour documentary on PBS, “American Epic” explores the beginning of regional commercial recording in the U.S. The program’s premise and logo is these early recording field trips resulted in “the first time American heard itself,” a somewhat grandiose claim. Along with the TV mini-series, Sony released a 100 song, 5-CD box set of newly-transferred/newly-restored vintage recordings, organized by recording locations, plus a single-CD soundtrack album, covering only recordings used in the TV programs. And, taking advantage of a fully-restored vintage recording system, the films’ producers teamed up with producer T. Bone Burnett and musician/producer/entrepreneur Jack White to stage a series of recording sessions in a Los Angeles studio with performances by a wide assortment of contemporary musicians. Those recordings, transferred from the lacquer discs on which they were inscribed, are collected in “The American Epic Sessions” 2CD set. A two-hour documentary, covering some of these recording sessions and detailing the vintage recording equipment, was also broadcast on PBS.

In 1926, Western Electric developed an electrical recording system, which quickly replaced the acoustic (“screaming into a horn”) systems that had used sound-pressure energy to cut grooves into cylinders and discs up to that point. With Western Electric’s system, sound waves hitting a microphone created an electrical current, which was then amplified by a 6-foot rack of tube electronics, and used to drive an electro-magnetic cutting stylus, which cut grooves onto wax blanks. The system used in “The American Epic Sessions,” lovingly restored and expertly operated by engineer Nicholas Bergh, cuts onto lacquer discs.

The key take-aways relevant to this project: the Western Electric recording system was portable, and at the time it was developed, radio was killing the commercial record business. During the acoustic era, record companies had concentrated on urban-centric popular “dance band” music and formal classical recordings. But the U.S. was a regional and tribal country at the time, and local music genres and styles remained local. Desperate for new record-buying customers, the record companies sent electrical recording systems and crews out into the land, searching for new musicians and musical styles in hopes of “the next big thing” that radio didn’t offer.

A typical recording trip would include a blitz of advertising in local newspapers and word-of-mouth announcements at general stores and post offices, offering local musicians a chance to make a record. The musicians would flock to a central location, such as a disused hat factory in Memphis or a hotel in San Antonio, for recording sessions. Through this process, the genres of country/hillbilly, Delta blues, Tejano, and Hawaiian music gained national distribution and influence. Some big stars emerged, like country music legends The Carter Family and Jimmie Rodgers and Tejano pioneer Lydia Mendoza. Many other recordings, by artists such as Dock Boggs, Willie Brown and especially Robert Johnson, didn’t sell well in their day but were incredibly influential on later musicians and musical genres. Other artists such as Charley Patton, the Memphis Jug Band, and even Hopi Indian Chanters, enjoyed regional success and years of fruitful recording sessions.

The “American Epic” documentary and the 5-CD set concentrate the regional styles and genres. The documentary is divided into 3 parts, with each focusing on a handful of artists and songs. Herculean efforts were made to track down descendants or first-person associates of the original artists, and their stories bring life to the people behind the old records. The filmmakers concentrated on the music, and avoided the dull academic tone that slows down too many PBS programs. There is a nerdy hip-ness to the whole project, and the technical details of the early recording process are explained enough for a casual music-oriented viewer to understand by not descending too far in the weeds. Above all, these stories tie together music, people and places.

Recording location rather than music type or artist divides the 5-CD set. This makes for more interesting listening, because each of the CDs is its own “mix tape” of genres and artists, alike only in that they were recorded in a particular region of the U.S., and even then not in a single location or studio. That said, the sequencing choice makes more difficult comparisons of artists within a single genre.

Engineer Nicholas Bergh, using a system he developed based on his understanding of the original recording process, transferred all of the recordings used in the CD box. A quick comparison of previous reissues of a handful of tunes indicates that Bergh was able to squeeze more fidelity and musical content from the discs, varying from a shade better to much better. It’s worth noting that there is a good bit of overlap between the “American Epic” box set and the classic “Anthology of American Folk Music,” so one can compare the transfer technology and aesthetic evolution over the past 50+ years. There is also some overlap with various Yazoo collections, not surprising since Yazoo owner Richard Nevins contributed rare records from his collections and is thanked in the liner notes.

For a person interested in the true roots of what today is called “roots” music, as well as the original Delta style of blues, and the history of what became country music, this set is invaluable. In some cases, this is the first opportunity to clearly hear the musical subtleties and even decipher the lyrics, since the day the discs were cut. The amply illustrated booklet includes printed lyrics and as close to a first-person description of each artist as the producers were able to find.

“The American Epic Sessions” is a bit more of a creative-license undertaking. The documentary producers were clearly enamored with Bergh’s restored recording system, so the logical thing to do, with music-industry bigwigs like Burnett and White involved and a documentary crew in tow, was bring some modern musicians in and cut some 78s. The results are mixed, musically, and the listener must accept the somewhat low-fidelity sound quality captured in the lacquers, but the exercise was net-net successful. I recommend the video documentary over the 2CD music-only set, because it’s interesting to watch modern musicians, accustomed as they are to endless re-takes and overdubs, adjust to the antique one-mic/one-take recording process. Suffice to say, some adapt better than others, but all were able to wax a successful side or two.

Overall, the “American Epic” project was an important undertaking, introducing some seminal music to a new audience in a sound quality not heard before, and bringing life to the musical and recording pioneers who first spread the American musical vernaculars out of their local wellsprings. The “Sessions” video and audio aptly demonstrates the conditions and limitations of the early electrical recordings.

Editor’s note: There is also a separate hardcover book, American Epic: When Music Gave America Her Voice, written by series producer Allison McGourty and director Bernard MacMahon, with Elijah Wald (Touchstone, 288 pages). According to colleague Steve Ramm, there is little crossover in terms of illustrations and content between this book and the one accompanying the Sony box set. Please note that the book’s title is listed variously on other sites as American Epic: The First Time America Heard Itself and American Epic: Companion to the TV Series. Also, there have been hints from some quarters that a director’s cut of the PBS series will be issued on Blu-ray later this year, so you may wish to hold off on your purchase of the version covered here. For various compilations associated with the series (but NOT remastered) see our June 2017 Releases of Note.

Reviewed by Tom Fine

Various Artists – Killer B3: A Documentary about the Hammond Organ

Posted on April 1, 2016 by aaamc

Title: Killer B3: A Documentary about the Hammond Organ

Artist: Various

Label: Crooked Soul Productions

Format: DVD

Release Date: April 2014

We just received a review copy of this fascinating 2013 film that has been making the festival rounds. The Kickstarter-funded Killer B3 explores the history of the instrument responsible for one of the signature sounds of the 20th century, an instrument that has animated church services, jazz clubs, and rock recording sessions since its introduction in 1935, the Hammond Organ. The film’s punny title is a bit misleading: while the B3 is certainly the most popular model among the jazz musicians who play the bulk of the music featured in the film (which includes stellar performances by and interviews with Dr. Lonnie Smith, Tony Monaco, Joey DeFrancesco, and the legendary Jimmy Smith), the filmmakers take care to note that the B3 is just one model that conveys the signature Hammond Organ sound.

Killer B3 outlines the instrument’s story, from its design by clockmaker Laurens Hammond, who was looking to diversify his product line by selling an electric organ more economical than a pipe organ to cash-strapped churches, to the unique sounds that a variety of players have culled out of Hammond Organs. It focuses on the plethora of artists who adopted the instrument as the most essential tool in their toolbox, despite the organ’s 425 pound weight (and that’s not including the rotating Leslie speaker cabinet that most players deem necessary), which would seemingly be prohibitive to a regularly gigging musician. While the filmmakers predominantly focus on high-profile jazz players who have brought this instrument to prominence, they also highlight the instrument’s important role in African American churches, and make important connections between the Hammond’s use in the church and the jazz club. (It is important to note that they don’t talk much about the rock musicians who adopted the organ’s signature sound, which may be the subject of a second installment, according to hints being dropped on the documentary’s Facebook page.) The filmmakers note the Hammond Organ’s widespread popularity, tracing the instruments’ history and key players around the country, from Chicago to Florida, New York, and Philadelphia.

Watch the extended trailer here:

The film’s directors Murv Seymour and Joe Branford interview players, people responsible for maintaining models from the original Hammond line (the company ceased producing the original organs in the 70s, and reconstituted the line with digital models in 2003), as well as other experts and aficionados, about the Hammond’s impact on a variety of players. They craft a compelling narrative, albeit skewed to focus on the organ’s use in jazz. They also highlight the seeming accelerating loss of key Hammond players, highlighting the loss of several major figures passed away during the period in which they filmed this documentary. While certainly not an exhaustive treatment of the subject, Killer B3 is a great introduction to the instrument and some of its key players.

For those considering streaming the film or purchasing on iTunes, think twice! Instead, buy a physical copy of the documentary. Not only does the DVD version include a featurette on how the directors made the film, but it also includes 36 minutes of additional performance footage, which are worth repeated viewings to see masters and hear of their craft at work. .

Reviewed by Matthew Alley

At Last…The Beginning

Posted on May 13, 2009 by aaamc

Title: At Last. . . The Beginning: The Making Of Electric Ladyland [DVD]

Artist: Jimi Hendrix

Director: Roger Pomphrey

Label: Experience Hendrix

Catalog No.: B0012279-09

Release Date: December 9, 2008

In December 1966, Jimi Hendrix released his first single, a cover of “Hey Joe.” Less than two years later, in October 1968, he released his studio masterwork, Electric Ladyland, a sprawling 2-LP set that took Jimi to #1 on the U.S. Pop charts for the first time. Less than two years later, he was dead.

The artistic and sonic achievements of Electric Ladyland can hardly be overstated. It’s an amazing album that belongs in the collection of every student of 20^thcentury music, and At Last…The Beginning: The Making of Electric Ladyland, an 86-minute DVD documentary on its recording, is a must-have companion for all serious Hendrix fans. Featuring all of the album’s important contributors – reminiscences by musicians Mitch Mitchell, Noel Redding, Buddy Miles, Jack Casady, Steve Winwood, Dave Mason, and Mike Finnigan coupled with testimony from Jimi’s support team of manager Chas Chandler, engineer Eddie Kramer, road manager Gerry Stickells, label owner Chris Stamp (and many more) – this program provides a fascinating glimpse into not only the album’s songs and recording sessions but also The Experience’s brutal work schedule and, most importantly, the working methods and personality of Jimi Hendrix. The few clips of Jimi speaking are frustratingly brief, and, as a result, his specter hovers above the proceedings but remains distant and elusive.

Have You Ever Been (To Electri…

The documentary’s most revealing segments are those that feature Eddie Kramer at the mixing board describing the album’s recording sessions as he solos tracks from the original master tapes. The soul, subtlety, and artistry of Jimi’s guitar and vocal overdubs can best be appreciated when they are heard in isolation. For example, the delicate rhythm guitar performance that underlies “Have You Ever Been (To Electric Ladyland)” (heard in its entirety over the show’s closing credits) is some of the most achingly beautiful playing you’ll ever hear. In addition, Eddie plays demos of “1983…(A Merman I Should Turn To Be)” and “Gypsy Eyes” that will leave you wanting more. If the people at Experience Hendrix really want to reward Jimi’s long-standing fans, they should consider releasing a box of demos, session highlights, and new Eddie Kramer mixes that isolate the many layers of Jimi’s arrangements. Consider the success of The Beach Boys’ 3-CD set The Pet Sounds Sessions, for example.

At Last…The Beginning: The Making of Electric Ladyland is a newly edited, expanded edition of the original 1997 60-minute Classic Albums version. I’ve shown that edition to the students in my Music of Jimi Hendrix class every semester for years, so I practically have it memorized. At first, this version’s claim of featuring “forty minutes of additional content not seen in the original television broadcast and never before released on DVD” was quite exciting, but, sadly, that statement is patently misleading. This version is only twenty-six minutes longer and, while it does feature some new content – specifically new sections on “…And The Gods Made Love” and “South Saturn Delta” – the bulk of the “new content” comes from the original interviews being slightly expanded and/or viewed from a different angle. For example, instead of Eddie Kramer looking at you from across the console, the new edit utilizes the exact same comments shot in close-up by a second simultaneously-running camera in intimacy-reducing profile. Call me a stickler, but the original commentary shown from a different angle hardly meets the definition of new content. Other additional footage includes performance footage of “All Along the Watchtower” from the Isle of Wight and “Voodoo Child (Slight Return)” from Woodstock, both of which are readily available on DVD. There are no special features, which is unfortunate, since unbroken performances, especially of the Lulu show’s “Voodoo Child (Slight Return),” or Jimi’s interview segments would have been a serious bonus. A short promo video can be found here: http://www.amazon.com/gp/mpd/permalink/mHG43J7URHOQ

All Hendrix devotees should own this documentary in one form or another. There is a wealth of valuable information to be found here. My only fear is that a person who already owns the original 60-minute version will be torn – thankful for the new bits but disappointed by the lack of substantial additions or improvement. Enhanced audio and video quality coupled with a nice photo booklet should help offset the maddening feeling that comes from buying a Hendrix product again – a common sentiment among serious Jimi fans.

Posted by Andy Hollinden, Indiana University Jacobs School of Music

Editor’s Note: This review is part of our ongoing examination of black rock in preparation for the conference “Reclaiming the Right to Rock: Black Experiences in Rock Music.” Visit the conference website at: http://www.indiana.edu/~aaamc/br/brconf_2009.html

The Story of Oscar Brown, Jr.

Posted on December 7, 2007 by aaamc

Title: Music is My Life, Politics My Mistress: The Story of Oscar Brown, Jr.
Director/Producer: donnie l. betts
Company: No Credits Production, Inc.

In early November 2007, the Black Film Center/Archive at Indiana University invited filmmaker donnie l. betts to campus to screen his award winning documentary Music is My Life, Politics My Mistress: The Story of Oscar Brown, Jr. The film, six years in the making, chronicles Brown’s entire life and career. It is not only a loving portrait and celebration of the man and his work, but also an honest depiction of his faults and failures.

Oscar Brown, Jr. was born in 1926 to college educated parents. His father was an influential lawyer in Chicago. Brown recounts how the sounds and songs he heard coming from the streets growing up in the Bronzeville neighborhood of Chicago influenced his life, his politics, and his work. He was supposed to follow in his father’s footsteps and become a lawyer but once he started getting praise and attention for his singing and songwriting, he knew he would never become a lawyer. Brown saw his music and poems as a way to not only entertain, but to also comment on the good and the bad he saw in the world.

Brown’s performing career began at the age of 15 when he got a part in a radio series with Studs Terkel. He continued in radio before entering politics and working with the meat packing union in Chicago. After a brief stint in the Army, which is an interesting story, Brown tried selling real estate but he spent too much time writing. It was during this time he began writing the musical Kicks and Company. At the same time Brown was working on the musical, his first album Sin and Soul was released to positive reviews. The film examines the promise and ultimate failure of the musical in detail and includes audio from Brown’s appearance on the Today Show with Dave Garroway to raise money to stage the musical.

Despite the failure of Kicks and Company, Brown’s career continued to prosper and diversify. He began writing lyrics to jazz songs. He collaborated with Abbey Lincoln and Max Roach on a work that eventually became the “Freedom Now Suite” – another interesting, and for Brown, a disappointing episode in his life. In the late 1960s, Brown began working with members of the Blackstone Rangers, a gang from the South Side of Chicago, in an attempt to help get them away from a life of crime. Brown and the Rangers produced a musical review entitled Opportunity Please Knock and footage of their appearance on the Smothers Brothers television show is included in the film. One of the poignant moments in the film is when Brown runs into two former Rangers, now adults, on the street on the South Side of Chicago and they give an impromptu performance.

In the mid 1970s, Brown stopped recording because he felt the record business was more concerned about selling records than they were about the content of the records. He didn’t record again until the mid 1990s. During the 20 years he didn’t record, he continued to be an activist for various causes and continued to write poems, music, plays and musicals.

The documentary highlights Oscar Brown’s successes, his personal excesses – such as his marijuana use, and his failures. Brown was married three times and fathered six children. His children speak lovingly but honestly about their father. Another poignant moment in the film is when Brown and several family members talk about the death of his son, Oscar Brown III, who was killed by a drunk driver in 1996. It is apparent the death of Oscar Brown III, a talented musician himself, is still very painful for his father and family.

One of the strengths of the documentary is the footage, some archival and some contemporary, of Brown performing his poetry and music. The performance clips wonderfully illustrate Brown’s breadth of talent and the expanse of his work. Archival footage includes excerpts from performances of the “Work Song,” “But I Was Cool,” and “Dat Dere.” Excerpts from contemporary performances include “Watermelon Man,” “Forty Acres and a Mule,” “Woman,” and “Bid Em’ In.” The documentary ends with a powerful new performance by Brown of “Rags and Old Iron” in the alley behind the home where he grew up in Chicago.

Another strength of the documentary is the stories and commentary provided not only by Brown himself, but by his colleagues, collaborators, and admirers. Among those interviewed are Nichelle Nichols, an original cast member in Kicks and Company, Abbey Lincoln, Amiri Baraka, Studs Terkel, and Charles Wheldon. While the documentary adequately examines Brown’s work and his influence on his contemporaries, it would have been nice to hear from younger artists, especially rap and hip hop artists, who may have been influenced, knowingly and unknowingly, by Brown’s music, poetry, and activism.

There are some interesting “extras” included with the film. “The Final Act” includes performances of “Autumn Leaves” and “The Beach” along with footage of Brown’s family and friends at the hospital saying goodbye to him and reminiscing about him after he died on May 29, 2005. Another “extra” is footage of four “bootleg” performances. Unfortunately, the sound is not very good for these performances with the exception of “People of Soul” which was performed on The Tavis Smiley Show in February 2005. The last “extra” includes interview footage with Brown’s daughter Donna, Jean Pace Brown’s daughter Miko, and Ted Lange, who talks about his experience as one of the original performers in the musical Big Time Buck White.

Along with the film, which runs 1 hour and 50 minutes, there are two bonus CDs. One CD contains full length live versions of thirteen songs. Twelve of the songs are excerpted in the film. Unfortunately, “Dat Dere,” “Hazel’s Hips,” and “Mr. Kicks” are not included on the CD. The thirteenth song is “People of Soul” which Brown performed on The Tavis Smiley Show. The second CD contains contemporary full length versions of poems, some of which are not included in the film.

Music is My Life, Politics My Mistress: The Story of Oscar Brown, Jr. is a wonderful documentary. For those who have never heard of Oscar Brown, Jr., it is a great introduction to a remarkable artist. For those who already know of his work, it may be an opportunity to learn new things about the man and become reacquainted with his work. Regardless, the documentary gives recognition and documents the life of an artist who should be studied and remembered.

To purchase the three disc set, contact filmmaker donnie l. betts at: dlbetts@nocredits.com. For more information about the documentary, visit the official website.

Posted by Mary K. Huelsbeck (Archivist, Black Film Center/Archive, Indiana University)