Sun 5 Apr 2015
|Interview Pt. 1||Jeff Place|
|Leadbelly||Black Girl||The Smithsonian Folkways Collection|
|Leadbelly||Been So Long (Bellevue Hospital Blues)||The Smithsonian Folkways Collection|
|Interview Pt. 2||Jeff Place|
|Leadbelly||Irene (Goodnight Irene)||The Smithsonian Folkways Collection|
|Leadbelly||Cottonfields||The Smithsonian Folkways Collection|
|Interview Pt. 3||Jeff Place|
|Leadbelly||Fannin Street||The Smithsonian Folkways Collection|
|Interview Pt. 4||Jeff Pace|
|Leadbelly||Noted Rider||The Smithsonian Folkways Collection|
|Interview Pt. 5||Jeff Place|
|Leadbelly||Silver City Bound||The Smithsonian Folkways Collection|
|Leadbelly||One Dime Blues||The Smithsonian Folkways Collection|
|Leadbelly & The Golden Gate Quartet||Alabama Bound||Alabama Bound|
|Interview Pt. 6||Jeff Place|
|Leadbelly||WNYC- Folk Songs of America Program||The Smithsonian Folkways Collection|
|Interview Pt. 7||Jeff Pace|
|Leadbelly||Rock Island Line||The Smithsonian Folkways Collection|
|Leadbelly||Shorty George||Leadbelly: The Remaining LOCR Vol. 3 1935|
|Interview Pt. 8||Jeff Place|
|Leadbelly||The Titanic||The Smithsonian Folkways Collection|
|Leadbelly||Jim Crow Blues||The Smithsonian Folkways Collection|
|Leadbelly||The Bourgeois Blues||The Smithsonian Folkways Collection|
|Interview Pt. 9||Jeff Place|
|Leadbelly & Josh White||Mother's Blues (Little Children Blues)||Leadbelly: Important Recordings 1934-49|
|Leadbelly||Diggin' My Potatoes||The Smithsonian Folkways Collection|
|Interview Pt. 10||Jeff Place|
|Leadbelly||I'm On My Last Go-Round||Leadbelly: Important Recordings 1934-49)|
|Leadbelly||Don't You Love Your Daddy No More||Leadbelly & Josh White (Reamaining Titles) 1937-1946|
|Leadbelly||When a Man's a Long Way from Home||Leadbelly Vol. 5 1944-1946|
Today's program is our first show devoted to Lead Belly who I haven't played all that much on the show over the years. I remember picking up my first Leadbelly album back in High School. It was a self-titled album on Columbia collecting some of his 1930's blues sides. For whatever reason the album didn't make much of an impression on me. It was only years later, after picking some of the collections on Document that I got a better appreciation of the sheer breadth of his repertoire and talent. Today's show is inspired by a recent 5-CD box set on the Smithsonian Folkways label, The Smithsonian Folkways Collection, that serves as an excellent career retrospective and has an informative booklet with essays by Robert Santelli and Jeff Place. We play a number of tracks from the box set plus chat with producer Jeff Place, who I spoke with a couple of weeks back.
Lead Belly's recording career began with recordings made in 1933 by John and Alan Lomax at Angola prison and after his release from prison he recorded prolifically right up until his death in 1949. Lead Belly never had much success among black audiences, his commercial blues recordings did not sell, but he found success among the folk music audience. He became a fixture in New York City's folk music scene befriending and performing with Sonny Terry, Brownie McGhee, Woody Guthrie, and a young Pete Seeger. Lead Belly was also the first blues musician to see success in Europe when he traveled there in 1949. He died later that year in New York City.
As Robert Santelli writes in the notes: "Lead Belly was a man of contradiction and complexity. It was hard to truly know him, said the people who tried, and it was next to impossible to place him in a particular music style or form and have him remain there for long. He was a folk musician who also played the blues. He knew his share of work songs and field hollers, having sung them while picking cotton and doing farm chores. He learned prison songs while incarcerated, and he sang them like a man who had seen life’s underbelly. Spirituals and gospel tunes came naturally to him. He gave new life to old ballads whose origins were buried in the past. He could sing children’s songs when kids were present. And at house parties and local fish fries, if someone wanted to hear a few standards or a pop hit of the day, he could sing and play them too. Lead Belly moved through American music genres and song circles naturally and effortlessly, never seeing the boundaries and categories that were created for commodity’s sake by men with bow ties and clean suits. He was the very definition of a 'songster,' an old-time, old-school human jukebox of a performer and recording artist who never quite realized just what an American music treasure he had become in his life."
Huddie Ledbetter was born January 15, 1888, in the Caddo Lake District near Mooringsport in the northwest corner of Louisiana, near the Texas and Arkansas lines. Two of Huddie’s uncles, Bob and Terrell, were musicians and introduced him to new songs. His uncle Terrell gifted him a small accordion when was seven years old. He would acquire a guitar around 1903. Huddie had become adept at all sorts of musical styles, and found that he could pick up a few extra cents playing at local country dances, or “sukey jumps." By the time Huddie left Mooringsport in 1906, he had fathered two children out of wedlock and had a bad reputation locally. After some rambling to New Orleans and other places, he landed in Shreveport. Along the way he had learned all types of songs, including popular songs of the early 1900s. Around 1910, a now-married Huddie moved to Dallas, Texas. According to Charles K. Wolfe and Kip Lornell in The Life And Legend Of Leadbelly: "Sometime during his wanderings – probably late in 1910, when he was living near Dallas – Huddie acquired his first twelve-string guitar." Leadbelly told may tales of how he picked up the instrument. One of the less fanciful stories is recounted in the book: 'I saw one of those old 12-string Stellas sitting in the window of a Dallas store. The year before I heard a man play it in one of those traveling medicine shows where they sold a cure-all for fifty cent a a bottle.' Captivated by the loud, ringing sound of the instrument, Leadbelly had spent the rest of the night hanging around the medicine show tent listening to the man play. Shortly, thereafter, when he finally saw one of the twelve-strings for sale; 'the price of the guitar was $12', he recalled, 'I had to have it.'" In 1912, he met and started playing as a duo with Blind Lemon Jefferson who in the 1920's would become one of the best-selling blues artists in the country.
In June 1915, Huddie was involved in an altercation and was sentenced to 30 days on a chain gang. Huddie escaped and fled to New Orleans, and then back to Mooringsport. He could not stay there, and so, traveling with his wife, he began going by the name Walter Boyd and went to live with relatives in DeKalb, Texas. In December 1917, Lead Belly found himself in a confrontation, a gun was fired, and Will Stafford lay dead. Huddie claimed it was self-defense but was sentenced to between 7 and 30 years in a Texas prison. He began at the Shaw State Prison and later was transferred to the notorious Sugarland Prison. He was released in 1925.
He would be free for just five years; in 1930 another fight landed him in Louisiana’s notorious Angola Prison for six to ten. Lead Belly became known around the prison for his singing and guitar playing. John and Alan Lomax arrived at Angola on July 16. Lead Belly was suggested to them as a good singer to record, and they realized they had really made a “find.” The Lomaxes made 12 recordings and returned the following July to record 15 more songs. He had a special one prepared, “Governor O.K. Allen.” He asked if John Lomax would deliver a recording of the song to Allen’s office. Lead Belly had previously written asking for a pardon as well. It is not known whether Allen listened to the song, but Lead Belly was officially granted a pardon on July 25, 1934.
He returned to Shreveport and began to lobby John Lomax for a job. Alan was suffering from an illness, and John needed a driver. In the fall, performing this role, Lead Belly took off with them on a recording trip. He would sometimes warm up the prisoners by singing his songs and showing them the kinds of things Lomax wanted. Lomax was anxious to present his new discovery to a meeting of the Modern Language Association in Philadelphia, which launched the flurry of sensationalism that accompanied Lead Belly’s arrival on the scene. Finally it was the big move to New York. In 1935, the Lomaxes had lobbied for Lead Belly to sign a recording contract with the American Recording Corporation (ARC). Of the 43 songs Lead Belly recorded for ARC, only six saw the light of day.
In breadth and number, the greatest collection of songs Lead Belly ever recorded were the hundreds he did for the Library of Congress. The two Lomaxes were acting as his managers and took two thirds of the cut. Eventually there was a falling out and Leadbelly moved to Shreveport then Dallas. He eventually decided to give New York City another try. During the same time period, Lead Belly was being introduced to singers in New York who came from a strong protest song background. In April 1939, Lead Belly recorded a session for the small Musicraft Records and the following year for the Library of Congress. Throughout 1941 and early 1942, Lead Belly had a weekly show on WNYC’s The American School of the Air called Folk Songs of America. He also made recordings for RCA in 1940, some backed by the Golden Gate Quartet.
The commercial labels that recorded Lead Belly didn’t know how to market his music. For better or worse, Lead Belly’s strongest audience turned out to be the music fans involved in the folk revival, mainly in New York. City. Around this time Leadbelly began recording for Moe Asch and his Asch label. Lead Belly recorded mainly for Asch for the rest of his life. In 1945, Asch Records went out of business and was followed by Asch’s second label, Disc Recordings of America. Lead Belly continued to record for Disc. During that time and for years to come Lead Belly’s apartment at 414 East 10th Street was a hub of musical activity. His niece Tiny Robinson remembers “it being like a friendly hotel that would receive musical guests like Sonny and Brownie, Bill Broonzy, Burl Ives, Eartha Kitt, Pete Seeger, Woody Guthrie, and Harry Belafonte."
In 1948 Lead Belly was recorded extensively by Fredric Ramsey. These sides were eventually released by Smithsonian Folkways as a 4-CD set titled Lead Belly's Last Sessions. In the late 1940's, Lead Belly began to feel something was physically wrong. In 1948, at a show in Paris during his trip to Europe, he found he could not continue playing his guitar. He was taken to a Parisian doctor who diagnosed Leadbelly with ALS, better known as Lou Gehrig’s Disease. He died in New York at Bellevue Hospital a little over a year later on December 5, 1949.
Over the next few years, a series of memorial LP's honoring Lead Belly were released by both the new Folkways label and Stinson Records, and many of Lead Belly’s numerous friends took part in memorial concerts. The band the Weavers, featuring Pete Seeger, celebrated Lead Belly’s music on stage, recording “Rock Island Line,” “Silvy,” and “Goodnight Irene” (among others). "Goodnight Irene” became a huge hit in 1950.