Friday, February 21, 2014

Nina Simon - Triple Threat Artist



Millions of people first became aware of Nina Simone through her stance on Civil Rights in the late 1960's. That's understandable, as her signature song, "Backlash Blues", was the work of  Langston Hughes; the poet of Harlem Renaissance fame. Mr. Hughes was on his deathbed even as Ms. Simone sang the song he had first written as a poem. His last request to her was that she never stop singing it. And, she never did. It's as important a song as "Bitter Fruit" by Billie Holiday; or even "Black and Blue" by Louis Armstrong. It also marked Ms.Simone's emergence as an activist in the struggle for Equality then sweeping the nation. This is the version of the song that leapt from the radio in the summer of 1967;


But before that, Ms. Simone was already a major artist in jazz, blues and even pop circles. Even her 1959 rendition of "Little Girl Blue" would be covered over a decade later by Janis Joplin. The woman was a triple threat; she sang, wrote, played piano; all while covering genres which ranged from classical to Jazz, Blues, Folk, R and B, Gospel and even Pop music. She literally knew no boundaries.

Born in Tryon, North Carolina on February 21, 1933 as Eunice Kathleen Waymon, she was the 6th child born into a Preacher's family. Her original goal was to be a classical music pianist but her goal changed when she was denied a scholarship to the Curtis Institute of Music in Philadelphia. That denial was based purely on race. It was that denial which led to Ms. Simone to perform in the local clubs around Philadelphia to make up that deficiency of funds. It was also when she began to sing.

By 1958 she had begun her recording career with the single "I Loves You Porgy" and an album called "Little Girl Blue." She made nothing off of these recordings beyond the initial $3,000 for which she asked at the time, releasing her royalties forever. Those recordings went on to make millions.

Her recording career lasted from 1958-1974. Most known for her fusion of blues and gospel with classical music, Ms. Simone was an enigma at first. She never fit neatly into any of the "slots". Her recordings almost all have a classical element in them somewhere. If not in the composition itself, then in the vocals arrangements.

Her early years playing gospel in church helped her to have an instinctive feel for her audience. She knew which crowd would understand her more jazz like renditions of her hits, and which ones wanted to hear the record. She measured them all up with a discerning eye,  sometimes being mistook as too much of a "purist." But whatever label you put on her, you could never deny that she was a force to be reckoned with.

By the early 1960's she was embracing the Civil rights Movement openly, which was still a risk until the later part of the decades. Careers could be smashed over this divisive issue. Her earliest taste of racism came when she was 12 years old and her parents were asked to move to the rear of the concert hall where she was making her first recital. We can only imagine how much that must have hurt. Ms. Simone refused to pay until her parents were restored to their seats. Imagine the courage which that took! This is a woman who would never know stage fright!

Her mother was the preacher in the house; she was a Methodist Minister and a housemaid. Her father worked as a handyman, after having tried his hand in business. His health was not always the best, making Ms. Simone's mother the main wage earner. Her mother's employer actually set up a fund for Ms. Simone to continue taking piano lessons, having heard something of promise in her. With some of that money she was able to attend Allen High School for Girls in Asheville. She then went on to the Curtis Institute where she was rejected. It must be noted that the Institute had already begun accepting African-American applicant as early as the 1940's. The first such graduate was George Walker in 1945. He would go on to earn a Pulitzer Prize. Ms. Simone went to New York and studied at Juilliard.

It was while attending school in New York that she became "Nina", performing in Atlantic City to pay for school. She took the last name Simone for Simone Signoret, the French actress, whom she admired. In later life Ms. Simone would go to live in France, where she was even more highly regarded than here at home.

She opposed the Vietnam War and refused to pay her taxes as a protest. When she left the United States for Barbados she left her wedding band behind. Her husband/manager took this as a sign that she wanted a divorce. When she returned to the United States she found that a warrant had been issued for her arrest concerning the unpaid taxes. She quickly returned to Barbados, where she lived for many years until relocating to Liberia. From there she moved to Switzerland, and later the Netherlands, before finally settling in France.

Another signature Civil Rights Era song which Ms. Simone wrote has become almost an anthem, "Mississippi Goddam" which she wrote in response to the killing of Medgar Evers and the bombing of the church in Alabama which left 4 children dead. It was widely banned; as was to be expected; down south.

Her recording career was up and down during the decades she was moving about, but took an unexpected upturn in the late 1980's and 1990's when she recorded several well regarded jazz albums, as well as a collection of varied songs called "Baltimore."  Her last recording was in 1993, with an album called "A Single Woman." Her autobiography; published the year before; is called "I Put a Spell On You."

By far her most well regarded recording is the album "Montreux Jazz Festival" for which she will always be remembered. That album is also available on film.

In 1993 she settled in Aix-en-Provence in France. She died in her sleep on April 21, 2003. Her ashes were sent to several African countries. She left one daughter, Lisa Stroud, who uses the name Simone. She has appeared on Broadway in "Aida." 

While one of the more controversial artists of her time she has become one of the most well loved since her death. She was inducted into the  North Carolina Music Hall of Fame in 2009.  And, in 2010 a statue in her honor was erected on Trade Street, in Tryon, North Carolina, the place it all began.

Monday, February 17, 2014

North Carolina Music Hall of Fame - Kannapolis


The North Carolina Music Hall of Fame is located in Kannapolis at 109 West A Street. It is housed in a small red brick building that at one time was the town jail. In these days of corporate ownership, it is a rare pleasure to have an independent and growing operation like the Music Hall of Fame. North Carolina has been the stomping grounds of many illustrious musical legends. And this spunky little museum does its best to highlight them all.

Walking in, and immediately to the right, as you enter are some plagues and photos from James Taylor. He wrote "I'm Going to Carolina In My Mind", which is our State Song. He continues to perform today all around the world.

This snappy little outfit was worn by Nina Simone. Her earthy and insistent rendition of "Do I Move You" still sends shivers down the backs of her listeners. It's almost as if she's daring you to say no. And her scathing indictment of segregation in "Backlash Blues" still ranks among the greatest of the 60's social protest songs. It's right up there with "Bitter Fruit" by Billie Holliday, or "I'm Black and I'm Blue" by Louis Armstrong. Powerful stuff.

Most people think of North Carolina in connection with bluegrass and gospel music, and we do have our share of that. Charlie Daniels, Earl Scruggs, Doc Watson all immediately spring to mind. But we have such a wide variety of music in our history. From the beach sounds of groups like The Chairmen of the Board to the funky soul sound of George Clintons' Funkadelics, it's all on display here, with plans for adding more.

The second floor is not open yet, but there is already a need for more space. As more items keep on arriving and new members are  added to the ranks of inductees, the need for more space will arrive sooner than later. Each years Induction Ceremony brings with it new and more contemporary artists, all requiring a space of their own. Also, to accommodate the continuous need for more space there are plans to use part of the first floor as a revolving type exhibit. This will enable the Museum to remain current and involved in the music scene as it relates to North Carolina.

This gown belonged to Victoria Livengood, the noted opera star. She is still performing today. The exhibit runs the entire gamut of music. From Andy Griffiths' early comedy records and his later gospel recordings, to the likes of The Shirelles, Ben E. King and Roberta Flack. And there is more on the way.

Vice Chairman Eddie Ray is hoping to get some more memorabilia from "American Idol" to represent the artists; such as Carrie Underwood, Clay Aiken and Bo Brice, to highlight North Caroilna's unique connection to the show.

But the real star of the whole show is Mr. Ray himself. He is half of the partnership that gave life to this museum. His history in the music business is an education in itself.

In 1954 Mr. Ray was already established in the music industry, on the distribution end, and also promoting artists such as The Drifters, John Lee Hooker, Chuck Berry, B.B.King, Clyde McPhatter, and Joe Turner, just to name a few! It was also the year he released his self penned recording of "Hearts of Stone" by The Jewels. It was a crossover hit and also covered by many of the leading R & B groups of the era.

In the mid to late 50's he was handling Ricky Nelson, Fats Domino, Slim Whitman and Johnny Rivers while employed at Imperial records. In the 1960's he joined Capitol records as Director of A & R for the Tower label. It was there that he acquired Pink Floyd. It was also around this time that he became the first African American V.P. of a major recording company.

Mr. Ray, along with his old colleague, Mike Curb from Tower Records, have put this museum together to honor and showcase the artists that have made North Carolina a great place for music. But; it must be said; that although all of the exhibits are wonderful, it will always be Mr. Ray who gives this little museum its own "Heart and Soul."

For more information about the North Carolina Music Hall of Fame, and their upcoming annual 5K race in May, use this link;

http://northcarolinamusichalloffame.org/

Monday, February 3, 2014

Johnny Bristol - Morganton




This is the first in a series of postings about the artists who are in the NC Music Hall of Fame in Kannapolis, N.C.  The music which has emanated out of North Carolina over the tears is much varied and covers every musical genre you can possibly think of; from Opera to Funk and everything in between. The plan is to do posts about these artists to commemorate their birthdays. Mr. Bristol’s big day is today, February 3rd.

Johnny Bristol is a perfect example of the diversity of the music which has originated in North Carolina over the past 100 years. Born February 3, 1939 Mr. Bristol spent his early years living in Morganton, the county seat of Burke County. It is in the mountains near Hickory. 

The town boasts quite a few famous people. In addition to Johnny Bristol there is Etta Baker, known for her version of the Piedmont Blues, a separate genre unto itself. In addition the likes of Senator Sam Ervin, the town also lays claim to Frankie Silver who was the first woman ever hanged in North Carolina. On the other end of the spectrum, the town is also the home of Paige Summers, Penthouse 1998 Pet of the Year.

Mr. Bristol is mostly remembered as a musician-songwriter as well as having been a producer Motown during its most active period, from the late 1960s to the 1970’s. His own hits include the one here, which is kind of an Al Green thing from 1974, to the song he wrote about his home town of Morganton.


His first real musical success came in Detroit, where he had landed after serving in the Air Force in the late 1950’s. As part of the duo Johnny and Jackey;  Jackey Beavers; they recorded about half a dozen songs on two different independent labels, both owned by members of Berry Gordy’s family. While these records were only successful in the Mid-west, they were instrumental in opening the doors for him at Motown. By 1965 he was working at Motown as a songwriter and producer. He was the guy behind the mixing board for such hits as “Ain’t No Mountain High Enough” and “Your Precious Love”.

This was probably the most creative period of Mr. Bristol’s career. Everything he touched seemed to turn to gold; as in gold records. Wikipedia lists the following records among his accomplishments;

The Velvelettes "These Things Keep Me Loving You" (1966); Gladys Knight & the Pips' "I Don't Want To Do Wrong" (1971) and "Daddy Could Swear, I Declare" (1972); and Jr. Walker & the All Stars, who charted with a number of Bristol-written singles and albums, including "What Does It Take (To Win Your Love)" (1969), "Gotta Hold On To This Feeling" (1970), "Way Back Home" (1971) and "Walk in the Night" (1971). Mr. Bristol even recorded Jermaine Jackson's first solo record, "That's How Love Goes" in 1972.

In addition to all the above, he was the last producer to work with The Supremes and The Miracles, before they both lost their lead singers. “Someday We’ll Be Together” is actually a cover version of Mr. Bristol’s single with Jackey in 1961.His voice is even the male response on the final released version by the Supremes.

In 1973 he was briefly associated with CBS Records as a producer, but the label seemed to be unenthusiastic about his artists, which included Boz Scaggs and also Johnny Mathis. By 1974 he was with MGM, where he seemed to get his “second wind”. He was now ready to emerge as an artist on his own.

With MGM he recorded 2 albums and placed several singles in the charts. "Hang on in There Baby"  was released in 1974 and hit #8 in the US on the Pop charts; #2 on the  R&B charts;  and even enjoyed success overseas, placing #3 in the UK. "You and I",  "Leave My World" and "Do It To My Mind" followed one after the other in 1974, 75 and 1976. In 1975 he was nominated for a Grammy as Best New Artist.

After leaving MGM he went on to record with Atlantic Records, a relationship which saw him working with some of the artists he had worked with at CBS. In particular he was instrumental in Boz Scaggs “comeback” “Slow Dancer” in 1974. He also produced the Tom Jones album “Memories Don’t Leave like People Do” which contained 5 cover versions of Mr. Bristol’s songs.

By the 1980’s he was firmly embedded in the European market with such artists as Ami Stewart. He continued recording through the early 1990’s, making music with Earth Wind and Fire, as well as a recording with his daughter Shannon Bristol. He even enjoyed some degree of success in the Japanese market at the time.

Mr. Bristol passed away at his home in Michigan on March 21, 2004. He died of natural causes at the age of 65. Although some would not consider him to be a major artist; or superstar; he was, and continues to be well regarded in several genres. NC Music Hall of Fame is pleased to include this artist among its inductees.

For more on the NC Music Hall of Fame and their other inductees, use this link;