Topic: Sister Rosetta Tharpe PBS

[onewent]

I don't think I saw this discussed here: Sister Rosetta Tharpe, the Godmother of Rock and Roll.   This was on tv last night and was immensely enjoyable, including her story, her music and the 'vintage' guitars Rosetta played over the years. Anyone else watch?  Tom
http://www.pbs.org/search/?q=+sister+rosetta+tharpe&mediatype=Video

[uncle bud]

Yes, it was very enjoyable. She sure had some great guitars. Not to mention that voice. I had not realized how popular she was. The story about the wedding in Griffith Stadium was a hoot.

[Lyle Lofgren]

It won't be shown in Minneapolis until Monday night, but I'm looking forward to it.

Lyle

[Stuart]

I caught it last night as well. I thought that it was well done--interesting and enjoyable, IMHO. And I agree about the guitars--quite a lineup over the years, to say the least. The clip shot at the RR depot was great. There's more footage of the show(s) on the AFBF DVDs that is worth checking out. And Gayle Wald's book is a good read as well.

http://www.shoutsistershout.net/

http://www.amazon.com/Shout-Sister-Rock-Roll-Trailblazer/dp/0807009857/ref=pd_bxgy_m_text_z


Alan can fill us in on the details re: "The Blues and Gospel Train" show, but in the meantime I ran across this:



!

[Slack]

I came across it by accident, very interesting life story!  What a fabulous singer.  Agree, the stadium wedding was a hoot!

[harriet]

Saw it - I've liked her alot since I saw the video Stuart posted above. Her section is here:

[Bunker Hill]

Alan can fill us in on the details re: "The Blues and Gospel Train" show

Touring that year there was this and also a staged based  Blues and Gospel Caravan. Here follow background/reviews of both.

A Blues Downpour as witness by
Roger Eagle 

On Thursday, the seventh of May, The Folk, Blues, and Gospel Caravan found itself at "Chorltonville," the scene of a forthcoming Granada Television production. Using a now near deserted railway station, Granada recreated an atmosphere of the Deep South, with such accessories as "Wanted" posters, goats, an odd chicken or two, rocking chairs, (put to great use by cousin Joe), and what appeared to be a surrey with a fringe adorning same. 

Muddy was first to appear, singing flip side of his recent Chess single, "You Can't Lose What You Never Had." The rendition of this was somewhat hampered by a train, which arrived amid much confusion and disgorged a hundred blues fans who didn't do anything to aid the camera-man. Things got more settled after this, and we were treated to some typically great Sonny Terry and Brownie McGhee, from the far end of the opposite platform. 

Cousin Joe, who was one of the surprise hits of the tour, went to the piano, and sang his famous "Fried Chicken Blues." This was received with great acclaim, and it must be mentioned here that this extremely likeable man kept amusing us all through the rest of the show, even at the risk of being drowned. 

This leads us into one of the most spectacular rain-storms ever seen. Within minutes everyone who was not securely under cover was soaked to the skin. This resulted in most of the general public, who had somehow managed to wander in, to wander out, fast. Thus the scene was left clear for Sister Rosetta Tharpe, who, accompanied from her surrey by cousin Joe, walked down the platform and rocked, somewhat predictably, into "Didn't It Rain." Her guitar playing was a real shock. Powerful and modern, it certainly changed quite a few people's ideas about Gospel music. Though Sister Rosetta never loses the touch with her music, she also has a great sense of fun, and clearly the audience loved her every note. 

Otis Spann, Willie Smith and Ransom Knowling, rocked solidly in the background as Muddy came on again to sing his time-worn "Hoochie Coochie Man," and "Got My Mojo Workin'." By this time a late evening sun was shining, and with any luck, we should enjoy some blues television when the show is screened on August the seventh. Certainly people seemed to enjoy themselves, and the artists took the weather in their stride, particularly cousin Joe, who was seen attacking the puddles on the far platform with great gusto. 

Granada is certainly doing a lot for Blues fans, and I, for one, hope they keep it up. This autumn should provide them with plenty of opportunities for further spectaculars, and, if the success of last year's "I Hear The Blues" Programme is anything to go by, we can look forward to some really fine viewing in the coming months. 

(From R&B Scene Vo.1. No.2 August 1964, p. 3 less photos)
===================
The Folk Blues and Gospel Caravan

WE HAD the "Caravan" here in England from April 29th to May 11th by courtesy of George Wein and the Harold Davison Agency. I am now asked to write about it retrospectively?or as my dictionary says "looking back on past events". For those who didn't see it, or didn't even hear about it (the publicity given this package was pretty bad) the line-up in order of appearance was as follows: Sonny Terry and Brownie McGhee; Otis Spann, Sister Rosetta Tharpe for the first half; Cousin Joe; Blind Gary Davis and Muddy Waters for the second session. Lightnin' Hopkins was booked but fell "sick"?by all accounts the ailment was a great aversion to aeroplanes, not surprising in one so un-fait as Lightnin', who has now been booked per mare for later this year. Mississippi John Hurt was also due but had a chest cold on the day of departure and as he is seventy-two years young, it was wisely decided to postpone his visit. This was a great pity but even so one couldn't help thinking that there were maybe too many artists as it was, for good as they were, one seldom saw them for quite a long enough spell. (Memo: someone must surely now bring Muddy Waters back for some club dates!) This roster of blues brilliance was further supplemented by Little Willie Smith who played drums for one number each with Sonny and Brownie, Cousin Joe and Rosetta, and Ransom Knowling, a surprise and terribly welcome bassist from the history books of blues recording, who played in the same groups. Both played full-time with Otis Spann and Muddy. Brownie played a number with Cousin Joe and Sonny duetted often for two or three numbers with Blind Gary, so everyone as you'll see, had quite a lot to do. The compere was Joe Boyd, and a very fine job he did, while doubling as tour manager along with John Hurt's manager Tom Hoskins, who'd come along for the trip, and who promises to bring back John with his newest "find" Robert Wilkins, now practising as a preacher down in Memphis. The programme was a masterpiece of its kind with fine photographs and excellent notes by Paul Oliver who'd now doubtless be writing his report if he weren't working away in West Africa. Paul's absence is regretful, as no blues writer ever brought to life a concert so vividly as he did with the "Folk Blues Festival" of last year in this magazine.
   
I saw, heard or was present at four concerts in all, in fact the last four in a row, and the variety of things done by each artist makes writing up the events a trifle difficult. Blind Gary, for example, could be pretty erratic, as at the New Victoria second house when he played two instrumentals under great strain, then had to be led off stage by Sonny Terry in a state of near collapse, apparently quite overcome by his reception. Anyone who saw that show probably thought they had a bad deal, but to expect a genuine street singer to turn out any sort of professional performance is to destroy all the things that are good in the blues and gospel idioms. If you were lucky, and apparently you had an 80% or better chance, and saw Gary at his very fine best, as I did for 35 minutes at Brighton, then I'm sure you'd agree that Gary Davis on stage can produce the most wonderful country gospel music any concert stage is ever likely to see. His moving and beautiful rendering of Pure Religion was one of the most wonderful things I have ever witnessed; and Muddy Waters, following on, broke his usual silence to pay sincere tribute to "the great Reverend". In fact Muddy announced every number at Brighton and produced one of his best performances, including My home is in the Delta for Belgian bluesophile George Adins, a hard version of Got my Mojo working with which a pretty cold audience positively refused to associate itself, and a mean rendering of Nineteen years old which one could well imagine was sung at some silent gathering. With some of the encouragement he got last year at Croydon, Muddy I'm sure would have produced great things? as it was he seemed resolved to give 'em the straight text-book stuff they seemed to want, especially at the first New Vic show where his bottleneck rang out reminiscent of early records, and Ransom Knowling played the sort of bass that showed just why Bluebird employed him for something over two thousand titles. Perhaps Muddy's best display was the Croydon concert, where as last year the audience knew how to react, and having got past Mojo were really settling in for some great blues when the Queen rang out leaving Muddy and Co. standing around looking pretty embarrassed and not a little annoyed. Such mismanagement spoiled one of the highlights of the tour.
 
Sonny and Brownie were probably picked to open the proceedings on the strength of their long experience, and uncanny ability to get the confidence of the spectators. Their act had the slickness that has lost a lot of their appeal on record but which never fails to enthrall live; through the four shows only Sonny's show-piece and the "walk-off" song Walk On were repeated. As expected, they had no bad times, and the splendid Key to the highway given out at Croydon only emphasised what we already knew?that these two have overcome and triumphed, but can still sing their blues with feeling and a load of talent. Certainly there will never be another pair like this, and if ever I hear another play harmonica so completely, it'll be a great day for the blues.
   
Otis Spann and the rhythm joined Sonny and Brownie for their last number and stayed on for Otis's spot, which usually consisted of a very jazz-flavoured instrumental and the rather unsuitable T'aint nobody's business if I do, both played with great aplomb and a wonderful left hand. Otis with better material would certainly be as big a draw as his great leader, and no doubt one day he will get to be a very popular artist indeed. The group sometimes stayed on for Sister Rosetta's act which I must confess shattered my eardrums to the extent that I could only manage one whole act. Complete with pink wig, beautiful gowns and shining new solid Gibson, reputedly setting her back 750 dollars, she was even louder than previously and no less wonderful to see. The audiences sat stupefied by this woman until she decided they should join in and clap, shout or stamp to her music. Songs like Up above my head and This train did things to these staid audiences that makes one suddenly see why such amazing things happen during similar shows at "red-hot meeting places" in Harlem and all over the States.
 
The second half began with Cousin Joe. Now I've never thought too much of Cousin Joe on the many records I've heard, except to admire his sly, devious or downright bawdy songs. Which just shows how wrong one can be. This we know of course from Sonny and Brownie or Muddy even, whose records in recent years have given little indication of what they can do. The mediums are worlds apart in every other sense too. But Cousin Joe was something one could not possibly have expected. Off-stage he is a very charming, quick-witted, disarming figure, with a good line in stories and a great hand at coon-can. He is pretty adept with a whiskey bottle also, but however one meets him, he has always a merry eye and a certain quiet dignity. The funniest thing I heard from him was an attempt to describe the great Pete Brown, whose proportions rather overawed Joe: "Man he was somp'n, well . . . he made that thing round his neck look like a kazoo ! Yeah he was a big guy." With suitable arm movements and a rubber face, almost anything Joe said came over in three-dimensions. But onstage he was somethin' else. Every song he chose was one of his old famous numbers, but he never made any visual impact on record. Singing verses such as "Wouldn't give a blind sow an acorn, wouldn't give a crippled crab a crutch" and emphasising his claim by changing the second four to "No . . . blind sow an acorn, Weeell, whoo, paralysed crab a crutch", he would further state thoughtfully "Yeah, I'm a hard man", and such antics as a stuck-out tongue, rolling eyes, and a terrible chuckle brought the house down almost literally on every occasion. Showmen such as Cousin Joe are not made?he is a "natural", and though his hoarse voice and thunderous but unmusical piano-playing seem on reflection very little, he was undoubtedly, with Blind Gary, the surprise, delight and undisputed success of the show. And this was some show, even in retrospect. That more packages are even now being booked is a sign that these affairs pay both artists and promoters. With a bit more publicity the door is open for any amount of great artists? and there are plenty left yet. Even now Hooker the Great is in England, Jimmy Reed, Howlin' Wolf and Buddy Guy are coming, and the 1964 "Folk Blues Festival" is booked for the Autumn. With such activity, and such undoubted talent, the future of the blues in Europe seems secure.             
SIMON A. NAPIER (Jazz Monthly July 1964 , pp 6-7)

[Mr.OMuck]

I had kind of mixed feelings about the program (just saw it). I felt it was adequate but not revelatory, particularly as regards how she fit into the rest of the Gospel/Spiritual scene of the period. She must have had contact with many other Gospel greats and it would have been nice to hear from some of them or at least hear how they saw her. Perhaps she was seen as too much in the devil's pocket to be taken seriously anymore, I don't know but certainly a quote from Shirley Caesar or Aretha Franklin for that matter would have made for a more three dimensional picture. Was she friends with or a competitor of Mahalia Jacksons? Not one mention of the other contemporary,( though a little later) ,reigning Queen of gospel? The interviews with her biographer were too many and one got the sense that she really had not gotten the point, musically speaking, anyway. I would have thought they would have tried to get an interview with Chuck Berry and maybe Little Richard if the theme was Godmother of R&R. Certainly Chuck talking about her guitar playing would have been revelatory. I would even have settled for Keith Richards but there was scant little analysis about why she was such an original and pivotal figure in R&R guitar playing. And if you've ever read Joe Boyd's book white bicycle, the best part is his telling of the tale of that '64 Brit-tour, and the most moving thing in the whole book is his description of the evolution of the relationship between SRT and Rev. Davis who she had disdain for initially and then came to call "The deepest man I've ever met". I hate to say it but it kind of made me appreciate Ken Burns' documentary skills a bit more. Better than nothing however.

[Bill Roggensack]

I'm of a similar mind as O'Muck - it could have been a lot better, but it was still interesting and enjoyable. I think a lot of detail got edited out to fit the show into the one hour time slot. At least they left the music footage in. And there were a couple interesting bits that I had not heard before - e.g. her affairs with both men and women.
For what it's worth, Sleepy LaBeef always pays homage to SRT in his shows, claiming she invented rockabilly!


Sent from Mr. Page's iPhone using Tapatalk

[Stuart]

I hear you, Phil--But at the same time I'm amazed that the program was even made at all. It appears to  have been originally a British production, repackaged as as "American Masters" program for U.S. consumption. (Something common in television.) You are certainly correct about breadth, depth and detail, but at the same time we are not privileged to what went on behind the scenes every step of  the way. In any event, I took it as a good overview--and introduction for those who are unfamiliar with SRT. If only 5% of the audience pursues it further, that's a major victory. Perhaps one person with the talent and resources will decide that SRT deserves better and someday we'll see the kind of program--the ideal--of which you speak. 

[westside ryan]

[Rivers]

I haven't seen the PBS doco yet but just watched the Granada film that WR posted. Very surreal in places, not helped by the stage being on the opposite platform to the audience. Much better when Muddy's mixing it up with the kids at the beginning. Lot of out-of-tune guitars, but it was raining. The goats were quite photogenic, but it did need some chickens.

Nice to see one of the greatest sidemen in history, Mr Ransom Knowling, in action. Would like to have seen Rev. Gary in there, I wonder where he was that day.

[uncle bud]

O'Muck I hear you about the need for a little more of a wider context. I disagree about Chuck Berry or Little Richard et al. With only some exceptions, I find famous rock star talking heads from all eras in music documentaries to have little of interest to say about other musicians other than empty flattery, since things are first and foremost about them and looking good (though have a vague recollection of Little Richard speaking intelligently on something but can't remember what ). I tuned in 5 minutes late, so did not actually know the show was called The Godmother of Rock and Roll. This seems to me a title that would be required to sell the film, to get financing etc. Like that very good CD compilation series, When the Sun Goes Down, that had to also call itself the Secret History of Rock and Roll. My response is who gives a f*** about rock and roll. We've heard enough about it, and I am tired of so much music having to validate itself by its relationship to rock and famous rock musicians, even the few that I like. It's not like the rock and roll idea was pursued (thank god) in this SRT doc.

Neat story about her and RGD. Didn't know that.

As for Ken Burns, all I can say is that while I found the posh Julie Andrews-like narration a little jarring, if Peter Coyote's voice hadda come on with Stephen Foster music being played sensitively on piano in the background, I would have changed the freakin' channel.

Anyways, I agree it was somewhat A&E Biography in its approach, but not knowing a whole lot about Sister myself, I was happy to see the footage and hear her story.

[Mr.OMuck]

I don't disagree about the stephen Foster music or the propensity of R&R stars to self promote at every opportunity but I do think that they could have been pinned down to talk only to her influence as a guitarist. I absolutely concur regarding the notion that all music contributing to R&R has value primarily because of the supposed end evolutionary result. That attitude makes me crazy too for a number of reasons not the least of which is the presumption that only the NOW truly matters and supersedes all issues of artistic quality. It really represents the attitudes of people who don't give a shit about knowing...lots of them out there. Visually though there was also an incoherent feel to the film, somehow an out of sync feeling that probably brought Ken Burns to mind. I'm no great fan of his by the way but I felt this was of lesser quality than his work. I found myself asking "who was this woman"? after watching this film. How did she develop this guitar style of hers? What records was she listening to as a kid? Lonnie Johnson I'd guess would have figured large...
And not insignificantly ..how and why did she end up in Philadelphia?

[uncle bud]

Hearing more about how her musical style developed would definitely be top of my list.