WEBVTT 00:00:10.242 --> 00:00:16.046 - So I am very pleased to be your emcee today. I'm very thankful to Craig and Lori Brenner for putting 00:00:16.046 --> 00:00:21.504 - this festival together yet again. And it's also an honor for me to be doing this today because 00:00:21.504 --> 00:00:27.710 - my grandmother, who was a ragtime and boogie-woogie piano player, was born on this day in 1917. Yeah, yeah. 00:00:28.066 --> 00:00:33.409 - First year of jazz record came out, so it was just a happy personal coincidence for me. Along 00:00:33.409 --> 00:00:39.207 - with introducing our performers, I'm going to periodically be thanking our many, many sponsors, which 00:00:39.207 --> 00:00:45.288 - is just a great sign of what goodwill there is for this festival. We're going to begin with major festival 00:00:45.288 --> 00:00:50.972 - sponsors, and please hold your applause until the end while we thank Anne Schertz Photography, Mark 00:00:50.972 --> 00:00:53.246 - Wiedemeyer, Jonathan Dyson, Tom Noonan, 00:00:53.378 --> 00:00:58.520 - in memory of Tim DeBroeker, the City of Bloomington Arts Commission, and Bloomington Urban Enterprise 00:00:58.520 --> 00:01:04.016 - Association's Zone Arts Grant Program, the IU Jacobs School of Music Jazz Studies department, and Anonymous. 00:01:04.016 --> 00:01:09.662 - We also thank the Buskirk Chumley for marketing and other support. Let's give them all a big round of applause. 00:01:15.362 --> 00:01:22.095 - Today we are featuring musicians who are skilled in boogie woogie, jazz, blues, and zydeco. And some 00:01:22.095 --> 00:01:29.094 - guest artists are going to be accompanied by our local all-star rhythm section, Gordon Bonham on guitar, 00:01:29.094 --> 00:01:34.494 - Joe Donnelly on sax, Dan Hostetler on drums, and Ron Kadish on bass. Yeah, yeah. 00:01:35.266 --> 00:01:40.539 - Some good musicians from right around our own environs. Now we're going to welcome our first guest. 00:01:40.539 --> 00:01:45.812 - He's originally from Osaka, Japan. He now calls New Orleans home. He's a wonderful jazz New Orleans 00:01:45.812 --> 00:01:51.190 - style pianist, and he's going to be performing solo. Ladies and gentlemen, please give a warm welcome 00:01:51.190 --> 00:01:52.350 - to Yoshitaka Z2 Suji. 00:15:48.834 --> 00:15:59.714 - Have fun? Ah, thank you so much. My name is Yoshitaka Tsuji, so I'm from New Orleans. I'm actually originally 00:15:59.714 --> 00:16:09.703 - from Osaka, Japan, but I have been in New Orleans for about 16 years, so usually I play with trumpet 00:16:09.703 --> 00:16:18.110 - and vocal, the comet laughing, you know? Orable? He say every time, yeah, so anyway. 00:16:18.370 --> 00:16:39.601 - I'm so honored to perform for this festival, so... Yeah. Thank you. All right. I'm going to pray. Maybe 00:16:39.601 --> 00:16:47.358 - 10 more minutes. I want to pray more. 00:16:47.810 --> 00:17:02.925 - because very good piano. So I will introduce tonight instrumental, Yamaha. Thank you. Anyway, back to 00:17:02.925 --> 00:17:15.966 - the music. So next song, it's a very, very famous song in the orange. So it's a really, 00:17:16.226 --> 00:17:23.134 - Ray Armstrong, so such more things. What a wonderful world. I hope you enjoy it. Thank you. 00:24:16.930 --> 00:24:29.062 - Thank you so much. Palm Court Strut, so thank you. All right, so I play one more song. So next song 00:24:29.062 --> 00:24:41.437 - is my favorite song, so it's a title, it's a Hymn to Freedom, so composed by Oscar Peterson. And also 00:24:41.437 --> 00:24:46.654 - I have two CDs today, so it's a reception. 00:24:47.042 --> 00:24:59.338 - So I recorded the next song, Human to Freedom 2, so you have interesting. By the way, do you have CD 00:24:59.338 --> 00:25:11.878 - player? Okay, if you don't have CD player, you can search the internet, bandcamp.com. So please search 00:25:11.878 --> 00:25:16.382 - for my name so you can try to listen 00:25:16.642 --> 00:25:24.225 - and by my Dexter City. All right. Anyway, so thank you today. So I hope you enjoy the next song, Human 00:25:24.225 --> 00:25:25.918 - to Freedom. Thank you. 00:31:01.602 --> 00:31:07.540 - Yoshitaka Tsuji. Thank you, Yoshi. Wow. The curtains were about to catch fire backstage there. Hey, 00:31:07.540 --> 00:31:13.478 - as we get ready for our next performer, we've got some more festival underwriters we want to thank. 00:31:13.478 --> 00:31:19.534 - So again, please hold your applause. I've gotten through all of them. Mother Bear's Pizza, the Uptown 00:31:19.534 --> 00:31:22.622 - Cafe, Lenny's, Bob Kissel's Foundation, Bob Arnoff, 00:31:22.786 --> 00:31:28.650 - Linda Handelsman. We also like to recognize media sponsors WFHB, Bloom Magazine, WFYI, and Mike Leonard 00:31:28.650 --> 00:31:35.134 - and the B-Town Bee. Please give them all a big round of applause for helping to make Bloomington Boogies possible. 00:31:40.546 --> 00:31:46.077 - Our next artist presented a workshop yesterday at the Monroe County History Center, and she's known 00:31:46.077 --> 00:31:52.107 - for her electrifying blues, jazz, and boogie-woogie, and she's self-taught with over 40 years of captivating 00:31:52.107 --> 00:31:57.693 - audiences worldwide. She's performed with B.B. King, James Brown, Ray Charles, and others, and she's 00:31:57.693 --> 00:32:02.782 - always dazzling on keyboards and sax and mesmerizing with her smoky vocals and songwriting. 00:32:02.978 --> 00:32:13.638 - She's a five time blues music award winner, including recently the horn instrumentalist of the year. 00:32:13.638 --> 00:32:23.454 - And this is her first time at Bloomington Boogies. Please welcome Deanna Bogart. Hey, Yoshi. 00:32:57.826 --> 00:33:06.910 - in Indiana. We got a piano, a banana, I got a Hannah. 00:37:31.362 --> 00:37:45.059 - down, and I'm losing, losing ground. The money's like it's just all right again. I'm trying not to complain, 00:37:45.059 --> 00:37:57.374 - but maybe I'm still in the game. While things are bad, I'd rather be sad in Las Vegas or Indiana. 00:38:00.802 --> 00:38:15.254 - no fun and I miss all I miss I miss son the chips are down and all around I'm losing with the heart 00:38:15.254 --> 00:38:22.046 - and the goals to understand how it goes when I 00:38:29.826 --> 00:38:44.250 - Shuffle up, they deal me in 21 is all I need to win Lady love, have you been on me high Roll the dice, 00:38:44.250 --> 00:38:58.814 - close eyes Got a pocketful of coming by Zip martinis under neon skies With my new friends in the stands 00:40:20.578 --> 00:40:24.894 - What the hell? I'd rather be there. 00:41:22.850 --> 00:41:37.688 - Great. It's beautiful in here. It's been a long time since I've been here, and it's been for a long, 00:41:37.688 --> 00:41:50.910 - long time, and I'm so happy to be here again for all this time. So anyway. Ethel's place. 00:41:51.394 --> 00:41:55.806 - Yeah, the first song I wrote was a song without words. 00:47:13.826 --> 00:47:14.174 - intro. 00:48:00.514 --> 00:48:01.598 - 15 more minutes. 00:49:16.962 --> 00:49:32.862 - Joe. And look at that. One more, one more, two more, three, one. 00:50:39.810 --> 00:50:53.419 - I got my dishes going home. Hey, I'm going home tomorrow in the back. Lid and visas going home, home, 00:50:53.419 --> 00:51:05.694 - going home. This weary old track didn't leave me in the back. Oh, in the rain, in the rain. 00:51:15.554 --> 00:51:30.672 - My kiss is going home, going home. You say, listen, missus, I'm going home, going home. With many apart 00:51:30.672 --> 00:51:35.614 - that dented my heart for beating. 00:53:50.594 --> 00:54:03.995 - I got my truth, I got my worry. I'm going home, going home. Age and youth, judge and jury. I'm going 00:54:03.995 --> 00:54:17.793 - home, going home. With the lonely storm that love wants to storm. A poor will see me rain, in the rain, 00:54:17.793 --> 00:54:19.518 - in the rain. 00:55:21.890 --> 00:55:37.630 - Okay. 01:02:04.930 --> 01:02:12.810 - We also have a hand for Ron Kadish on the bass, Dan Hostetler on drums, and Joe Donnelly on saxophone, 01:02:12.810 --> 01:02:20.614 - Gordon Bonham on guitar. And a cameo from our next guest, I'll get to him in just a moment. I want to 01:02:20.614 --> 01:02:28.494 - thank some additional supporters right now. Blooming Foods, Co-op Market, Cardinal Spirits, Go Express 01:02:28.494 --> 01:02:30.942 - Travel, Anonymous, Tom Barwise, 01:02:31.202 --> 01:02:37.102 - Ed and Wendy Bernstein, Michelle Brentano, Bridges Musical Arts Youth Organization, the Monroe County 01:02:37.102 --> 01:02:42.885 - History Center, Kerry Curry, Deep Roots Landscape Design, Cheryl Frank, Ken Grooms and Zane Mackey, 01:02:42.885 --> 01:02:48.785 - Val Haughton and Frank Motley, Open Stages Grant from Constellation Stage and Screen, and the City of 01:02:48.785 --> 01:02:51.966 - Bloomington. Please give them all a round of applause. 01:02:58.850 --> 01:03:04.523 - Today we're delighted to welcome back someone who is no stranger. And in fact, you just heard him playing 01:03:04.523 --> 01:03:09.928 - piano there on the last number. He's an alumnus of the Jacobs School of Music and former director of 01:03:09.928 --> 01:03:15.441 - the IU African-American Choral Ensemble. He performs music that meets at the intersection of genre and 01:03:15.441 --> 01:03:20.792 - style. His piano combines traditions of blues, gospel, and classical with virtuosity, using musical 01:03:20.792 --> 01:03:25.502 - influences from around the world. Please welcome our good friend, Dr. Keith McCutcheon. 01:03:44.866 --> 01:03:55.689 - Good to see you, David. Wonderful to see you. Wonderful pillar, yes, of this community sharing music 01:03:55.689 --> 01:04:07.476 - and love. So thank you, David. I was asked to do this variation on the blues that looks at the way Thelonious 01:04:07.476 --> 01:04:14.334 - Monk plays the blues versus John Coltrane. And then from there, 01:04:15.074 --> 01:04:23.838 - just a little bit of love, the way Coltrane wrote this ballad for his wife Naima. And so we'll start 01:04:23.838 --> 01:04:32.863 - with Monk, who was considered to be modern, but the people who really knew him knew he was looking back 01:04:32.863 --> 01:04:41.801 - and was a historian, telling the story of stride and all that that came before him, as well as putting 01:04:41.801 --> 01:04:43.710 - it in a new platform. 01:04:44.738 --> 01:04:53.630 - So Monk's Mysterioso, John Coltrane's Mr. PC, and then Naima. 01:14:16.674 --> 01:14:25.276 - I had the privilege to do a little intimate setting yesterday with people and talk about the fact that 01:14:25.276 --> 01:14:33.628 - all the sounds that are associated with blues, boogie woogie, all these different manifestations of 01:14:33.628 --> 01:14:42.147 - sound on the piano, I didn't hear them in the club first on records. I heard this type of sound in my 01:14:42.147 --> 01:14:45.822 - little country church I grew up in. And so, 01:14:46.754 --> 01:14:56.873 - It was just a matter of the sound aesthetic having a different meaning, but the same sound that allowed 01:14:56.873 --> 01:15:06.797 - me to be somewhat more fluent and multilingual in my understanding of music, how the same sound could 01:15:06.797 --> 01:15:15.262 - mean something so different, depending on context and et cetera. So with that in mind, 01:15:16.674 --> 01:15:27.450 - We're going to pay tribute to two early gospel pioneers who also had the full indoctrination of what 01:15:27.450 --> 01:15:38.226 - would have been what I call the blues aesthetic. Dorothy Love Coates, who had a song, You've Brought 01:15:38.226 --> 01:15:45.054 - Me From A Mighty Long Way, and then the father of gospel music, 01:15:45.730 --> 01:15:54.811 - Thomas A. Dorsey. He knows how much we can bear. And I think we'll start with him being a transition 01:15:54.811 --> 01:16:04.702 - from the blues to gospel, the very man who played both and bridged the gap. So he knows how much we can bear. 01:21:46.146 --> 01:21:55.451 - So okay, that was gospel blues inspired. So that's okay. You can relate to that. I grew up with this 01:21:55.451 --> 01:22:04.849 - sound though. This was the sound when I really first heard the blues. I was like, yeah, I ain't doing 01:22:04.849 --> 01:22:11.390 - nothing. This is it. This was again in the choir was the horn section. 01:22:13.058 --> 01:22:22.688 - And they just said, you know, the soloist said, oh, Lord. And they went, you've been good to me, oh, 01:22:22.688 --> 01:22:32.604 - Lord. You've been good. And it went on like that. And so that's what we're going to do now. We're going 01:22:32.604 --> 01:22:41.566 - to do, you've brought me from a mighty long way and give tribute to Sister Dorothy Lovecoats. 01:23:13.602 --> 01:23:34.891 - You've been so good to me When I look back over my life You have been so good to me I could have been 01:23:34.891 --> 01:23:40.318 - dead Sleeping in my grave 01:23:43.938 --> 01:23:59.057 - But you told old dad that thing ain't what you brought me. From a mighty, mighty, mighty. Brought me 01:23:59.057 --> 01:24:13.726 - from a mighty, mighty, mighty long way. You know, Lord, you've been good to me. You've been good. 01:24:16.162 --> 01:24:38.561 - So good to me When I look back over my life You had this so good to me Said I could have been dead Sleeping 01:24:38.561 --> 01:24:44.990 - in my grave You told old death 01:24:49.346 --> 01:24:59.838 - from a mighty, mighty, mighty, mighty, from a mighty wrong way. 01:35:40.354 --> 01:35:47.930 - Thank you, Keith. Thanks for doing Stardust, too. You know, Hoagy Carmichael's mother used to play in 01:35:47.930 --> 01:35:55.432 - this theater, so if she's hanging out in spirit this afternoon, I'm sure she appreciated that. While 01:35:55.432 --> 01:36:03.083 - we get set for our next act, we've got some more folks to recognize and thank. Dan and Wendy Hogg. Ivy 01:36:03.083 --> 01:36:05.534 - Tech Bloomington. Wayne Jackson. 01:36:05.826 --> 01:36:12.628 - Dan and Maggie Kerwin, Richard and Renee Malone, Ed Marshall, Jane Matranga, Tanya Mitchell Yeager, 01:36:12.628 --> 01:36:19.499 - Albert Misan, MPI Solar, LLC, Mary Molly Morgan, Brian O'Neill, Dan Ostos and Beth Savage, Kathy and 01:36:19.499 --> 01:36:26.437 - Mike Romy, Fred and Jennifer Schultz, Larry Stahl, Story Insights, Templeton PTO, and Mariah Wallace. 01:36:26.437 --> 01:36:29.566 - Please give them all a big round of applause. 01:36:35.394 --> 01:36:40.339 - It's so great that we have so many people to thank. Our two next guest artists during this next set 01:36:40.339 --> 01:36:45.334 - include someone who's been here before, who's always delivered for the Bloomington Boogies Festival, 01:36:45.334 --> 01:36:50.526 - joined by another man from New Orleans, where they performed together as Sun Pie and Louisiana Sunspots. 01:36:50.526 --> 01:36:55.570 - And they'll be accompanied by our superb local rhythm section. Please welcome on accordion, Bruce Sun 01:36:55.570 --> 01:36:57.598 - Pie Barnes, and on guitar, Matt Hampsey. 01:37:19.682 --> 01:37:29.712 - Everybody. So happy to be back here. This is a grand thing. How about it for all the musicians, the 01:37:29.712 --> 01:37:39.742 - volunteers, the engineers, the teachers, the preachers, and the electricians. Let's book it, y'all. 01:37:58.882 --> 01:38:11.940 - I'm going back to Big Mammu Yeah, I'm going back Going back to Big Mammu I don't want nobody telling 01:38:11.940 --> 01:38:24.999 - me what to do Yeah, I'm going back Going back to Big Mammu Yeah, I'm going Going back to Big Mammu I 01:38:24.999 --> 01:38:27.326 - don't want nobody 01:38:27.554 --> 01:38:41.197 - Tellin' me what to do I said, make my move Oh, make my move Well, make my move Yeah, make my move I 01:38:41.197 --> 01:38:46.654 - don't want nobody Tellin' me what to do 01:42:07.458 --> 01:42:07.774 - Watch out. 01:43:12.674 --> 01:43:18.910 - the show chef. 01:43:42.818 --> 01:44:00.873 - Got a pretty little girl, lives way across town, yeah. Got a pretty little girl, lives way across town. 01:44:00.873 --> 01:44:12.158 - Run here pretty baby, sit down on my knee. Run here pretty baby. 01:44:13.314 --> 01:44:15.998 - Down on my knee 01:45:35.362 --> 01:45:43.950 - T'es ma qui t'es peut t'en aller, c'est pas la peine brûlée Cheikh, t'es ma qui t'es peut t'en aller, 01:45:43.950 --> 01:45:52.702 - c'est pas la peine brûlée Cheikh, t'es ma qui t'es peut t'en aller, c'est pas la peine brûlée Cheikh, 01:45:52.702 --> 01:45:57.822 - t'es ma qui t'es peut t'en aller, c'est pas la peine brûlée 01:46:28.674 --> 01:46:45.610 - This is a little number called, You Promise Me Love, Baby. Did you forget about me? I got you a brand 01:46:45.610 --> 01:46:56.734 - new iPhone 18 Pro Max, 3,000 terabytes. And you don't remember me? 01:47:18.626 --> 01:47:27.166 - The love will never die. 01:47:49.634 --> 01:47:57.630 - You will never die But you left me 01:49:47.170 --> 01:50:15.646 - L'amour va jamais mourir 01:50:21.378 --> 01:50:49.182 - Coup de mot. L'amour, moi, ça va jamais mourir. Qu'on fasse, c'était un vaillant mort. 01:51:03.202 --> 01:51:17.502 - I'm over, I'm over. 01:52:22.050 --> 01:52:31.938 - Yeah, go have a good time Rock and roll all night long One twink of gin and I'm feelin' like dynamite 01:52:31.938 --> 01:52:42.019 - I'm ready for you rockin' bed and panel Sunday night I say hey Chuck, lay that pistol down Be your good 01:52:42.019 --> 01:52:51.422 - lovin' daddy Sunfire stop is ridin' around I know you caught me with another doughnut way uptown 01:52:51.522 --> 01:53:00.569 - I just can't quit you, baby, Lord, I can't put you down. I said, hey, shut up. Lay that pistol down. 01:53:00.569 --> 01:53:04.958 - Be your good loving daddy. Start my ride around. 02:01:30.786 --> 02:01:37.801 - Man, we got time to do one more little short one here. Thank you so much. So happy to be back here at 02:01:37.801 --> 02:01:45.022 - the Bloomington Boogie Woogie. Yeah. That's boogie, y'all. Y'all ready? It's time to get off your cannon 02:01:45.022 --> 02:01:48.254 - on your feet. Out the shade and into the heat. 02:02:24.290 --> 02:02:34.819 - A place called Chicken Shack Go boogie from the front to the back Boogie, boogie, baby, all night long 02:02:34.819 --> 02:02:45.144 - Just dancing and singing songs I said, hey everybody Take me back to the track I said choo choo choo 02:02:45.144 --> 02:02:53.118 - choo choo the boogie choo choo choo the boogie choo choo choo the boogie choo 02:02:53.794 --> 02:03:15.066 - Take me right back and I'll try. Yeah, they got a place called the Chicken Shack. Go boogie from the 02:03:15.066 --> 02:03:23.070 - front to the back. Go boogie, boogie. 02:03:23.362 --> 02:03:32.471 - All night long, just dancing and singing this song. I said, hey, everybody, take me back in the track. 02:03:32.471 --> 02:03:41.403 - I said choo choo, choo choo da boogie choo, choo choo da boogie choo, choo choo da boogie choo, choo 02:03:41.403 --> 02:03:48.478 - choo da boogie choo, choo choo da boogie choo. Take me right back in the track. 02:07:52.930 --> 02:08:01.089 - Sun Pie Barnes, Sun Pie Barnes and Matt Hempsey. Thank you Sun Pie and Matt and the band. We're gonna 02:08:01.089 --> 02:08:09.567 - take a 20 minute nervous now, have a break, have a snack or a drink, support our artists in the festival, 02:08:09.567 --> 02:08:16.766 - in the lobby where you'll find CDs and merch, and we'll see you in just about 20 minutes. 02:08:30.626 --> 02:08:37.390 - And welcome back to Bloomington Boogies. Hey, before we begin the second half, I really want to thank, 02:08:37.390 --> 02:08:44.220 - we all want to thank our piano tuner, Stephen Bruner, as well as all of our fabulous volunteers. Please 02:08:44.220 --> 02:08:51.049 - give Stephen and all the volunteers a big hand. The piano tuner is crucial. And we also want to mention 02:08:51.049 --> 02:08:56.894 - that at 8 p.m. tonight, many of our artists are going to be at Lenny's down on Kirkwood. 02:08:57.058 --> 02:09:02.689 - just before Indiana Avenue for the return of Bloomington Boogie's After Hours, where they're going to 02:09:02.689 --> 02:09:08.375 - play a few tunes informally and there will be no cover charge. Now we're going to welcome to the stage 02:09:08.375 --> 02:09:14.062 - a festival favorite, the boss of the boogie, who plays the boogie woogie and jump blues of the 40s and 02:09:14.062 --> 02:09:19.803 - 50s with a virtuosity that's excited audiences around the world for more than 40 years. He's originally 02:09:19.803 --> 02:09:22.398 - from the Bronx. He now resides in Los Angeles. 02:09:22.626 --> 02:09:29.236 - Yeah, the Bronx, where he writes, records, and performs at festivals, events, and clubs as a soloist 02:09:29.236 --> 02:09:34.014 - or with his five-piece band, The Revolvers. Please welcome back Rob Rio. 02:10:05.122 --> 02:10:17.007 - Good evening, ladies and gentlemen. Good afternoon. A pleasure for me to be back here in beautiful 02:10:17.007 --> 02:10:29.132 - Bloomington. Four years since I've been here, I recognize some faces. Unfortunately, we're looking a 02:10:29.132 --> 02:10:32.734 - little bit older. It happens. 02:10:33.890 --> 02:10:53.840 - I know that for a fact. You know how I know? Because I look into a mirror and what do I see? A stranger, 02:10:53.840 --> 02:11:01.630 - not a fit young stud staring back at me. 02:11:02.786 --> 02:11:09.863 - down the long, lustrous hair and smooth olive skin. Instead, gray straw, wrinkles, scars, mileage on 02:11:09.863 --> 02:11:16.870 - a life that's been. There's satchels below my eyes and a wattle leaves my chin. And each day when I 02:11:16.870 --> 02:11:24.157 - awake, I wonder what new wake I'm in. And any painless day is sure a natural gift. And the mirror tells 02:11:24.157 --> 02:11:29.342 - me Botox or a full-on life lift. Yeah, that's right. Life takes its toll. 02:11:32.610 --> 02:11:47.081 - Lord, I'm getting old But if the truth be told If I may be so bold Bless my soul I ain't too old For 02:11:47.081 --> 02:11:55.678 - sex, drugs, and rock and roll Sex, drugs, and rock and roll 02:12:27.586 --> 02:12:34.674 - But you know, the girls don't look at me quite like they used to. But I still ogle and flirt, and sometimes 02:12:34.674 --> 02:12:41.303 - I seduce too. And if I get so lucky, she says, daddy, give me some more. Well, I leer lascivious and 02:12:41.303 --> 02:12:48.063 - whisper, that's what drugs are for. Because you see, I got Cialis Viagra all covered in my Obama plan. 02:12:48.063 --> 02:12:54.692 - So if you want to go another few rounds, I think this man can. But I worry about side effects, maybe 02:12:54.692 --> 02:12:55.742 - even paralysis. 02:12:56.514 --> 02:13:09.786 - I wonder, is it okay to do Cialis when you're on dialysis? Life takes its toll. Lord, I'm getting old. 02:13:09.786 --> 02:13:23.057 - Ah, but if the truth be told, if I may be so droll, I ain't too old. Bless my soul for sex, drugs, and 02:13:23.057 --> 02:13:24.990 - rock and roll. 02:13:26.722 --> 02:13:29.598 - Six drugs and a rock and roll 02:14:00.802 --> 02:14:08.235 - But you know these days my drugs are mostly the pharmaceutical kind. But some of them get me pretty 02:14:08.235 --> 02:14:15.964 - high so I don't really mind. And you know they make great strides treating my PTSD with hallucinogenics 02:14:15.964 --> 02:14:23.471 - like psilocybin and ecstasy. Also fine by me. But I worry about side effects so I carefully read all 02:14:23.471 --> 02:14:29.566 - the directions. One thing I ain't worried about, one of those extended erections. 02:14:31.490 --> 02:14:43.133 - You see, if I'm hard for four more hours, I ain't callin' no MD. I'm pickin' up my phone, I'm tweetin' 02:14:43.133 --> 02:14:54.550 - everybody. Mm, that makes it so. Lord, I'm gettin' old. Ah, but if the truth be told, if I may be so 02:14:54.550 --> 02:14:58.846 - bold, I ain't too old. Bless my soul. 02:14:59.138 --> 02:15:17.752 - For sex, drugs, and a rock and roll. Sex, drugs, rock and roll. Sex, drugs, and a rock and roll. Oh, 02:15:17.752 --> 02:15:26.782 - yeah. Because you know it is from boogie woogie. 02:15:27.458 --> 02:15:34.879 - Rock and roll evolved, and I said I do booze and boogie-woogie. But guys like rock and roll like this, 02:15:34.879 --> 02:15:42.084 - it's nothing but the boogie. You shake my nerves and you rattle my brain. Too much of loving drives 02:15:42.084 --> 02:15:49.650 - a man insane. You broke my will, oh what a thrill. Goodness and grace is great, balls of fire. I laughed 02:15:49.650 --> 02:15:55.774 - at Lord because I thought it was funny. But you came around and you moved me, honey. 02:15:56.290 --> 02:16:06.815 - I changed her mind. This love is fine. Goodness, the grace is great, boss. Squeeze me, baby. Oh, yeah. 02:16:06.815 --> 02:16:17.033 - Hold me, baby. Better let me love you like a lover should. You're fine. So kind. God tell the world 02:16:17.033 --> 02:16:25.310 - you're mine, mine, mine, mine. I'm getting nervous for this show. Come on, baby. 02:16:25.506 --> 02:16:30.174 - Drive me crazy, goodness gracious, great ball. 02:16:57.922 --> 02:17:27.838 - Nothing but the boogie, that's all this is. Now let's do it like the Big Bopper. 02:17:28.354 --> 02:17:37.280 - Chantilly lace, got some pretty face. Ponytail hanging down. Wiggling or walking or giggling or talking. 02:17:37.280 --> 02:17:46.120 - Making the world go round. There ain't nothing in the world like a big eyed girl. Make me act so funny. 02:17:46.120 --> 02:17:55.046 - Spend my money. Make me feel real loose like a long necked goose. Oh baby, that's what I like. Say what? 02:17:55.046 --> 02:17:57.086 - You want me to do what? 02:17:58.530 --> 02:18:11.738 - Right here, on the floor, some more. Well, when you put it like that, let's do it. Chantilly lades got 02:18:11.738 --> 02:18:13.662 - a pretty face. 02:18:13.890 --> 02:18:40.958 - So anybody can do that. 02:18:44.610 --> 02:18:54.597 - A monkey could do that. Chantilly lades got some pretty face. Ponytail hanging down. Wiggle little ball, 02:18:54.597 --> 02:19:04.204 - get a giggle and a talk. Making the world go round. There ain't nothing in the world like a big eyed 02:19:04.204 --> 02:19:12.670 - girl. Make me act so funny. Spend my money. Make me feel loose like a long necked goose. 02:19:12.802 --> 02:19:23.707 - Well, baby, that's what I like. Everybody knows that. Jerry Lee Lewis. Jerry Lee Lewis, I consider 02:19:23.707 --> 02:19:34.832 - second-generation boogie-woogie. As you just learned from guys like Albert Ammons, Pete Johnson, me, 02:19:34.832 --> 02:19:39.678 - that's Lewis. The fathers of boogie-woogie. 02:19:41.474 --> 02:19:45.502 - Felix Lewis played it like this from 1928. 02:22:53.090 --> 02:23:02.932 - To me, Lux Lewis's Honky Tonk Train, 19, actually 1927, December 30th, so almost 1928. So if you study 02:23:02.932 --> 02:23:12.583 - up on your old blues and boogie-woogie history, you'll find lots of references to the train, because 02:23:12.583 --> 02:23:21.374 - that's how boogie-woogie first started. Itinerant piano players riding the train throughout 02:23:24.962 --> 02:23:36.078 - the logging camps playing a hard-driving music for all the workers that got off. I said, now, hello, 02:23:36.078 --> 02:23:47.305 - Union Station. Give me information on the next train west. I got my reservation. I got to go. I ain't 02:23:47.305 --> 02:23:49.726 - gonna change my plan. 02:24:00.226 --> 02:24:10.623 - It was written on a bill, stamped on a hill, where one bum bum bum, there's another one that will, I 02:24:10.623 --> 02:24:20.094 - got to go. Ain't gonna change my plan. I'm leaving right away, right on that hill, Capitan. 02:25:07.074 --> 02:25:16.872 - written on a bill, stamped on a hill, where one woman born, there's another one that will, 02:25:16.872 --> 02:25:27.854 - I got to go. I ain't gonna change my plan. Yeah, I'm leaving right away, right on that hill, Capitan. 02:25:27.854 --> 02:25:33.022 - So if you see my baby, tell her I said goodbye. 02:25:33.314 --> 02:25:48.724 - Tied up in a fold. That's the reason why I got to go. Ain't gonna change my plan. I'm a-leaving right 02:25:48.724 --> 02:26:01.566 - away. Right on that El Capitan. Train songs. Train songs. That was for Memphis Slim. 02:26:02.114 --> 02:26:09.358 - The train used to go from St. Louis to Chicago, the El Capitan. Eddie Clean had this and got one too 02:26:09.358 --> 02:26:11.294 - about the Railroad Porter. 02:27:02.626 --> 02:27:13.120 - I woke up this morning. I was all packed up to go. My baby stood there crying. Said she missed me so. 02:27:13.120 --> 02:27:23.821 - Well, I passed back by the window. I heard her talking on the phone. She said, I'm so glad that no good 02:27:23.821 --> 02:27:28.862 - man of mine is gone. I'm just a railroad porter. 02:27:31.010 --> 02:27:46.897 - And I'm riding down the track. Yeah, one of these days, yeah, your daddy gonna double back. Well, when 02:27:46.897 --> 02:27:59.390 - I come back to town, I found Elaine on the bed. She had an empty whiskey bottle. 02:28:01.058 --> 02:28:13.354 - There's an ice pack on her head. There's a sink full of dirty dishes. The whole house was a wreck. Before 02:28:13.354 --> 02:28:25.534 - she even said good morning, that woman asked me for my check. I'm just a railroad porter. And I'm riding 02:28:25.534 --> 02:28:27.390 - down the track. 02:28:30.210 --> 02:28:39.230 - One of these days, yeah, your daddy gonna double back. Watch out, baby. 02:31:49.666 --> 02:32:05.475 - Take it easy. I've been having too much fun. I'm just a railroad porter riding down the track. And one 02:32:05.475 --> 02:32:12.382 - of these days, yeah, your daddy gonna double 02:32:25.218 --> 02:32:35.055 - in the railroad quarter. And in the middle there, I did some Avery Parish after hours. But you know, 02:32:35.055 --> 02:32:45.183 - I like to boogie-woogie. Let me show you how I like to do it. First, I'll start with the left hand like 02:32:45.183 --> 02:32:51.806 - this, A to the bar. One, two, three, four, five, six, seven, eight. 02:33:03.682 --> 02:33:04.830 - tickle with the right hand. 02:34:13.762 --> 02:34:19.486 - I just tickle a little bit. Then I set it in the groove. 02:35:09.762 --> 02:35:32.478 - You got to set the syncopation. Come on, let's syncopate. Now, break it up. 02:35:41.602 --> 02:36:01.598 - But I want to do it again. Like Pete Johnson. Oh, I want to do it again. Albert Ammons this time. 02:36:11.906 --> 02:36:40.382 - that Albert Ammons, let me try it again. Albert Ammons. 02:36:55.746 --> 02:37:17.854 - I'll do this all night, no problem. Nah, bring it up. 02:37:34.882 --> 02:37:44.359 - I got a gal, she live up on the hill I got a gal, she live up on the hill You know the fool tried to 02:37:44.359 --> 02:37:53.836 - get me in love, but I love her still She got eyes like diamond, she shine like Klondike gold She got 02:37:53.836 --> 02:38:02.750 - eyes like diamond, she shine like Klondike gold When it comes to loving, she send my melo soul 02:38:05.058 --> 02:38:15.542 - You're so beautiful but you're gonna die someday. That's right. You're so beautiful but you got to die 02:38:15.542 --> 02:38:26.127 - someday. All I want is a little loving before you pass away. Give it to me. Roll on, boy. Let them jump 02:38:26.127 --> 02:38:34.270 - for joy. Yeah, man. Happy as a baby, boy. Hanging on a brand new choo-choo toy. 02:39:21.346 --> 02:39:37.189 - I'm going away, gonna leave you by yourself. I'm going away, gonna leave you by yourself. You mistreat 02:39:37.189 --> 02:39:50.878 - me enough, now mistreat somebody else. Yes, yes. Yes, yes. Yes, yes. Yes, yes. Yes, yes. 02:39:52.226 --> 02:39:52.638 - Yeah. 02:40:43.938 --> 02:40:49.322 - The good thing about boogie-woogie is you can make any song a boogie-woogie. You just add a little bit 02:40:49.322 --> 02:40:54.602 - of A to the bar in the left hand, you've got a boogie-woogie. You can thank Rimsky-Korsakov for this 02:40:54.602 --> 02:40:58.366 - one, adapted from his flight of the bumblebee called the Bumble Boogie. 02:43:29.634 --> 02:43:38.499 - up a good sweat up here. Thank you very much, ladies and gentlemen. A pleasure to be here for you. God 02:43:38.499 --> 02:43:47.364 - bless y'all. Rob Rio. Rob Rio. Thank you so much, Rob. That was terrific. Our next and final performer 02:43:47.364 --> 02:43:55.454 - before our big jam finale is the youngest sibling of Wynton, Branford, and Delphio Marcellus. 02:43:55.554 --> 02:44:00.649 - whose father, Ellis Marcellus, was the pivotal figure in their upbringing. This artist was introduced 02:44:00.649 --> 02:44:05.744 - to a toy drum set at the age of three, and his fascination evolved into a love for performing, and by 02:44:05.744 --> 02:44:10.839 - the age of six, he had acquired a real set and began studying with the renowned drummer, James Black. 02:44:10.839 --> 02:44:15.883 - His progress led him to play with his father's group and to join forces with his trombonist brother, 02:44:15.883 --> 02:44:21.278 - Del Feo. Fast forward through stints with and producing musicians such as virtuoso pianist, Marcus Roberts, 02:44:21.410 --> 02:44:26.680 - studying composition with Roger Dickerson while maintaining a demanding touring schedule, co-founding 02:44:26.680 --> 02:44:32.002 - Los hombres calientes, performing with Bela Fleck, and adding vibes to his arsenal, which garnered him 02:44:32.002 --> 02:44:37.220 - opportunities with the legendary Lionel Hampton Orchestra. He's topped Jazz Week's radio charts, and 02:44:37.220 --> 02:44:42.438 - he's now pushing the boundaries of modern jazz with the 21st century trad band. Tomorrow, this guest 02:44:42.438 --> 02:44:47.760 - will present a workshop on vibes and drums at the IU School of Music, thanks to support from IU Jacobs 02:44:47.760 --> 02:44:49.310 - School of Music Jazz Studies. 02:44:49.410 --> 02:45:17.566 - please welcome Jason Marsalis. Thank you all very much. It's actually a pleasure to be here in Bloomington, Indiana. 02:45:20.642 --> 02:45:29.216 - And before we start, there is a reason that I'm happy to be here and that it does actually involve members 02:45:29.216 --> 02:45:37.309 - of my family. It was about 25 years ago that my eldest brother Branford was working on a documentary 02:45:37.309 --> 02:45:45.402 - film entitled The Music Tells You. And they had done a workshop at Indiana University when the great 02:45:45.402 --> 02:45:47.646 - Dr. David Baker was around. 02:45:51.426 --> 02:45:57.968 - So they do this concert at the auditorium at Indiana University. And so it was not long after that, 02:45:57.968 --> 02:46:04.642 - on a Sunday evening, Delphio, as I mentioned, he comes home with this recording. And it was me and my 02:46:04.642 --> 02:46:11.708 - father. And then he asked my father, hey, man, guess what tune this is? And they were playing this standard 02:46:11.708 --> 02:46:16.222 - song, and they're playing it. And it was near the end when Brantford 02:46:16.354 --> 02:46:21.727 - plays a melody, and my father says, oh yeah, everything happens to be, yeah, that's a nice tune, 02:46:21.727 --> 02:46:27.321 - you know, it's nice how they're playing that. Now, what I'm thinking is, man, Braff is about to come 02:46:27.321 --> 02:46:33.082 - out with this record called Beautiful Ones and Not Yet Born, and this is that same music but live. Man, 02:46:33.082 --> 02:46:38.898 - I gotta hear this tape and see what's going on. And so Delph eventually does give me a copy of the tape, 02:46:38.898 --> 02:46:40.670 - and I heard it and was floored. 02:46:41.186 --> 02:46:47.667 - because the energy that they were playing with and the interaction was something that I had never heard 02:46:47.667 --> 02:46:54.461 - before. And it was Midway listening through the tape, I said to myself, he recorded this? This got recorded? 02:46:54.461 --> 02:47:00.755 - Because usually you hear about shows like that. But there's no tape, but there's like a recording of 02:47:00.755 --> 02:47:07.112 - this. So it was after one of those tunes, the tune ended, man, and I got on the phone and left Delphi 02:47:07.112 --> 02:47:08.670 - a message and said, man, 02:47:08.962 --> 02:47:15.772 - I was listening to that tape from this concert from Bloomington, man, that needs to be released tomorrow. 02:47:15.772 --> 02:47:22.196 - I know Bradford's working on a blues record and all this, no, that needs to come out right now. And 02:47:22.196 --> 02:47:28.748 - he calls me back in shock, like, are you serious? Yes, I'm very serious. You ought to check that tape 02:47:28.748 --> 02:47:33.438 - out again and see what I'm talking about. And so I think it was maybe a, 02:47:33.602 --> 02:47:40.265 - Months or so later, you know, I saw Brantford. Brantford tells me, yeah, we're going to release that 02:47:40.265 --> 02:47:47.060 - live concert. I'm like, thank God for that. He said, we're not even going to call the album yet. We're 02:47:47.060 --> 02:47:53.789 - just going to call it Bloomington. I'm like, yeah. So yeah. So if you look up in Brantford Marcellus' 02:47:53.789 --> 02:48:00.518 - discography in 1993, there is an album that is called Bloomington. And it was that concert at Indiana 02:48:00.518 --> 02:48:01.310 - University. 02:48:01.442 --> 02:48:07.028 - And if you hear it, you'll see what I'm talking about in terms of the interaction. You know, I would 02:48:07.028 --> 02:48:12.558 - play that for classical musicians and midway through one of these pieces, and they would ask me, so 02:48:12.558 --> 02:48:18.421 - did Brantford read all of that? I said, no, that's all improvised. What? Are you? Yeah, I'm very serious. 02:48:18.421 --> 02:48:24.228 - The only thing written was the first 10 seconds. The other 15 minutes, that's all improvised. So anyway, 02:48:24.228 --> 02:48:29.758 - so whenever I think of Bloomington, that's like one of the first things that I think of. Now, yeah. 02:48:34.786 --> 02:48:41.614 - So, speaking of family, we're going to start off this portion of the evening with a tune, and it's a 02:48:41.614 --> 02:48:48.510 - blues, as written by my late father, Ellis Marcellus, and this is simply titled, That Old Time Blues. 02:55:50.818 --> 02:55:53.758 - titled On the Sunny Side of the Street. 03:02:33.826 --> 03:02:40.011 - I would say it is a pleasure being a part of this festival in here and like boogie woogie music and 03:02:40.011 --> 03:02:46.444 - blues and it's different iterations if you will and it makes you realize how much music relates to each 03:02:46.444 --> 03:02:52.629 - other. And I think about that a lot because especially when it came to my generation and definitely 03:02:52.629 --> 03:02:58.938 - the musicians, the generation after me, there's a tendency to separate things and separate this thing 03:02:58.938 --> 03:03:01.598 - and this music over here and we don't need 03:03:01.730 --> 03:03:09.365 - about that music over there and instead of realizing that all of these styles relate, especially if 03:03:09.365 --> 03:03:17.153 - you look at music from the 20th century, they all relate and they've all had influences on each other 03:03:17.153 --> 03:03:24.940 - and it's very important to understand that and that's why it's a pleasure for me to be a part of this 03:03:24.940 --> 03:03:30.590 - because I'm glad to be reminded of that. And so we're going to do for you 03:03:34.306 --> 03:03:38.526 - This is entitled CREO Love Call. 03:17:23.714 --> 03:17:30.328 - So that tune, I at least wanted to tell y'all what that tune was. Because you may not be familiar with 03:17:30.328 --> 03:17:36.942 - that one, but you may be familiar with the songwriter. And the songwriter is a gentleman who I've been 03:17:36.942 --> 03:17:43.427 - actually exploring and arranging a lot of his music. It was an idea that I had many years ago, but I 03:17:43.427 --> 03:17:50.041 - had forgotten about it. But unfortunately, he passed away last year. And it reminded me, damn, I never 03:17:50.041 --> 03:17:51.646 - got around to that idea. 03:17:51.874 --> 03:17:59.827 - So I started doing it, and there's a lot of music of his that's popular, but then there's music of his 03:17:59.827 --> 03:18:07.857 - that is not popular. And the songwriter I'm talking about is Brian Wilson from the Beach Boys. And that 03:18:07.857 --> 03:18:15.578 - song actually comes from an album he released, I believe, in the 2000s. I want to say 2007 or 2008. 03:18:15.578 --> 03:18:21.214 - The name of that album was Lucky Old Sun, and the name of that blues was 03:18:21.602 --> 03:18:28.955 - Morning Beat, and that's one that definitely surprises some folks, but that's a fun one to play. And 03:18:28.955 --> 03:18:36.308 - now we're going to do, we have for you a jam session. Remember when I mentioned community and things 03:18:36.308 --> 03:18:40.894 - relating, well, we're definitely going to show that right now. 03:19:11.138 --> 03:19:21.566 - Well, I get the blues, you're gonna get me a rocking chair. Well, I get the blues, you're gonna get 03:19:21.566 --> 03:19:32.828 - me a rocking chair. And if the blues overtake me, gonna rock it right away from here. Well, I get lonesome, 03:19:32.828 --> 03:19:39.710 - get on the telephone. Well, I get lonesome, get on the telephone. 03:19:43.746 --> 03:19:55.406 - I said I'm on my way back home. Come on now. I said flip, flop, and fly. Don't care if I die. Flip, 03:19:55.406 --> 03:20:04.734 - flop, and fly. I don't care if I die. Don't ever leave. Don't ever say goodbye. 03:21:24.194 --> 03:21:25.246 - So I do. 03:27:33.026 --> 03:27:54.238 - tonight. Thank you so much everybody for coming out. Hope to see you next year at Bloomington Boogies.