Hailing from the Tremé neighborhood in New Orleans, Troy
“Trombone Shorty” Andrews got his nickname by wielding a trombone twice as long
as he was high. A prodigy, he was leading his own band by age six, and today
this Grammy-nominated artist headlines the legendary New Orleans Jazz Fest.
Along with esteemed illustrator Bryan Collier, Andrews has
created a lively picture book autobiography about how he followed his dream of
becoming a musician, despite the odds, until he reached international stardom.
Trombone Shorty is a celebration of the rich cultural history of New Orleans
and the power of music.
**** Edited by Azizi Powell
This pancocojams post presents two videos about the children's book "Trombone Shorty" by Troy "Trombone Shorty" Andrews and illustrated by Bryan Collier.
This post also showcases a video of a performance by Trombone Shorty and other musicians. Information about Trombone Shorty is also included in this post.
The content of this post is presented for cultural, educational, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to Trombone Shorty for his cultural legacy. Thanks to illustrator Bryan Collier all those who are featured in the Jazz performance video. Thanks also to all those who are associated with these featured videos. thanks to all who are quoted in this post, and thanks to the publishers of these videos on YouTube.
**** INFORMATION ABOUT "TROMBONE SHORTY" From https://en.wikipedia.org/wiki/Trombone_Shorty "Troy Andrews (born January 2, 1986), also known by the stage
name Trombone Shorty, is an American musician from New Orleans, Louisiana. He
has worked with some of the biggest names in rock, pop, jazz, funk, and hip
hop. Andrews is the younger brother of trumpeter and bandleader James Andrews
III and the grandson of singer and songwriter Jessie Hill.[1] Andrews began
playing trombone at age four, and since 2009 has toured with his own band,
Trombone Shorty & Orleans Avenue.
Life and career
Trombone Shorty at age five, with the Carlsberg Brass Band,
New Orleans Jazz & Heritage Festival, 1991
Andrews was born to James Andrews Jr. and Lois Andrews in
New Orleans and grew up in the culturally vibrant Tremé neighborhood, steeped
in New Orleans jazz, R&B and music-related traditions such as second line
parades.[2] Andrews' family have deep roots in the music scene of New Orleans -
his grandfather was musician Jessie Hill, his great-uncle Walter
"Papoose" Nelson played with Fats Domino,[1][3] and Andrews' mother
Lois Nelson Andrews was a regular grand marshal of jazz funerals and second-line
parades in New Orleans, where she routinely encouraged young musicians and was
known as the "Mother of Music" and "Queen of the
Tremé".[1][4] Andrews' father James Andrews Jr., a member of the Bayou
Steppers Social Aid & Pleasure Club, would frequently invite musician
friends to visit their home.[2] Other musical family members include his
brother James Andrews III and cousins Glen David Andrews and the late Travis
"Trumpet Black" Hill.[5][6]
At the age of four, Andrews started playing a trombone given
to him by his brother James "because the family already had a trumpet
player".[7] Bo Diddley heard the four-year-old Andrews playing and invited
him on stage at the New Orleans Jazz & Heritage Festival.[8] He
participated in brass band parades as a child, becoming a band leader by the
age of six. In his teens, he was a member of the Stooges Brass Band.[9]
Andrews' parents opened a nightclub in Tremé called Trombone Shorty's, where he
would play on occasion as a child, as well as a jam space for musicians called
"The Space".[1][2] Andrews attended the New Orleans Center for
Creative Arts (NOCCA) along with fellow musician Jon Batiste.[10] Since his
youth, Andrews has been mentored by Cyril Neville, whom he calls "a second
father".[11][12] Andrews graduated in 2004 from Warren Easton High
School.[13]
In 2005, Andrews was a featured member of Lenny Kravitz's
horn section in a world tour that shared billing with acts including Aerosmith.
Andrews was part of the New Orleans Social Club, a group formed after Hurricane
Katrina to record a benefit album. He was featured guest on "Hey Troy,
Your Mama's Calling You," a tribute to "Hey Leroy, Your Mama's
Calling You" a Latin jazz song by the Jimmy Castor Bunch in 1966.
Andrews is interviewed on screen and appears in performance
footage in the 2005 documentary film Make It Funky!, which presents a history
of New Orleans music and its influence on rhythm and blues, rock and roll, funk
and jazz.[14] In the film, he performed with Kermit Ruffins and Irvin Mayfield
on "Skokiaan", and was a guest performer with the Dirty Dozen Brass
Band on "My Feet Can't Fail Me Now" as well as a guest performer with
Big Sam's Funky Nation on "Bah Duey Duey".[15]
Andrews performed on "Where Y'At" as part of the
Sixth Ward All-Star Brass Band Revue featuring Charles Neville of The Neville
Brothers."...
**** SHOWCASE VIDEO #2 - Trombone Shorty Book
Note-able Kids, May 23, 2019
**** SHOWCASE VIDEO #3 - Trombone Shorty - Where Y'At (Live)
Trombone Shorty, Aug 20, 2010
Music video by Trombone Shorty performing Where Y'At. (C)
2010 The Verve Music Group, a Division of UMG Recordings, Inc -snip- Here's information about the New Orleans' saying "Where Y'At" From https://www.neworleans.com/things-to-do/multicultural/colorful-words/ "Common New Orleans Words & Phrases" [no publisher or publishing date cited; retrieved January 15, 2024] "WHERE Y'AT?
This standard New Orleans greeting means simply
"How are you?" or "What's going on?" So don't tell the
asker where you are. Just say you're doing alright"... -snip- Where Y'at?" = "Where you at?"
This not-so-typical Kyser disc got lost among the also-rans
as the band rode high throughout 1942 with one major best-seller after
another.Among them were Who Wouldn't
Love You, Jingle Jangle Jingle, Strip Polka, He Wears A Pair Of Silver Wings, and
Praise The Lord And Pass The Ammunition.
78rpm Columbia 36615 - Egg-A-Bread (MacGimsey) by Kay Kyser
& His Orchestra, vocals by Julie Conway & Sully Mason, recorded May 4,
1942 . -snip- The record label indicates that this song is performed as a "Fox Trot".
**** Edited by Azizi Powell
This pancocojams post presents a definition of the term "egg bread" and presents information about and lyrics for the African American children's singing game "Old Egg Bread". That ring game* was collected in 1917 in the state of Georgia. Another name for that singing game is "Did You Go To The Hen House?"
*"ring game" = circle game
This post also showcases a YouTube sound file of 1942 adaptation of that singing game by Kay Kyser's (White American) Jazz band. The lyrics for that adaptation-without the verse about going to a lynching and some other verses- are included in this pancocojams post. Those lyrics are attributed to (White American) Country Western singer Tex Ritter who recorded that song in 1948.
My Editorial note about this African American children's game song is also included in this post. That editorial note includes a YouTube song file of the very similar African American children's singing game "Did You Feed My Cow?"
The content of this post is presented for historical and socio-cultural purposes.
All copyrights remain with their owners.
Thanks to the unknown composer of the game song "Old Egg Bread" and thanks to Loraine Darby who collected this singing game and several other singing games in 1917 from Black children in Southern Georgia (USA).
Thanks to all those who are featured in this YouTube sound file and thanks to all those who are quoted in this post. Thanks also to the publisher of this video on YouTube.
I saw in Southern Georgia a number of ring games that I believe are peculiar to colored children of that region.
{...]
A game which is most amusing to watch is "Good Old Egg Bread". The
leader shouts one line, and the others answer with the next.
The rhythm is very
strong, and they stamp their feet most energetically as they circle.
Did you go to the
hen-house? Yes, ma'am! Did you get any eggs? Yes, ma'am! Did you put 'em in
the bread? Yes, ma'am! Did you stir it
'roun'? Yes, ma'am! Did you bake it
brown? Yes, ma'am! Did you hand it
'roun'? Yes, ma'am!
[page] 219
Good old egg-bread, Shake 'em, shake 'em! Good old egg-bread, Shake 'em, shake 'em!
Did you go to the
lynchin'? Yes, ma'am! Did they lynch that
man? Yes, ma'am! Did the man cry? Yes, ma'am! How did he cry? Baa, baa! How did he cry? Baa, baa!
Did you go to the wedding? Yes, ma'am! Did you get any wine? Yes, ma'am! Did you get any cake? Yes, ma'am! How did it taste? So good! How did it taste? So good!
Good old egg-bread, Shake 'em, shake 'em! Good old egg-bread, Shake 'em, shake 'em!
Bow, Mr. Blackbird, bow, Mr. Crow. Bow, Mr. Blackbird, bow no mo'!" -snip- The collector of this singing game wrote that it was collected in "Southern Georgia". The lyrics and play instructions for several other African American singing games that were collected at that same time are included in that online excerpt.
**** LYRICS FOR WHITE AMERICAN ADAPTATIONS OF "OLD EGG BREAD" From https://flowlez.com/en/songs/egg-a-bread-1789158/ "Egg-a-Bread Album: Pecos Bill / Egg-A-Bread Artist: Tex Ritter Genres: Western, American Folk, Country, Spoken Word, Folk,
Children's Music Language: English Year: 1948 Song lyrics Tex Ritter - Egg-a-Bread
Little girl little girl Yes Sir Did you go downtown? Yes Sir And did you look around Yes Sir Did you go on your legs, did you get some eggs? Yes Sir, aha
Good old egg-a-bread, shake it shake it Good old egg-a-bread, shake it down Good old egg-a-bread, bake it bake it Good old egg-a-bread, just bake it brown
Little girl little girl Yes Sir Did stay 'bout an hour Yes Sir And did you get some flour Yes Sir Did you put it in the bread and you show you did Oh Yes Sir, aha We'll have that
Good old egg-a-bread, shake it shake it Good old egg-a-bread, shake it down Good old egg-a-bread, bake it bake it Good old egg-a-bread, just bake it brown
Little boy little boy Yes Ma'am Did you go downtown? Yes Ma'am Did you look around Hm' hmm Did you meet a little girl? I sure did Was her name called Curls? Sure it was Did you go for a walk? Hm' hmm Did you have a little talk? Yes Ma'am Did she get candy and fool her mammy? Yes Ma'am don't tell Yes Ma'am don't tell
Shake it bake it Bake it brown Make it bake it"
**** PANCOCOJAMS EDITOR'S NOTES ABOUT THE AFRICAN AMERICAN CHILDREN'S SINGING GAME 'OLD EGG BREAD"
The African American children's singing game "Old Egg Bread" (also known as "Did You Go To The Hen House?") has the same textual structure as the African American children's singing game "Did You Feed My Cow?". Both singing games probably have the same tune and tempo. Here's a sound file of Did You Feed My Cow" that is led by Ella Jenkins:
Ella Jenkins, May 21, 2015
** Click https://www.youtube.com/watch?v=GjXJ1Q_VpfY for another YouTube example of this song that is led by and popularized by (African American) folklorist/singer Ella Jenkins.
** The earliest documented example of "Old Egg Bread" appears to be from 1917 (Loraine Darby, "Ring-Games from Georgia", The Journal of American Folklore, Vol. 30, No. 116, 1917)
The earliest documented example of "Did You Feed My Cow" appears to be from 1922 (Thomas W. Talley, Negro Folk Rhymes: Wise And Otherwise)
** I believe that one purpose of early 20th century African American children's singing games was to prepare those children for living in an oppressive world. For example, I believe that the African American children's song "Johnny Cuckoo" helped Black children develop and reinforce their self-esteem with the group's line "You look too black and dirty" and the soloist's reply "I'm just as good as you are". Click http://pancocojams.blogspot.com/2019/08/two-examples-of-african-american_5.html "Two Examples Of The African American Children's Singing Game "Johnny Cuckoo" (By Bessie Jones & By Joan Baez)".
Similarly, the verse in "Old Egg Bread" that refers to going to a lynching was purposely added to that singing game to harden African American children and reinforce the fact that (for them, in that time) lynching was a fact of life for Black people. Particularly in the American South, lynching was a danger that Black people must be alert to. In addition, I believe the inclusion of lyrics about lynching in that song was meant to teach those Black children that if lynching happened to someone they knew, they must work through their emotions and go on with life as best they could.
Notice that the song "Did You Feed My Cow?" includes a reference to the cow dying and buzzards coming to feed off of the dead cow. That's just one example of death being featured in African American children's songs. That said, death is also featured in a number of children's game songs that originated among White people. **** Thanks for visiting pancocojams.
One for Daddy-O
Album:
Somethin' Else (1958)
Written by:
Nat Adderley
Sam Jones
Personnel:
Cannonball Adderley — alto saxophone
Miles Davis — trumpet
Hank Jones — piano
Sam Jones — bass
Art Blakey — drums
****
Edited by Azizi Powell
This pancocojams post showcases the Jazz instrumental tune entitled "One For Daddy-O". This tune was composed by Nat Adderley and headlined by his brother Cannonball Adderley in honor of African American radio deejay (dj) Homes Daddy-O Daylie.
Information about Cannonball Adderley is incuded in this post along with information about Daddy-O Daylie.
The content of this post is presented for historical, cultural, entertainment, and aesthetic purposes.
All copyrighs remain with their owners.
Thanks to the musical legacies of Cannonball Adderley, Nat Adderley, and all those who performed this tune and others. Thanks also to the cultural legacies of Daddy-O Daylie and thanks to the publisher of this tune on YouTube.
**** INFORMATION ABOUT CANNONBALL ADDERLEY From https://en.wikipedia.org/wiki/Cannonball_Adderley "Julian Edwin "Cannonball" Adderley (September 15,
1928 –August 8, 1975) was an American jazz alto saxophonist of the hard bop
era of the 1950s and 1960s.[2][3][4]
Adderley is perhaps best remembered for the 1966 soul jazz
single "Mercy, Mercy, Mercy",[5] which was written for him by his
keyboardist Joe Zawinul and became a major crossover hit on the pop and R&B
charts. A cover version by the Buckinghams, who added lyrics, also reached No.
5 on the charts. Adderley worked with Miles Davis, first as a member of the
Davis sextet, appearing on the seminal records Milestones (1958) and Kind of
Blue (1959), and then on his own 1958 album Somethin' Else. He was the elder brother
of jazz trumpeter Nat Adderley, who was a longtime member of his band.[6]"...
INFORMATION ABOUT DADDY-O DAYLIE From https://en.wikipedia.org/wiki/Daddy-O_Daylie "Holmes Daylie (May 15, 1920 – February 6, 2003) was a radio
jock on radio stations in the 1940s and 1950s that rhymed and rapped playing
bebop and was one of the early pioneers of black-appeal radio. His upbeat
patter and rhyming delivery from the 1940s to 1970s on stations WAAF, WMAQ,
WAIT, WGN and other broadcast outlets and television stations brought
Daddy-O-Daylie, as he was known, fame and following amongst both black and
white audiences.[1] He was inducted into the Black Radio Hall of Fame in
Atlanta in 1990.[2]"...
**** SELECTED COMMENTS FROM THIS SOUND FILE'S DISCUSSION THREAD
1. Miriam de Goeij "Well this totally is incredible...the style, smoothness and
purpose of every note adding to the music as a whole! I can only dream .."
** 2. Laseptiemewilaya Tahar "Art Blakey on the drums...man O man...listen to that..and
Miles he is not blowing a horn...that's a divine sound coming out...Man on Man"
** 3. purkasz "Ooo, pa, pa doo. Had this 1958 side in high school. Such
simplicity and yet such extraordinary musicianship. Skill with difficult
instruments has almost totally disappeared from jazz. Now we got poets with
drums and a few guys playing jazz lite on the radio. The appreciation for this
kind of soaring skill has dwindled at our peril. Miles is so good here. I like
how he took sideman status on the Adderley bro's date."
**** 2013
4. anthonya13 "I think Mile's solo might be the most tasteful and perfectly
phrased soulful solo I have ever heard from a trumpeter player. Daymn"
** 5. pigbagable "I don't agree that 'skill ...has disappeared from jazz' .
What about Chris Potter, Joshua Redman, Craig Taborn, Chris Dave, Robert
Glasper, Ambrose Akinmusire, Jason Moran, Vijay Iyer, Wynton, Tim Berne, Roy
Hargrove? I do agree that the younger musicians aren't getting the exposure
that they need but that starts from us listening and supporting them."
**** 2014
**** 2015
6. Captain Turrican "Masterpiece from jazz music,this is timeless and precious!"
** 7. James Brown "Perfection. Tight as
a drum."
**** 2016
**** 2017
8. ghairraigh "Theme music for Daddy-O Daylie, a long-time rhyming jazz radio show host in Chicago.
"Can't sleep? Don't count sheep - Count Basie!" I used to listen to Daddy-O's noon show every day while at college. “…
"Early to bed and early to rise, and you'll never meet some of our most interesting citizens!" "
** Reply 9. Norm Jay, 2022 "---- music "for those who live it and love it, and for those who make a living of it!" "
**** 2018
10. Music Around The World "On 9 March 2018, this album celebrated its 60th anniversary.
This is essential Blue Note Jazz; perfect for beginners or
long-time Jazz enthusiasts.
Happy B-Day!"
**** 2019
11. kyu kyu "I'm jazzing it up daddio!"
****
2020
12. aitech nasus "One For Daddy O Is A Great Wonderful Jazz Masterpiece By
Cannonball Adderley."
** 13. Reginald Briggs "I would have to partially disagree. In my opinion, skill has
not disappeared from jazz but it's not at the level witnessed years ago. It can
be argued that the inspiration to hone skills is not as great since
listenership and support are low. As jazz lovers know, Miles, Cannonball,
Horace Silver, and others, reached their peak after years of practice in the
trenches. Since interest was high, there was inspiration to explore and create."
** Reply 14. pigbagable "@Reginald Briggs First off, have you listened to Chris Potter
or Joshua Redman? Do you realise how skilled they are? I think the inspiration
to hone skills comes from wanting to be the best musician you can be. To push
yourself to the limit. And that is present as much today as in the forties or
fifties."
** Reply 15. Lander Albizuri "I saw J. Redman live once and I assure you that he is
incredibly talented musician"
** Reply 16. pigbagable "@Lander Albizuri Yes I completely agree. I edited my post
above as it was a bit confused. What I was trying to say was that technique is
alive and well today. But the style of the music as displayed on this record
was due to many years of evolution gradually honing a musical language into
something beautiful. And that's hard to replicate with newer styles."
** 17. James McGall "The epitome of cool"
**** 2021
18. Marvin Hagler "Bad bad ALBUM..meaning EXCELLENT!!!!!"
This post is part of an ongoing pancocojams series on the fashion attire known as "zoot suits".
This post provides an excerpt from an online article published by the Exploring The Arts Foundation about the 1941 Jazz song singing the 1941 song "A Zoot Suit (For My Sunday Gal)". That excerpt includes Kay Kyser's version of that song's lyrics.
This post also showcases a 1942 1942 soundie (short music film) of Dorothy Dandridge and Paul White singing this song. That video includes information about Dorothy Dandridge.
My transcription of the lyrics to the Dorothy Dandridge/Paul White version of this song is also included in this post.
The content of this post is presented for cultural, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to the composers of this featured song and thanks to Dorothy Dandridge and Paul White for their performing arts legacy. Thanks also to all those who are quoted in this post and thanks to the publishers of this embedded YouTube video.
****
INFORMATION ABOUT THE SONG "A ZOOT SUIT (FOR MY SUNDAY GAL)
From http://www.electricka.com/etaf/muses/music/gone_but_not_forgotten/second_world_war_era/zoot_suit/zoot_suit.htm published by Electricka on behalf of the Exploring The Arts Foundation
“Zoot Suit
Are you in the groove? Can you "dig a zoot suit with a reet pleat and a drape shape and a stuff cuff to look sharp enough to see your Sunday gal?" Want to see more of this once-cool but now quaint jive talk?
If your answer is yes, the lyrics from a popular 1941 song called A Zoot Suit (For My Sunday Gal) by L. Wolfe Gilbert and Bob O'Brien make a great way to get in the groove. The version you are now hearing, one of the most popular of all the versions, is by the Big Band of Kay Kyser and his Orchestra. Vocal credits go to Sully Mason, Jack Martin, Ishkabibble, Dorothy Dunn, and Trudy Erwin.
Other Renditions
A Zoot Suit (For My Sunday Gal) was written by Wolfe Gilbert and Bob O'Brien. It received a lot of attention; it was one of the most popular tunes of its time. It was played on jukeboxes, in diners, bars, and juke joints everywhere. It seemed to say something valid and important about the music and spirit of the times.
The song was recorded by these artists in 1942:
Kay Kyser & His Orchestra, vocal by Sully Mason, Trudy, Jack Martin, Max Williams
The Andrews Sisters.
Paul Whiteman & And His Orchestra.
Bob Crosby & His Orchestra, vocal: by Nappy Lamare.
Ray Herbeck & His Orchestra, vocal by Hal Munbar & Yvonne Walker.
Harry Roy & His Band.
The song is still popular in some circles. In a recent performance, the song was played by Wendi Williams in the 1999 film Introducing Dorothy Dandridge. It was also recorded by Benny Goodman and the Bill Elliott Swing Orchestra.
The Lyrics Examined [Pancocojams Editor’s note: This is Kay Kaiser’s arrangement]
[...]
First Half
The guy sings to The gal, who appears to be a seamstress, describing the clothes he wants her to make for him. If she makes them well, he can properly sport his favorite lady in the style he desires on Sunday, his day off. Of course, the style he wants is the zoot suit.
The gal assures him that she knows exactly the kind of clothes he wants by describing the outfit she's going to make for him. She's so in, he confirms his order. Then he asks her what she wants to wear.
Second Half
The gal answers by describing the outfit she's going to wear to please her man on Sunday, her day off. The guy realizes that her man wears a zoot suit and that she wars the female counterpart to the zoot suit. She must be in the groove.
The guy is now positive the gal knows the clothes he wants her to make for him and he reaffirms his order.
Lyrics From A Zoot Suit (For My Sunday Gal) First Half
Guy:
I want a zoot suit with a reet pleat
And a drape shape, and a stuff cuff
To look sharp enough to see my Sunday gal.
Gal:
You want a reef sleeve with a right stripe
And a rare square, so the gals will stare
When they see you struttin' with your Sunday pal.
Guy: (That's me).
Gal:
You wanta look keen so your dream will say
"You don't look like the same beau"
So keen that she'll scream, "Here comes my walkin' rainbow."
Guy:
So make a zoot suit with a reet pleat
And a drape shape, and a stuff cuff
To look sharp enough to see my Sunday gal
Now, what you want, baby?
Second Half
Gal:
I want a brown gown with a zop top
And a hip slip, and a laced waist
In the sharpest taste to see my Sunday man
Guy: (In his zoot suit).
Gal:
A scat hat and a zag bag
And a slick kiss, so the other chicks
Will be jealous when I'm with my Sunday fan
I wanta look keen so my dream will say
"Ain't I the lucky fellah"
So keen that he'll scream, "Baby's in Technicolor."
Guy:
So make a reet pleat with a drape shape
And a stuff cuff, to look sharp enough
To see my Sunday, Sunday gal.
More About The Song And Lyrics
Did you know that there are alternate versions of the lyrics? Different bands recorded the song and thought nothing of using their own variations on the lyrics when it pleased them to do so. The song was popular and received a lot of attention. It was played on music boxes in diners, bars, and juke joints everywhere."...
-snip-
Wolfe Gilbert and Bob O'Brien, the composers of this once very popular song, were White Americans.
RARE OLDIES SOUNDIES WITH MISS DOROTHY DANDRIDGE !!! Dorothy Jean Dandridge (November 9, 1922 -- September 8, 1965) was an American actress and singer. Dandridge was the first black actress to be nominated for an Academy Award for Best Actress. She performed as a vocalist in venues such as the Cotton Club and the Apollo Theater.
After many bit parts and a few minor roles, Dandridge landed her first notable film role in Tarzan's Peril (starring Lex Barker) in 1951. She won her first starring role in 1953, playing a teacher in Bright Road, a low-budget film with a nearly all-black cast, released by Metro-Goldwyn-Mayer.
In 1954 she was nominated for an Academy Award for Best Actress and a BAFTA Award for Best Actress in a Leading Role for Carmen Jones. In 1959 she was nominated for a Golden Globe Award for Best Actress in a Motion Picture Musical or Comedy for Porgy and Bess. In 1999 she was the subject of the HBO biopic Introducing Dorothy Dandridge, starring Halle Berry as Dandridge. She has a star on the Hollywood Walk of Fame.
Dandridge was married and divorced twice: first to dancer and entertainer Harold Nicholas (the father of her daughter, Harolyn Suzanne), then to Jack Denison. She died at age 42.
-snip-
I haven't found any information about Paul White except for this anonymous comment that was posted to the following blog post http://swingjazzblues.blogspot.com/2008/10/dorothy-dandridge-paul-white-zoot-suit.html
"Anonymous said...
Paul is /was a relative of mine.
I know that he moved to Denmak. His sister Meredith is still around, she was the night club singer in Pete Kellys Blues.
Thank you
Laura
[...]
MARCH 6, 2010 AT 11:37 PM"
-snip-
That comment includes an email address which I've not shared according to the policies of this pancocojams blog.
****
LYRICS: A ZOOT SUIT (FOR MY SUNDAY GAL)*
(as sung by Dorothy Dandridge & Paul White)
Guy:
I want ah zoot suit with ah reet pleat
With ah drape shape, and ah stuff cuff
To look sharp enough to see my Sunday gal
I want ah reef sleeve with ah right stripe
And ah vest pressed in the glad plaid
in the latest fad to see my Sunday gal
I wanna look keen so my dream will say
"You don't look like the same beau."
So keen that she'll scream
"Ahh! Here comes my walking rainbow."
So make ah zoot suit with ah reet pleat
And with ah drape shape, and ah stuff cuff
To look sharp enough to see my Sunday gal
Gal:
I want ah brown gown with ah zop top
And ah hip slip, and ah laced waist
In the sharpest taste to see my Sunday man
I want ah scat hat with a trim brim
Ah sag bag with ah riff zip
to look plenty hip to see my Sunday Sam.
Justa wanna look keen so my dream will say
"Ain't I the lucky fellah"
So keen that he'll scream, "Baby, you sure look mellow".
So make ah brown gown with ah zop top
Ah hip slip, and ah laced waist
In the sharpest taste to see my Sunday man
[Instrumental]
Guy:
I gotta zoot suit with ah reet pleat
With ah drape shape, and ah stuff cuff
So I look sharp enough to see my Sunday gal
I gotta brown gown with ah zop top
And ah hip slip, and ah laced waist
In the sharpest taste to see my Sunday Sam
I wanna look keen so my dream will say
"You don't look like the same beau."
So keen that I'll scream
"Here comes my walking rainbow"
I gotta zoot suit with the reet pleat
And the stuff cuff with the glad plaid
In the latest fad to see my Sunday gal [Girl sings "to see my Sunday guy".]
-snip-
This is my transcription of this Soundie. Additions and corrections are very welcome.
A commenter in one of the discussion threads for YouTube videos of this song with Dorothy Dandridge and Paul White transcribed "You don't look like the same beau" as "You don't look like Sambo". I can hear how that commenter arrived at that transcription. However, I'm very sure that "the same beau [with "beau" pronounced "boh" and meaning "boyfriend"] is the correct transcription, partly because the "the same beau" are the lyrics that are found in the Kay Kyser version and partly because the word "Sambo" (a negative caricature of a Black man) doesn't fit the words that were pronounced.
This pancocojams post presents information about the 1966 Jazz classic "Mercy Mercy Mercy" and showcases a YouTube sound file of Cannonball Adderley Quintet's 1966 performance of that composition.
Information about the meaning of the words "Mercy", Mercy, Mercy" in that composition are included in this post along with selected comments from that sound file's discussion thread.
The content of this post is presented for cultural, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to Joe Zawinul for composing this song and thanks to him and other members of the Cannonball Adderley Quintet for their musical legacy. Thanks also to all those who are quoted in this post and thanks to the publisher of this sound file on YouTube.
****
MEANING OF THE WORD "MERCY"
From https://www.merriam-webster.com/dictionary/mercy
"Definition of mercy; plural: mercies
"1 a : compassion or forbearance (see forbearance 1) shown especially to an offender or to one subject to one's power; also : lenient or compassionate treatment begged for mercy
b : imprisonment rather than death imposed as penalty for first-degree murder
2 a : a blessing that is an act of divine favor or compassion May God have mercy on us.
b : a fortunate circumstance it was a mercy they found her before she froze
3 : compassionate treatment of those in distress works of mercy among the poor
— mercy adjective
— at the mercy of
: wholly in the power of : with no way to protect oneself against"
-snip-
"Lord have mercy [on my soul], also found as "Lord have mercy [on me]", are plaintive pleas for God's mercy.
https://www.urbandictionary.com/define.php?term=laud%20have%20mercy presents this definition for "Laud Have Mercy" [Lord have mercy] *
"laud have mercy
Lawd have mercy is the phonetic spelling of the expression "Lord have mercy". The pronunciation of the word "lawd" is a cultural colloquialism, historically common within rural blacks in the South. It can still be heard today especially among the older generations. "Lord have mercy on us" has origins from the Biblical scripture Psalm 123:3-4 & is usually expressed in times of trouble or worry. Also, a broader more generic usage can denote surprise or wonder. Example 1: "laud have mercy or Lord have mercy! What is the world coming to?"
Example 2: "laud have mercy or Lord have mercy! How did he do that so quickly?"
#lord'a mercy!#laus'a mercy!#help me jesus!#oh my god!#heaven help us!
by wordsworld December 20, 2014"
-snip-
"Laud have mercy" is an incorrect approximation of African American Vernacular English exclamation "Lawd have mercy" and "Laus'a mercy" is an offensive representation of how some African Americans have pronounced and/or continue to pronounce "Lord have mercy".
Derived from African American culture, "Mercy, Mercy, Mercy!" may also mean that you are feeling God's mercy, i.e. you are being moved by (feel) the Holy Spirit) and are in a state of exaltation, although this may be limited to folks over fifty.
From https://www.merriam-webster.com/dictionary/exaltation
: an act of exalting : the state of being exalted
2 : an excessively intensified sense of well-being, power, or importance
3 : an increase in degree or intensity"
In that sense, the exclamation "Mercy, Mercy, Mercy!" can be the same as or very similar in meaning to the exclamations "Amen!" and "Hallelujah!".
As stated in Cannonball Adderley's introduction to this composition (quoted as comment #2 below), I think that definition 1a and 2a as given above for the word "mercy" are probably the original meaning of the word "mercy" in the Jazz composition "Mercy Mercy Mercy".
However, I believe that the saying "Mercy, Mercy, Mercy!" can [also] refer to the same or similar states of exaltation in non-religious contexts such as during a superlative Jazz performance.
In other words, I think that someone exclaiming "Mercy, Mercy, Mercy" may mean that he or she is experiencing (or has experienced) something that is painfully good, i.e. something that results in such a heightened sense of joy, (rapture, pleasure). You are "at the mercy" of those feelings (" wholly in the power of") those feelings, but you aren't asking for mercy (relief/help) from those feelings or those experiences. In religious as well as non-religious contexts, people might "shout" or exclaim "Mercy, Mercy, Mercy!" and/or other African American associated affirmation/s of appreciation such as "(Well), Alright now!", "Preach!" and "Yeah!".*
*Read a number of such comments below from the YouTube discussion thread for the Cannonball Adderley Quintet's "Mercy Mercy Mercy!" sound file which include these types of African American originated exclamations.
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INFORMATION ABOUT THE JAZZ COMPOSITION "MERCY, MERCY, MERCY!"
Excerpt #1:
From https://en.wikipedia.org/wiki/Mercy,_Mercy,_Mercy
"Mercy, Mercy, Mercy" is a jazz song written by Joe Zawinul in 1966 for Julian "Cannonball" Adderley and his album Mercy, Mercy, Mercy! Live at 'The Club'. The song is the title track of the album and became a surprise hit.[1] "Mercy, Mercy, Mercy" went to #2 on the Soul chart and #11 on the Billboard Hot 100 chart.[2]
Original version
The original version was performed by: Cannonball Adderley (alto saxophone), Nat Adderley (cornet), Joe Zawinul (piano, electric piano), Victor Gaskin (bass) and Roy McCurdy (drum)"...
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Excerpt #2:
From https://en.wikipedia.org/wiki/Mercy,_Mercy,_Mercy!_Live_at_%22The_Club%22
"Mercy, Mercy, Mercy! Live at "The Club" is a 1966 album by jazz musician Julian "Cannonball" Adderley.[1] It received the Grammy Award for Best Instrumental Jazz Performance – Group or Soloist with Group in 1967.[2] Though the original liner notes state that it was recorded at the Club DeLisa in Chicago, it was actually recorded at Capitol's Hollywood studio with an invited audience and an open bar.[3] The reason for this discrepancy, according to the liner notes in the CD reissue, is that Adderley and the new manager of Club DeLisa (which had been renamed "The Club", after operating for years in Chicago under its old name) were friends, and Adderley offered to give the club a bit of free publicity.
The title track became a surprise hit, reaching #11 on the Billboard Hot 100. On this album, Joe Zawinul played a Wurlitzer electric piano; however, subsequent live performances saw him taking up the new and mellower-sounding Fender Rhodes instrument.
The title track has been covered numerous times (usually with lyrics added), perhaps most successfully by the Buckinghams in 1967.[citation needed]
[...]
Reception
The Allmusic review by Steve Huey awarded the album 5 stars and states: "Adderley's irrepressible exuberance was a major part of his popularity, and no document captures that quality as well -- or with such tremendous musical rewards -- as Mercy, Mercy, Mercy."[6] The Penguin Guide to Jazz awarded the album 3 out of 4 stars, stating: "Mercy, Mercy, Mercy is a hard swinging live album with one of Cannon's hottest outings on 'Sticks'.".[7]"...
Anthony Valente's Jazz Channel, Published on Nov 15, 2012
Cannonball Adderley Quintet: Cannonball Adderley (alto saxophone); Nat Adderley (cornet); Joe Zawinul (acoustic & electric pianos); Victor Gaskin (bass); Roy McCurdy (drums).
Recording information: Capitol studios, Los Angeles, CA (10/20/1966).
-snip-
Selected comments from this discussion thread, with numbers added for referencing purposes only. With the exception of comments #1 -#3, these selected comments are given in relative chronological order based on the year of their publication (with the oldest comments given first except for replies)
1. Giorgio De Marco, 2015
"what does cannonbal say at the beginning of the song? thanks for the answers"
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REPLY
2. Rodolfo Pérez, 2015
"Mercy, Mercy, Mercy...
You know, sometimes we're not prepared for adversity, When it happens sometimes we’re caught short. We don’t know exactly how to handle it when it comes up. Sometimes we don’t know just what to do when adversity takes over and I have advice for all of us. I got it from my pianist Joe Zawinul who wrote this tune and it sounds like what you’re supposed to say when you have that kind of problem and its called Mercy, Mercy, Mercy."
**
REPLY
3. Dbravius Blackwell, 2016
"This song sings a million words without having one being spoken. It has that "What's Goin' On" feeling (of course this being earlier) and it seems to evoke images of everyday struggles of life during that time with the civil rights movement, the vietnam war, and many other problems that in the end, all one could say was.....mercy, mercy, mercy!"
-snip-
"What's Goin On"= Marvin Gaye's 1971 R&B/Soul composition with that title; video: https://www.youtube.com/watch?v=ppvBWIzvPvU
**
4. Bob Benham, 2012
"This tune oozes with soul and brings a smile : )"
**
5. Max Films, 2013
"That's just the jazz I need to make it through adversity."
**
6. Thomas Romine, 2014
" "sometimes we are caught short" meaning without all you need."
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7. JSMN, 2014
"this had to have been recorded in a church"
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REPLY
8. franzia1499, 2014
"It was actually recorded in a normal studio, but to give it that live feel, they let about 20-30 people in and provided an open bar."
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REPLY
9. Jack Guariento, 2014
"+franzia1499 actually guys, hate to break it to ya, but this is a live recording from Newport Jazz Festival"
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REPLY
10. Doc Brown, 2014
"+Jacky .g actually franzia is right, it was originally listed as the club delisa on the album, but it is actually in studio"
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REPLY
11. franzia1499, 2014
"+Doc Brown Thanks for backing me up on my claim. It's even acknowledged on the band's official site. Cannonball was friends with the owner of The Club DeLisa in Chicago at the time, so he wanted to offer the establishment some more publicity, even though it was recorded at Capitol studios in Los Angeles."
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REPLY
12. Anakin Dey, 2017
"It's not recorded at that club actually. It was in studio but they invited 20-30 people into the studio with an open bar. Cannonball just put the name of the club on because he was friends with the owner and wanted to give them some publicity"
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REPLY
13. Beau Jan Gels, 2018
"I'm not sure if Adderley's next crossover success, Country Preacher, was recorded in a church or not. It was recorded at a fundraiser for a project associated with Jesse Jackson in the days when Jackson was known more as a preacher than a politician. The crowd on that recording has much the same vibe."
-snip-
Click https://www.youtube.com/watch?v=0948NjaL3iIfor a YouTube sound file of the Cannonball Adderley Quintet's 1969 performance of "Country Preacher".
**
14. poetcomic1, 2014
"I remember when black fans actually patronized jazz clubs and audiences didn't sit reverently silent like white audiences do NOW. OH BABY, SAY IT!"
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15. Levon Peter Muhammad Salah Setyowan Poe, 2014
"So beautiful and appropriate for the times. Joe Zawinul - future weather report co-founder -composed this timeless tune"
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16. BuckshotLaFunke1, 2015
"'Walk Tall', Cary Ginell's biography on Cannonball, states that this was recorded before an audience of friends and families at Capitol Towers (the record company), called 'the Capitol Club' for that occasion."
**
17. smoked fish/chicken, 2016
"Always remember to persevere."
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18. Robert Karanja, 2016
"An amazing song. Preach, preacher, preach!"
-snip-
"Preacher" here means Cannonball Adderley (in his introduction to this composition), and (I believe) the musicians who are preaching ["telling it like it is"] in their performance of this composition.
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19. Jim Hendricks, 2016
"I love it - at 2:04 "Play that thing!"
This the best slow burn groove...
**
20. Bogus Smogus, 2016
"What does he yell at 0:45?"
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REPLY
21. kurt11110, 2016
"Brian Jones he said "go joe !"
-snip-
"Go Joe" is an exhortation to pianist Joe Zawinul to continue playing so well
**
22. T K, 2016
"what a recording! you can really feel the atmosphere and how the audience is feeding off of zawinul's every note..."
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23. Luke Vaughan, 2017
"Cool, when cool was cool !"
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24. Mathieu Deraspe, 2017
"What I wouldn't give to have been present during this live recording, in the crowd, watching a brief piece of musical history..."
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25. Vincent Franklin, 2017
"Really dig this!"
-snip-
"Really dig this" means "I [really] like this!"
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REPLY
26. blessedchica, 2018
"Vincent Franklin I hear you, man!"
-snip-
"I hear you" = I hear what you are saying [what you said] and I agree with you."
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27. Ethel Stevens Love, 2017
"What a great smooth jazz classic....."
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REPLY
28. Reagan McCann, 2017
"It's definitely not smooth jazz lol, but it is indeed a classic."
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REPLY
29. blessedchica, 2018
"Ethel Stevens Love ...def not smooth jazz; its the real thing--Jazz! :-)"
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30. Jude F., 2018
"This is such a soulful tune and performance, I don't know how the song got transformed into a perky uptempo jazz standard (Buddy Rich's version is one of the worst) or pop tune (the lyrics to that Buckinghams version sure don't jibe with Cannonball's introduction). Joe Zawinul's solo is really minimalist but it fits the mood of the song perfectly--which makes sense seeing that he wrote it."
**
31. Below Average Joe, 2018
"This was Smooth Jazz before Smooth Jazz. It blows my mind how perceptive Joe Zawinul was. He wrote a song that was about as Gospel feeling as possible when he was raised in an entirely different tradition. The man to truly soak up African America culture to create the way he did."
**
32. sauquoit13456, 2018
"On this day in 1967 {March 4th} 'Cannonball' Adderley performed "Mercy, Mercy, Mercy"* on the Dick Clark ABC-TV Saturday-afternoon program 'American Bandstand'...
At the time the song was in it's second of two weeks at #11 on Billboard's Top 100 chart, that was also it's peak position on the chart, plus it spent eleven weeks on the Top 100...
The following week it peaked at #3 {for 1 week} on Billboard's Hot R&B Singles chart...
Besides "Mercy, Mercy, Mercy", the Florida native had four other Top 100 records, "African Waltz" {#41 in 1961}, "The Jive Samba" {#66 in 1963}, "Why? (Am I Treated So Bad)" {#73 in 1967}, and "Country Preacher" {#86 in 1970}...
Julian Edwin 'Cannonball' Adderley passed away at the young age of 46 on August 8th, 1975 {cerebral hemorrhage}...
May he R.I.P.
*Three other versions of "Mercy, Mercy, Mercy" also charted in 1967; the Buckinghams {#5}, Marlena Shaw {#58}, and Larry Williams & Johnny Watson {#96}..."
**
33. Crunkboy415, 2018
"Who knew the two greats of jazz, Cannonball Adderley and Joe Zawinul create a great 60s soul hit."
This post provides historical information about the African American roots of the Memorial Day holiday. A sound file of Joan Baez singing a song entitled "Free At Last" is also featured in this post.
The content of this post is provided for historical, cultural, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to all those who are honored by the celebration of the holiday now known as "Memorial Day". Thanks also to those who helped create the Memorial Day holiday, including those Black residents of Charleston, South Carolina who organized a May day celebration to honor Union prisoners who had died in that city during the Civil War. Thanks also to Joan Baez for her performance of the song that is featured in this post. This video is an example of pancocojams featuring an artist who isn't Black.
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INFORMATION ABOUT THE AFRICAN AMERICAN ROOTS OF THE "MEMORIAL DAY" HOLIDAY
From http://en.wikipedia.org/wiki/Memorial_Day
"Memorial Day is a US federal holiday wherein the men and women who died while serving in the United States Armed Forces are remembered.[1] The holiday, which is celebrated every year on the final Monday of May,[2] was formerly known as Decoration Day and originated after the American Civil War to commemorate the Union and Confederate soldiers who died in the Civil War. By the 20th century, Memorial Day had been extended to honor all Americans who have died while in the military service...
The first widely publicized observance of a Memorial Day-type observance after the Civil War was in Charleston, South Carolina, on May 1, 1865. During the war, Union soldiers who were prisoners of war had been held at the Charleston Race Course; at least 257 Union prisoners died there and were hastily buried in unmarked graves.[12] Together with teachers and missionaries, black residents of Charleston organized a May Day ceremony in 1865, which was covered by the New York Tribune and other national papers. The freedmen cleaned up and landscaped the burial ground, building an enclosure and an arch labeled, "Martyrs of the Race Course." Nearly ten thousand people, mostly freedmen, gathered on May 1 to commemorate the war dead. Involved were about 3,000 school children newly enrolled in freedmen's schools, mutual aid societies, Union troops, black ministers, and white northern missionaries. Most brought flowers to lay on the burial field. Today the site is used as Hampton Park.[13] Years later, the celebration would come to be called the "First Decoration Day" in the North."
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SHOWCASE EXAMPLE: JOAN BAEZ ~ Free At Last ~
Scout4Me1's channel, Uploaded on Nov 5, 2009
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LYRICS: FREE AT LAST
(as song by Joan Baez)
Free at last, free at last
Free from the world and all it's sins
Free, free at last, free at last
I've been to the top of the mountain
Hatred had me bound, had me tied down
Had me turned around, couldn't find my way
Then you walked with me and You set my spirit free
To me and my family down that long highway
Free at last, free at last
Free from the world and all it's sins
Free at last, free at last
I've been to the top of the mountain
I will never forget when the voices called
I will never forget how the night did fall
I will never forget when you rose to the call
You lived and loved and sang and preached and died for us all
Free at last, free at last
Free from the world and all it's sins
Free at last, free at last
I've been to the top of the mountain
Free at last, free at last
Free from the world and all it's sins
Free at last, free at last
I've been to the top of the mountain
Free at last, free at last
Free from the world and all it's sins
Free at last, free at last
I've been to the top of the mountain
http://www.azlyrics.com/lyrics/joanbaez/freeatlast.html
-snip-
This song appears on Joan Baez's album Honest Lullaby (1979). I'm not sure whether Joan Baez composed this song or not. The "free at last" line is probably lifted from the African American Spiritual entitled "Free At Last" and the phrase "I've been to the top of the mountain" probably alludes to Dr. Martin Luther King, Jr.'s 1963 "I Have A Dream Speech".
