Memphis Cooking: Ribs of Rockabilly & Soul Stew

Memphis Cooking:  Ribs of Rockabilly & Soul Stew

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Mem Acknowledg

The post Second World War Memphis Mix was cooked up in the Memphis recording studios of Sun Records, and later, Stax Records, and delivered to a listening world that had tasted nothing like it.

All of Sun’s well-known recording artists were deeply influenced by black music,  and mixed with black musicians.  (see Elvis in Photography).  Rockabilly redneck Charlie Feathers  hung out with blues man  Junior  Kimbrough.

Both black and white grew up in a segregated world in Memphis in the 1950’s and 1960’s, the blacks on the receiving end of the segregation.  But usually the food they favoured knew no racial boundary.

Following the assassination of Martin Luther King in Memphis, on April 4, 1968, polarisation took place, or was enforced, between musicians who had worked together, whether black or white.  The polarisation happened at Stax Records where threats were indirectly made towards the white half of Booker T and The MGs: Steve Cropper and Duck Dunn.  Though not from Memphis or Tennesee, the times were caught in Lousianna born Tony Joe White’s song Willie and Laura Mae Jones.  Time did heal, and  Jerry Lee Lewis and Charlie Rich were photographed at their pianos, either side of  B.B.King at a concert at the Holiday Inn in Rivermont, Tennessee in the 198os

The Junior League of Memphis Cook Book, 1952 edition that Le Patron came across is a well used copy.  The dedication in the copy was to Shirley, in June 1954.

Shirley:2

 June, 1954.  This was just a month away from truck driver Elvis Presley being paired up with The Starlight Wranglers guitarist Scotty Moore and bass player Bill Black by Sam Phillips, who was looking for a new pop sound.  It is reported that Bill and Scotty weren’t too impressed with the vocal quality of the young Elvis.  There were some rehearsals, and then they went into the Sun Studios on 5 July to try some  songs out.  Singing country numbers at the usual slow tempo didn’t impress anyone too much.  So they all took a break.  The famous break.  Elvis seemingly started “fooling around” in the studio with an Arthur Crudup blues number That’s Alright Mama.  Sam’s commercially tuned ears twitched, and he got Scotty and Bill to pick up their instruments and follow what Elvis was doing, whilst he wound the tape back.  Things were suddenly falling into place.  They gave some other material the same treatment, including taking  the country standard Blue Moon of Kentucky out for a scorching hot rod ride.  And history – oh boy, what history –  was made.

We know that Elvis particularly liked a peanut butter and banana sandwich, with or without some bacon.  He also liked pork chops, cheeseburgers, mashed potatoes and fried chicken.  He also liked grape jelly and milkshakes.  His liking for fried chicken echoed the Memphis and State of Tennessee liking for the dish.  Shirley gives the Fried Chicken recipe three ticks, her highest accolade.

Fried chicken005Maybe as a starter she’d serve another three ticks recipe:

tom salad008

To finish the meal off she could serve another of her three ticks favourites: Southern Pecan Pie.

pecan pie006

She didn’t tick Gumbo or Ribs, but here they are anyway.

Gumbo ed

Spareribs ed

Barbecue cooked meat is a Memphis favourite, with several highly rated restaurants specialising in the cuisine.  In fact Memphis also hosts the annual World Championship Barbecue Cooking Contest every May.  As the Wikipedia entry on Memphis highlights, Memphis barbecue is distinct by the sole use of pork, rather than beef, with a focus too on shoulder and rib cuts.

Elvis did not wax lyrical in the Sun or RCA recording studios about his peanut  butter and banana sandwiches, but he did sing about a Southern staple, polk salad, in Polk Salad Annie, written by the previously mentioned above Tony Joe White.

When Le Patron came across the Junior League of Memphis 1952 Cook Book he searched hopefully through the list of recipe contributors:

Contribs-ed

contributors:2

No.  No Mrs Vernon Presley, no Mrs Bill Black or Mrs Scotty (Winfield Scott) Moore.  There are Phillips, yes, but no Mrs Sam Phillips, and there is a Kimbrough, but it is doubtful if the Junior League of Memphis in 1952 had many, if any, ladies from the black community.  There is no Mrs Jim (or James) Stewart – Jim Stewart, founder of Stax records.  Never mind.

The Junior League is still very much in business and A Sterling Cookbook: the Best of the Junior League of Memphis is a collection from fifty years of their Cook Books.  Details of the book and current activities of the Junior League are available Here

 

Davy Graham: All the Sad Young Men

Davy Graham,  Anita O’ Day,  Art Pepper and All The Sad Young Men

If you were born in Britain around 1945, and found yourself seriously questioning the values and beliefs of those around you, there was a reasonable chance you would end up a Beatnik.  Your clothing, if you were a bloke,  was a donkey jacket, or an ex-Royal Navy duffle coat, ex-Royal Navy submariners sweater (bought Mail Order from Lawrence Corner, off the Euston Road, north London, advertised in Exchange & Mart), a pair of jeans, and in summer, sandals.  Sticking out of your donkey jacket pocket was a paperback copy of Colin Wilson’s ‘The Outsider’, or a heavy-duty Dostoyevsky novel. And you wore a Ban-the-Bomb badge. (Some of us intellectual ones insisted on calling it a CND badge as ‘Ban-the-Bomb’ sounded too vulgar!).

Le Patron, Bradford, November, 1963. Photo: Pete Sutton
Le Patron, Bradford, November, 1963.  Photo: Pete Sutton

Sound-wise,  you listened to Charlie Parker, Thelonious Monk,  Joe Harriott’s ‘Indo Jazz Fusions’, John Lee Hooker and  an obscure American folk singer called Jackson C Frank.  You were also hip to what the Beatles were doing and clocked the social commentary and sense of young adult social frustration from the Kinks and the Animals.  And then there was this amazing  L.P:  ‘Folk, Blues and Beyond’ by a bloke called Davy Graham.

Folk, Blues & Beyond, Davy Graham.   Decca Records, 1964.
Folk, Blues & Beyond, Davy Graham. Decca Records.

Unwittingly, the LP hit the spot for those who were into folk, or jazz, or blues.  This was no clever record company programming:  this was Davy Graham, who’s acoustic guitar style was unlike anything else  heard before, and who’s taste was as a wide musically, and as immaculate as you could imagine.  He was also a pretty sharp dresser, with the narrow straight trousers and Chelsea boots. You poured over the liner notes, written by the record’s producer – Ray Horrocks – looking for clues.  So he’s into Henry Miller, well that figures.  Cool.  But I’m not so  sure we said Cool, quite like that, in those days.

One stand out song, for Le Patron was ‘Ballad of the Sad Young Men’.  This was not a self-pitying whine, but a touching observational number.  The liner notes said it came from an  0ff-Broadway show.  Thanks to the Internet – 48 years later – the details can now be filled in.  The show was ‘The Nervous Set’, that ran for a paltry twenty-three performances.  Luckily Columbia Records recorded the show and issued a L.P.  The music was by Tommy Wolf.   The lyrics were written by Fran Landesman, an American who was a small part of the American  Beat scene.  She and her husband Jay moved to Britain in the early sixties.  Jay had high ambitions to make it in the “alternative” scene.  His talent lagged significantly behind his ambition.  The talent, as such, lay with Fran.  It is reported that once in Britain, she wrote lyrics for, amongst others, Georgie Fame.  Le Patron has gone though his Georgie Fame L.P’s, including the ‘The Two Sides of Fame’ through to ‘That’s What Friends are For’ and can find no trace.  But ‘Ballad of the Sad Young Men’  would have been an ideal track for Georgie Fame to record. The song  has the same wistful and sad qualities of his 1966 cover of Billy Stewart’s ‘Sitting in the Park’, and of  ‘C’est La Vie’ and ‘Guess Who I Saw Today’, which he has also recorded.

And here was Davy Graham recording ‘Ballad of the Sad Young Men’ in London in 1964, produced by  Ray Horrocks, who up until then, and afterwards, specialised in Military Band recordings, and Scottish singers such as Kenneth McKellar and Moira Anderson.

The jazz singer Anita O’ Day’s 1962 Vogue Album featured the song too.

Anita O' Day, All the Sad Young Men.  Vogue Records
Anita O’ Day, All the Sad Young Men. Vogue Records

By her usually exquisitely high standards, to Le Patron’s ear the album and her reading of the song are disappointing.  Unusually for her, she sounds detached from the band.  As it turns out, she was detached from the band, but she says she was happy with the result.  She was living on the West Coast at the time.

The weirdest session”, she wrote, “came after Norman (Granz)  had sold out to MGM records.  All the Sad Young Men was arranged and conducted by Gary McFarland.  John (John Poole, her drummer),  and I were waiting for tickets to go to New York to do the session when one day, the mailman delivered a letter and a package.  The letter  said that in the package I’d find the finished product plus my parts.  John played the tapes from dawn till midnight while I studied the charts.  One place it said “ad lib”.  That was it – nothing about notes against chord and time, just ad lib.  I didn’t think I could pull it off, but we listened and listened.  On the appointed day, I went to the Sunset Studios, stood on a box in front of a stand that held the charts, and sang into the mircophone to the music that came out of boxes on the wall.  Would you believe it turned out well?

– quote from High Times, Hard Times, Anita O’ Day with George Eells.

There were some classy musicians in that band, including Herb Pomeroy, Bob Brookmeyer, Phil Woods, Zoot Sims, Hank Jones and Mel Lewis.

Alto saxophonist Art Pepper also featured Ballad of the Sad Young Men,  on his 1977 album No Limit.

Art Pepper, 1956.  Photo copyright:  William Claxton.
Art Pepper, 1956. Photo copyright: William Claxton.

Like Anita O’ Day, and to a lesser extent, Davy Graham, he’d had years of heroin use when he came to record No Limit.  He’d spent four extensive periods in jail because of the use of heroin, a criminal offence in the U.S. post-war.  Anita O’ Day had also done time, but for possession of marijuana.  When William Claxton took the photo of Art, above, in 1956 he’d just been released from his first two year prison sentence.  Claxton notes that on the photo session Art was feeling very ill, and was waiting for his ‘connection’.  The venue for the shoot was a road in Hollywood that had been used by the Keystone Cops in the Silent Film days.

By the 1970’s methadone had helped him, and he was in a well-regarded ‘comeback’ period of performing and recording.  However, on No Limit, his playing of Ballad of the Sad Young Men is fragile. It is like listening to the equivalent of an unsteady man on a high wire, who any minute you anticipate – with trepidation – will fall off, as he wobbles, steadies himself, pauses, and then continues.  And the pattern is repeated until somehow he makes it to the safety of the wire’s end. The fragility, unintentionally, matches the pathos of the song.

The guitar playing on Davy Graham’s version, apart from the introduction, is subdued. He  omits the verse about “the tired little girl, trying to be gay for a sad young men”, but the rest is there: “All the sad young men, choking on their youth…. drinking at the bar… autumn turns the leaves to gold, young men are growing old…”  His sometimes criticised voice – ‘thin’ is the usual observation – like Art Pepper’s fragility – adds to the pathos of the song.  This fragility, almost flatness, was how the character Jan, played by Tani Seitz,        performed the number in the original off-Broadway show.  Davy’s version is Le Patron’s favourite.

Sources:  Recordings    Folk, Blues & Beyond, Davy Graham;  All the Sad Young Men, Anita O’ Day and No Limit, Art Pepper are all currently available on CD.  Original vinyl copies of Folk, Blues and Beyond turn up on ebay.  At the time of writing, a MP3 download of the original 1959 cast recording of The Nervous Set is available from Amazon.com, but is not listed at Amazon.co.uk.

Sources: Books   High Times Hard Times, Anita O’ Day with George Eelss, Limelight Editions, New York, 1989.  The Art Pepper photo is included in the highly recommended William Claxton photo collection Jazz Seen, William Claxton, Taschen, 1999.  Both books are still in print.

V E I R D   B L U E S      Postscript     Following up the scant details on the back of the original Folk, Blues and Beyond album can take you places you don’t expect.  The credited engineer on the album is Gus Dudgeon.  He went on to produce a number of early Elton John albums.  As a young lad, Elton had been befriended and helped by Long John Baldry.  Long John Baldry and Davy Graham knew each other from the early 1960’s.  Around 1975 Le Patron saw Long John Baldry, and an unannounced Davy Graham performing in a function room above a pub in East Ham, London.

Another name on the back of the Folk, Blues and Beyond album is the cover photo credit: Crispian Woodgate.  It turns out, following an internet trawl and following up oblique references, that Crispian Woodgate, was, years later, a regular drinker in a north London pub that was a local of Suggs, of Madness.  Suggs reports that one day he went back to Crispian’s gaff and was “blown off my socks” to see the photo original of the Folk, Blues and Beyond cover.  The reason?  Suggs says in his Blog that Davy was “a singer I had liked immensely since the age of eleven”.  Suggs was eleven in 1972, seven years before he and Madness burst onto the scene with One Step Beyond.  When Crispian died, Suggs was at the funeral.

Ray Davies of the Kinks went one better: he was at Davy Graham’s funeral, in 2008. This extraordinary fact was revealed in an interview with the London Evening Standard, January, 2013.  When asked who his favourite musician was, he didn’t hesitate:  Davy Graham. Seemingly he knew Davy from the early sixties.

The Davy Graham/The Ballad of The Sad Young Men/Fran Landesman link could go on forever:  Saxophonist Phil Woods, who was on the 1962 All the Sad Young Men album, and Georgie Fame, who it is said Fran Landesman wrote lyrics for, were together years later on Georgie’s Me and  the Blues album (Go Jazz records, 1992).  Then there is the fact that the writer Julie Burchill married Fran Landesman’s son Cosmo Landesman…..

And did Julie Burchill have a view on Davy Graham?  No – stop, stop!   Enough!  Enough!

“The Doctor will see you now, Mr Grafton“……

“No, wait nurse – I’m trying to work out the Davy Graham influences in One Step Beyond.”

Mr Grafton…

No, please.  I haven’t found out who the drummer was on Folk, Blues and Beyond.  Danny Thompson was on bass..

Doctor!  Hurry! Bring the Mellaril”)

Two Ideologies – One Camera

National Socialists used the Leica.  International socialists used Leica copies.  The images were the same.  These photos were taken in the German Democratic Republic, and published in the DDR’s  Seht,welche Kraft!, Berlin, 1971, as was the photo of the mandolin strumming girls in the post “Two Ideologies – One Truncheon”.
gymnasts001East E.German army002