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Jack Dappa Blues Heritage Preservation Radio

Jack Dappa Blues Heritage Preservation Radio

Author: Jack Dappa Blues Heritage Preservation Radio

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Jack Dappa Blues Heritage Preservation Foundation is a focal point for researching, archiving, and raising awareness of Black American Traditional Music and the Black Experience through media and a collected repository. The African American Folklorist furthers the mission by publishing articles discussing the evolution of our traditions and presenting research about blues people. We include interviews with and articles from musicians, historians, ethnographers, Community Scholars, and academics who specialize in and are enthusiastic about the Black Experience in America.
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On this episode, I speak with Brei Carter, Country Singer-Songwriter, about her journey in Music and her signing with Brown Lee Entertainment For Exclusive Global Music Distribution & Digital Marketing. Emerging crossover country and southern pop recording artist Brei Carter proves that faith, patience, and time sometimes pay off. Growing up in Monroe, Louisiana, with a solid, southern upbringing, Brei’s family raised her on several authentic southern staples: the Bible, Lone Star Missionary Baptist Church’s choir, Charley Pride, Loretta Lynn, Aretha Franklin, and no shortage of familial love and devotion. However, before she became the dynamic and vivacious country singer she is today, Brei was busy earning a Bachelor's in Business from the University of Louisiana in Monroe, a Master's in International Relations from Webster University, and a Doctorate in Theology from New Foundation Theological Seminary. She is also a proud Veteran of the U.S. Army, where she served as an enlisted soldier and officer. Having moved to Nashville soon after, Brei has quickly established herself in the songwriter's community as a smooth and sometimes edgy songstress who melds country, soul, and southern pop into one fused style. Her first single at country radio, “Gave Him A Girl,” was immediately recognized as “cute and catchy” by country music journalist and historian Robert K. Oermann in his weekly DISClaimer review column for Music Row Magazine. Brei made her CMA Fest debut in 2022, along with a performance on WoodSongs Old Time Radio Hour. Her growing catalog of new music includes her debut album Brand New Country, released in Fall 2022, and new music on the way in 2023 slated for April & June. Carter is quickly proving herself to be a welcomed addition to the emerging new styles of country music in today’s diverse musical landscape. --- Send in a voice message: https://podcasters.spotify.com/pod/show/africanamericanfolklorist/message
Louisiana BLUES VIXEN GEMINIIDRAGON is set to take over the BLUES MUSIC community with her latest single JUST THE WAY IT IS from her upcoming album FIGHTING FIRE WITH FIRE!   From the murky bayous of Louisiana, comes a fresh face to the Blues music scene. A vocal dynamo GeminiiDRAGON has channeled her love for the late 60s era and 70s blues and AOR bands/artists the likes of Muddy Waters, Howlin' Wolf, Albert King, Freddie King, Stevie Ray Vaughn, Koko Taylor, Jimi Hendrix, ZZ Top, Janis Joplin, Fleetwood Mac, Cream and Led Zeppelin and the supergroup Arc Angels, to name a few, into a ferocious mix of blues-rock soul…. Blues on Steriods!!!  More on GeminiiDragon here https://www.youtube.com/watch?v=HQ4TKJUrJUo   To Donate to Jack Dappa Blues Heritage Preservation Foundation follow this link https://www.paypal.com/paypalme/LamontJack/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/africanamericanfolklorist/message
Many Black Academic Scholars are also active practitioners in our respective cultures and traditions. That doesn't negate their ability to teach, mentor, or share skills and tricks of the trade with the folk. It actually makes them even more qualified. Some feel Black Scholars who are educated or formally trained cannot teach or pass on the folk tradition. I see it differently, and here's why. Charlotte Forten Grimke NAMA HARLEM (New Amsterdam Musical Association) Colored Musicians Club John Wesley Work III DONATE Join Patreon --- Send in a voice message: https://podcasters.spotify.com/pod/show/africanamericanfolklorist/message
Today, I speak with Candice Ivory about her new project, When The Levee Breaks. As said on her website After releasing three acclaimed albums of jazz-driven original songs, vocalist Candice Ivory reveals a whole new sound on When the Levee Breaks: The Music of Memphis Minnie. Raised in Memphis and based in St. Louis, Ivory hails from an illustrious musical family that shaped Memphis’s secular and sacred sounds. Her great-uncle was the singer and guitarist Will Roy Sanders of the Fieldstones, one of the premier Memphis blues bands from the 1970s to the 1990s. Ivory grew up in the church, and by the age of eleven, she was singing in a choir that featured the soon-to-be-famous R&B artist D’Angelo. When the Levee Breaks brings together all of her formative musical experiences in a tribute to Memphis Minnie (1897-1973), whose powerhouse vocals and compositional creativity served as inspiration for Ivory’s own innovations as the Queen of Avant Soul. Produced by singular guitarist-bassist Charlie Hunter, a onetime D’Angelo collaborator, Ivory’s When the Levee Breaks is a midnight run to the crossroads, where jazz, blues, gospel, and R&B all converge. https://candiceivory.com/ paypal.me/LamontJack  Join Patreon⁠ --- Send in a voice message: https://podcasters.spotify.com/pod/show/africanamericanfolklorist/message
On this episode, I speak with Shirley Moody-Turner, an associate professor of English and African American Studies and founding co-director with Gabrielle Foreman of the Center for Black Digital Research/#DigBlk. She is an Author and award-winning educator that says, “As a young girl growing up in Buffalo, NY, I felt a deep longing to learn more about my family history. Shirley has worked to unearth those stories and many others.  She has authored, edited, and written many books, essays, and journals depicting the African American story through a folkloric and ethnographic lens. She is highlighting and honoring the Black men and women scholars like her who have significantly contributed to the Blues and Black narrative of the Americas.  Her website also states, “Honoring the legacy of the intellectuals and activists I study, I also work in partnerships to carry these histories out into communities beyond the university. Through the Center for Black Digital Research/#DigBlk and the Black Women’s Organizing Archive, I work with extraordinary individuals to help public and scholarly audiences forge meaningful collaborations with the shared mission of bringing the buried and scattered histories of early Black organizing to digital life. “  --- Send in a voice message: https://podcasters.spotify.com/pod/show/africanamericanfolklorist/message
In this episode of the African American Folklorist, I speak with Sherley Spears, NAACP Unit 6219 President, President of the National Historic Landmark Fort Concho, and founder of the Buffalo Soldier Project. The National Historic Landmark Fort Concho Museum preserves the structures and archeological site features for pride and educational purposes, serving the San Angelo, Texas community. One significant story coming from Fort Concho and the San Angelo community is the contributions and community development of and by the Buffalo Soldiers. In 1866, Congress established the 9th, 10th, 24th, and 25th U.S. Cavalry Regiments for enlisted colored people in the Army. Eventually, troops from each of these regiments served at Fort Concho. These black troops would be given the name ”Buffalo Soldiers," allegedly, by the Indian tribes because of their dark, thick, curly hair resembling buffalo hair. Fort Concho, originally established in 1867, was built for soldiers protecting frontier settlers traveling west against Indian tribes in the area. A notable member of the San Angelo community of that time was Elijah Cox. Elijah enlisted in the military and was stationed at Fort Concho, in San Angelo, Texas in 1871. Elijah was a fiddler he and his son, Ben played for all of the dances at the Fort. Elijah, born and remained a freeman, settled in San Angelo, Texas, and would learn the songs of the slave from ex-slaves now soldiers. Elijah would become the traditional bearer of these songs as he played fiddle, guitar, and sang. You can hear my podcast on his story here. https://youtu.be/jOV68xA9EBE  These, and much more crucial historic narratives are being preserved by Ms. Sherley Spears and the organizations adamant of raising the awareness of African American contributions to the establishment and sustainability of Fort Concho & San Angelo, Texas. https://sanangelonaacp.org/  https://fortconcho.com/home/about/mis... --- Send in a voice message: https://podcasters.spotify.com/pod/show/africanamericanfolklorist/message
The term Soul Food and Southern Style food were not an initial naming convention for the meals eaten in the households I grew up in. We ate what grandma cooked. What granddad bought, for auntie and momma to prepare. As time went on, the meals of my family began popping up in stores around our community, then particular spaces across the nation by the name “Soul Food” or “Country Kitchen.” I remember Country Kitchen specifically, because it was on the route home from church, and on special occasions my family and I would stop there to order meals. The food was good, not as good as my grandma, or mother’s, but non the less we enjoyed. The irony is as I matured in the space of being a folklorist, I wondered why we paid for meals identical to what we ate at home. And when and why did my grandma’s and mother’s meals receive this name. To us it was just dinner. To many people, it’s just dinner, lunch or breakfast. As I pondered this, I began to remember the great times we had as a family, either around the dinner table, or sprinkled around my grandparents home. My grandparents had five children, and their children had children. So it would be a full house. I began to think about the activities that took place during those times. As a folklorist these are the questions, research and interests we dive into, and in diving, I am introduced to Foodways. As heard on WKU PUBLIC RADIO & NPR  --- Send in a voice message: https://podcasters.spotify.com/pod/show/africanamericanfolklorist/message
This is part one of the Jack Dappa Blues Podcast Series in affiliation with Lonestar Blues & Heritage Festival about Henry Thomas, also known as Henry Ragtime Texas Thomas featuring our recurring guest The American Songster Dom Flemons. On this episode we delve into the unique and wide musical range of Henry Thomas whos songs represent the oldest of the African American Traditional music. He also played a traditional African American instrument called the "Quill". The history and role of the A&R. Early recording industry methods, and the fact that Henry, as well as other early African American Songsters,  played songs of the plantation.  Henry Thomas was one of the oldest black musicians whoever recorded 23 cuts on Vocalion Records between the years of 1927 - 1929. his music is a great opportunity to hear what African American Traditional music sounded like near the end of the 19th century. And in this era, they are just introducing the world to folk music through records/Vinyl. --- Send in a voice message: https://podcasters.spotify.com/pod/show/africanamericanfolklorist/message
On this episode, we speak about, Why is B.OB. Essential in an era we are supposed to be united and integrated? What do we expect from a B.O.B. that we don’t expect from anyone else? And most of all, How do I determine where I spend my Money? The criteria for the last question is broken down by : Customer Service Products Locations We also discuss what is needed in the community. Are there any B.O.B.'s filling those voids, or are they just opening and operating the business that has become culturally popular? B.O.B = Black Owned Business MASKS OFF POWERED BY BLACK LOVE: Hosts Lamont Jack Pearley Roscoe McCoy Coach Black --- Send in a voice message: https://podcasters.spotify.com/pod/show/africanamericanfolklorist/message
On this episode, I speak to Actor, Historian and Blues Dance NY Instructor/Dj Odysseus Bailer on the importance of Blues Dance to the tradition of the Blues People, and the great program and community of Blues Dance NY, which is dedicated to fostering community and encouraging life-long learning through a shared passion for blues dancing. Odysseus also shares his journey with Blues dancing and music, as it pertains to the African American experience. --- Send in a voice message: https://podcasters.spotify.com/pod/show/africanamericanfolklorist/message
The “Blues Narrative: Blues People, Covid-19, and Civil Unrest” focuses on African Americans born between 1945 and 2004. The article delves into the establishment of homes, lifestyles, and traditions on a concrete terrain with Southern and country values, and shares how those values not only weathered the storm of many generations but how they armed interviewees to defend what some call an all-out attack on the Blues People in the present day. This is an ongoing project conducted from the perspective of a folklorist and ethnographer. This episode, i speak with Phoenix Moon, a Colonial America historian, Forensic genealogist, Civil Rights Activist. Grassroots Political Legist.  --- Send in a voice message: https://podcasters.spotify.com/pod/show/africanamericanfolklorist/message
On this episode of The African American Folklorist, I share the story of the born free, African American Traditional Music Practitioner Elijah Cox, who was a fiddler, Buffalo soldier, and recorded in 1935 at the age of 93 for the Library of Congress Elijah Cox was also interviewed and recorded for the Born in Slavery: Slave Narratives from the Federal Writers' Project, 1936-1938, which now lives can be found of the Library Of Congress Website.  As I share the story of Elijah, I make the case that he was and utilized the tools of the folklorist.  Written, Produced and Edited by Lamont Jack Pearley -  Credits for sound design & Music Elijah Cox - Run up on The Mountain, Slavery Days, Can’t put the saddle on the ol great mule Lamont Jack Pearley - Blues Journey  & Underground Slide Excerpts from "Fife and Drum Music of the American Revolution: Military Music in America series, vol. 1," produced by the Company of Military Collectors & Historians, Washington, D.C. with George P. Carroll, Director of Music -- from about 1976. (Improved audio from my earlier upload of this same.) https://www.underthehome.org Music Performer: Sturbridge Colonial Militia Music License Original Source: Sound Clip of Gunfire Original Source: Painting Title: Battle of Bunker Hill ember 1941 (part 2 of 6) Contributor Names - Lomax, Alan, 1915-2002 (Interviewer), Sturz, Elizabeth Lyttleton (Interviewer), Johnson, George (Interviewee), Jones, Lewis Wade, 1910-1979 (Interviewer) Johnson, Charles Spurgeon, 1893-1956 (Interviewer), Work, John W. (John Wesley), 1901-1967 (Transcriber) Created / Published Mound Bayou, Mississippi, 1941 Railroad Song, Contributor Names - Work, John W. (John Wesley), 1901-1967 (Collector), Gibson, Gus (Performer) Created / Published Georgia, 1941 Negro blues and hollers, Contributor Names, Stearns, Marshall Winslow, compiler. Lomax, Alan, 1915-2002, recordist. Work, John W. (John Wesley), 1901-1967, recordist. Jones, Lewis Wade, 1910-1979, recordist. House, Son, performer. Edwards, Honeyboy, performer. Martin, Fiddlin' Joe The Boll Weevil, Contributor Names - Work, John W. (John Wesley), 1901-1967 (Collector), Ezell, Buster (Performer) Created / Published Georgia, 1941 Coon Gi'nt (Coon jive), Contributor Names - Work, John W. (John Wesley), 1901-1967 (Collector), Stripling, Sidney (Performer)Created / Published Georgia, 1941 Rock My Soul in the Bosom of Abraham, Contributor Names - Work, John W. (John Wesley), 1901-1967 (Collector), Unidentified vocal quartet (Performer), Created / Published, Fort Valley, Georgia, 1941 John the Revelator, Contributor Names - Work, John W. (John Wesley), 1901-1967 (Collector), Heavenly Gate Quartet (Performer), Created / Published Nashville, Tennessee, 1941 If I Had My Way I'd Tear the Building Down, Contributor Names - Work, John W. (John Wesley), 1901-1967 (Collector), Heavenly Gate Quartet (Performer) Created / Published Nashville, Tennessee, 1941 Remember to Subscribe to the podcast and the Newspaper!  --- Send in a voice message: https://podcasters.spotify.com/pod/show/africanamericanfolklorist/message
The African American Folklorist Podcast Series - Charlotte Forten Grimke - The First series of the African American Folklorist will be covering the works, journals, and lineage of Charlotte Forten Grimke. Documented as the first person to record Black Spirituals on her excursion to Sea Island in 1864, Charlotte, a teacher, anti-slavery activist, and poet comes from four generations of successful, free abolitionists African Americans. The series will raise awareness and discuss the people and experiences she's had during a turbulent time in America for Black people that shaped her views and propelled her to achieve many feats. Not taking away from her story, we delve into the achievements and mindset of her elder relatives that not only molded Charlotte but formulated the way free blacks and abolitionists attacked slavery with ferocity. From funding abolitionist publications to being major participants in the Underground Railroad system, The Forten family and their in-laws were trailblazers in the contributions to African American history, liberation and freedom. From what can be considered the home base of abolition, Philadelphia. This is the description of the pilot episode. This episode, Episode one, focus on the beginning of Charlotte's legacy, and the places and experiences that lead her grandfather, James Forten, to begin work and plant a seed that would harvest in Charlotte and the rest of the Forten family, and extended family. Follow us @JackDappaBlues     Jack Dappa Blues FB Group     Jack Dappa Blues Heritage Preservation Foundation Page     Black Spirituals, Field Hollers and Slave Seculars --- Send in a voice message: https://podcasters.spotify.com/pod/show/africanamericanfolklorist/message
As Black History Month comes to an end, after the Grammy's are long gone and post his open letter about the miseducation and representation of the Blues category nomination process, I sit down in Time Square New York to speak with Chris Thomas King.  On this special 2 hour episode, CTK shares the misconception of the birthplace of the Blues, the proof of this misconception, history of Louisiana and the Creole culture, as well as addressing his open letter and the book titled “The Original Blues: The Emergence of the Blues in African American Vaudeville” by Lynn Abbott & Doug Seroff.  He explains why his album "Hotel Voodoo" is definitely a Blues Album. if you haven't read the article, click here Be sure to subscribe, rate, like and share! Follow us on Twitter @JackDappaBlues Join our FB Group, Instagram There are also opportunities to sponsor content, WE ARE PUBLIC MEDIA! --- Send in a voice message: https://podcasters.spotify.com/pod/show/africanamericanfolklorist/message
on this episode of Jack Dappa Blues Heritage Podcast, I speak with Elizabeth Lynn Kilrain about her journey with Blues Dancing and her organization Blue Note SD who's mantra is: "Dancing the Blues in San Diego!" The mission of her organization is exploring, celebrating, and growing the blues dance community through musical immersion, classes, social dancing, and competition.  We discuss how the music, culture, lifestyle and vernacular of the Blues People resonate with the feel of the Blues Dance. https://bluenotesd.com https://www.youtube.com/channel/UC_VS8hyyZK1V9xWjiC2hGnQ --- Send in a voice message: https://podcasters.spotify.com/pod/show/africanamericanfolklorist/message
On this episode, Marquise Knox and I discuss the issues that prompted Chris Thomas King to write his open letter addressing the gentrification of the Blues based on him being removed from the Grammy nomination list for best Blues Album. As we address this issue, we refer and share quotes from other Black Blues Musicians, (Chick Willis and Corey Harris) that have addressed similar, if not the same concerns in the past. Links to articles http://www.offbeat.com/news/bluesman-chris-thomas-king-says-hes-banned-grammys/?fbclid=IwAR1Nj3Pb_BfUJJh4FT5oCnLEkk9ofxQ0FXYt0id4tR8Hx50QL_JWmALhiXc#.W9si2bA6YVZ.facebook http://www.soul-patrol.com/soul/chickwillis.htm?fbclid=IwAR1uxt-i50dmDHVurIG6NdjxWeW_5plJ2NddpIePqXfdzACDYhUCQOlB5w0 https://bluesisblackmusic.blogspot.com/2015/05/can-white-people-play-blues.html?fbclid=IwAR3h-pm-8vyaubssPVzgr1PBdtiL-OFSeG8kWETcwCzipTcv83Jm4PKvHSs We The Blues People with Hosts Lamont Jack Dappa Blues Pearley Marquise Knox Remember to enjoy, share, leave a comment and click the sponsor button! And Like our Facebook Page https://www.facebook.com/wethebluespeople/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/africanamericanfolklorist/message
On this episode of jack Dappa Blues Podcast I have the honor of speaking with one of the last remaining threads to original Blues....and owner of the longest running Juke Joint in America, Bentonia Bluesman Jimmy Duck Holmes, as he breaks down the real Blue. Jimmy is the last living link to the "Bentonia School" of blues. Other artists who played in this style include Skip James, Jack Owens, Henry Stuckey and Cornelius Bright. Jimmy "Duck" Holmes has lived a life steeped in blues. Today he is the last living practitioner of the celebrated style of Bentonia blues made famous by Skip James and Jack Owens. In addition, Holmes operates what is arguably the oldest juke joint left in Mississippi and is the organizer of one of the longest-running festivals in the state - the Bentonia Blues Festival. The 44th Annual festival is scheduled for June 18, 2016. https://bluefrontrecords.myshopify.com --- Send in a voice message: https://podcasters.spotify.com/pod/show/africanamericanfolklorist/message
On this episode, I have the honor to talk Blues with living Legend, son of a Legend Big Bill Morganfield about his New album Bloodstains on the Wall, His new record Label Black Shucks Records and his process of music making. --- Send in a voice message: https://podcasters.spotify.com/pod/show/africanamericanfolklorist/message
On this powerful episode of Jack Dappa Blues, I speak with Dr. Steve Perry as we discuss the Blues of the educational system for Back and Brown children! Dr. Perry gives us many examples of why we should be serious when making the decision of where our children attends school, what we should be looking for in schools, and why His Charter school and those affiliated are the best choices to break the Blues we and our children face in the educational system --- Send in a voice message: https://podcasters.spotify.com/pod/show/africanamericanfolklorist/message
On this episode I will be talking with Blues Sensation Jontavious Willis. This young man is the rebirth of real Roots Blues, and we will be discussing the regional styles of Blues such as Piedmont, Delta and the like...along with hearing some great Original Blues records that will allow you to feel the music we're discussing. --- Send in a voice message: https://podcasters.spotify.com/pod/show/africanamericanfolklorist/message
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