By Steve Cushing, Jim O'Neal
This assortment assembles the easiest interviews from Steve Cushing's long-running radio application Blues prior to Sunrise, the nationally syndicated, award-winning software concentrating on classic blues and R&B. As either an observer and performer, Cushing has been concerned with the blues scene in Chicago for many years. His candid, colourful interviews with well-liked blues gamers, manufacturers, and deejays exhibit the behind-the-scenes international of the youth of recorded blues. a lot of those oral histories aspect the careers of lesser-known yet enormously influential blues performers and promoters.
The publication focuses particularly on pre–World battle II blues singers, performers energetic in Fifties Chicago, and nonperformers who contributed to the early blues global. Interviewees comprise Alberta Hunter, one of many earliest African American singers to transition from Chicago's Bronzeville nightlife to the foreign highlight, and Ralph Bass, one of many maximum R&B manufacturers of his period. Blues professional, author, list manufacturer, and cofounder of Living Blues Magazine Jim O'Neal presents the book's foreword.
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Additional resources for Blues Before Sunrise: The Radio Interviews
Me and him were supposed to go to Chicago to record for Bob Koester. And that’s the first time I met Scrapper. And we recorded—went to go to record one Sunday, a boy killed him. I never did see Leroy [Carr], because Leroy was dead when I got there. indd 16 an c i ent age 10/23/09 8:20:43 AM How about these other guys? Shirley Griffith and J. T. Adams. They were both here. Oh, yeah. Me and Shirley played together till he died. J. T. and I played together. J. T. died the year before last—last year, I think.
What year are we talking about? Around 1939. That’s before he started making records? Yeah, before he got on record me and him used to play together some, but not on record. indd 29 29 10/23/09 8:20:45 AM and then where I was rooming at, he would come by there some nights. Where I was rooming at was something like an after-hour house, you know. When the bars closed people could come to the house, play the jukebox in the house, play music, drink, and dance. Sometimes T-Bone would come by there, and when I was playing with another group at a little old bar down on Forty-second Street and Central, called Classic Bar, we played there for a while with the group, and T-Bone would come in and just sing.
And I would slip away from home and go around those places where I could hear music. My daddy was something else— What used to hurt me—what he would do to us, he didn’t want us to go around nightclubs, or what they call barrelhouses, where people would go, and dancing and drinking and playing music, but I wouldn’t want to be bad and I didn’t want to drink. All I wanted to do was go ’round that barrelhouse—I didn’t even care to go inside. I wanna stand close to where the piano was, where I could hear the piano, because I always wanted to be a piano player, and I love music and I wanna hear music.
Blues Before Sunrise: The Radio Interviews by Steve Cushing, Jim O'Neal