Yet another article about copyright

How long can you own a song?
image © Robert W Harwood  ; )

Writing about a song like "St. James Infirmary" inevitably leads one to consider the nature of copyright, including how copyright law relates to societal well-being. This is because SJI never had an original composer, and yet was saddled by copyright restrictions for decades. Those with a financial interest in copyright generally argue that its protection should be extended in order to protect the creative community. The artist is an original talent, this argument often goes, who should be rewarded; that will stimulate others to contribute their original creations.

But there are no original creations.

In January 2016 the "Association of Research Libraries" published a document illustrating where many creative ideas originated. Twain, Shakespeare, Milton, Tolkein, Bowie, Bach, Beethoven, Dylan, Lennon & McCartney, JayZ, Michelangelo, Manet, Picasso are among those cited. (Their 15 page pdf, a very engaging read, can be downloaded here: Nothing-New-Under-the-Sun.)

"... authors do not create in a vacuum" the document asserts. "The raw material for their creativity is existing works. Artists borrow themes, styles, structures, tropes, and phrases from works that inspire them. And if copyright overprotects existing works—if it restricts authors’ ability to build on the creative output of authors who came before them—it will be more difficult for authors to create."

Overprotection by copyright inhibits creative growth; it weakens our society.

In 1988 the U.S. House of Representatives published the following:
"Under the U.S. constitution, the primary objective of copyright law is not to reward the author, but rather to secure for the public the benefits derived from the author's labors. By giving authors an incentive to create, the public benefits in two ways: when the original expression is created and ... when the limited term ... expires and the creation is added to the public domain."

Internationally, the original intent of copyright law was to enrich the public - and so limits were placed on the period in which a creation was protected.

"St. James Infirmary" was removed from the public domain in 1929.Were it not for the fact that it so obviously is not an original composition, it would still be under copyright until 2024. If Irving Mills had been able to copyright the song under today's laws, the date it returns to the public domain would be 2055 - seventy years after his death, 127 years after its initial copyright. This is much too long.

(Mickey Mouse was copyrighted one year before "St. James Infirmary." You can read about that here: How-Mickey-Mouse-Evades-the-Public-Domain.)

COMING SOON: The second edition of IWDtSJI

Portrait of author by Pamela Woodland

We here at Harland Press are excited. We are just about to send the revised edition of I Went Down to St. James Infirmary to the printer. This edition is much expanded, with new information and a full index.

We anticipate that this second edition will be available by late November. Advance orders can be made through the IWDtSJI website - click here. (It will be a few more weeks before the new edition is also available at amazon.com.)

Of the first edition, we received reviews that included the following:

"A goldmine of information, with an amazing cast of characters. The definitive statement on the subject – and a very entertaining read to boot"
— Rob Walker, author of Buying In and Letters from New Orleans

"What better way to honor a great song than to tell a great story about it?"
— David Fulmer, author of  The Blue Door and Chasing the Devil's Tail

"...a fascinating study and anyone who has an interest in the way songs evolve and are passed along through history will find it an utterly compelling read. This critic ... devoured it with relish over a few days, though it will retain a favourite place in his library and remain a reference for years to come."
— Barry Hammond, Penguin Eggs music magazine

"No biography of (Irving) Mills has been written. The best short treatment of his life and work is in Harwood."
— Terry Teachout in his book Duke: The Life of Duke Ellington

"A fascinating and well-written book ... Robert Harwood's book is not the first devoted to one song, but it is the first to cross so many stylistic fences in its attempt to trace the origins of a tune, one which is lost in the mists of time."
— Mark Berresford, VJM's Blues and Jazz Mart


In celebration of this second edition, here's a treat. From the New Orleans Contemporary Arts Center earlier this month. (Double click to receive the proper video dimension.)

Have you seen this? Fred Astaire and Barrie Chase dance SJI

Televised in 1958, on the first of Astaire's NBC variety shows ("An Evening With Fred Astaire"). Jonah Jones supplied trumpet and vocals.

Astaire would have been 59 when this was televised. Barrie Chase was 24.

(Double-click on the video to see the full frame.)

A new album to celebrate Groanbox's tenth anniversary!

The roots / world music band, Groanbox, has long been a friend of this blog. If you search through these pages you will find them playing “St. James Infirmary” with flair and authority. You will find (from when they were a duo called “The Goanbox Boys”) a song called “Darling Lou,” which has SJI as its base. You will find Groanbox accordionist Michael Ward-Bergeman performing SJI with a gypsy band in Bucharest, and with an experimental classical chamber group in Chicago. And now, Groanbox – grown into a quartet – are celebrating their tenth anniversary with the release of a self-titled CD.

This might be the strangest, the most ambitious of their six releases – and also their most accessible. Two years in the making, it started in 2013 in the forests of Northern Ontario where they found inspiration in the percussive possibilities of fallen trees. “Deep tree diving, oh.” In the echoes of deep bat-rich caves. “Adios Plato.” In the sounds and the quiet of the wild spaces, where a chipmunk took them far from the noise of the Demon Trucks that carry away the harvest of the forest. “Ohhh don’t press your luck, run run away from the demon truck.” In an encounter with a boulder split by the slow-growing root of a tree. “The prisoner of war will break free of the stocks/The root will one day split the rock.” Time spent in an abandoned cabin, said to have once been a hideout for Al Capone. “We’re all dressed in our best luck ... In the older days this room would be filled with smoke ... Ah, I just need a blanket for these bloody finches in my head.” And then into New Orleans earlier this year with its famous ninth ward that is still recovering from catastrophic flooding a decade ago. “Barefoot in the ninth....” With its continuing echoes of Katrina. “Katrina, I wish you’d come and listen to the music coming up through the floor.” That song features guest musician, New Orleans trumpeter Kenneth Terry (written about previously on this blog). Velvet-voiced Venezuelan singer Yulene Velasquez adds vocal flourishes that shape the “The Face That You Deserve” into a sweet exotic charmer. “Each and every drop never stops, till it’s found it’s way/Every single beam finds its meaning in another’s eye.”

There are four instrumental pieces on this album of eleven songs. With titles like “Orchestrated Entropy” and “Graveyard of Pines,” they bristle with original ideas, unusual transitions, atypical harmonies. And with an instrumental arsenal that includes banjo, guitar, assorted hand percussion, accordion, trombone, bells, fife, throat-singing, thumb piano, bird calls, fiddle, piano, and the famous Freedom Boot, these multi-instrumentalists have created a sound that rewards close listening. This is stellar musicianship in which one can hear touches of Eric Satie, gypsy music, African and Middle Eastern rhythms and melodies, blues, New Orleans roustabouts, avant-garde experimentation ... and  much more.

Groanbox took a big risk here. Most of this album was recorded extemporaneously, and the band has rewoven the fabric of their music.

(You can investigate further at the Groanbox site.)


Below, I have been given permission to post an as yet unreleased video about the making of this album. Double-click in order to view it full-frame, or go to YouTube.

And here is Hairy Holler (from Oshawa, Ontario)

To tell you the truth, I have never thought of Oshawa as a hotbed of musical inspiration. Located about 60 kilometers east of Toronto it has a population of 150,000 - including the eight musicians in Hairy Holler.

They have a rip-roaring version of "St. James Infirmary," which I encourage you to watch. It's a treat. A short and informative article about them, along with the video stream, can be found by clicking here. (excerpt: "Fusing folk, punk, blues, jazz, Roma and swing sounds into their unique music, the new video is an equally celebratory affair.")

It sounds like SJI will be part of their second CD release, later this year. Their first album is sold on the Bandcamp site. You can get a sense of their range by listening to, say, the samples for "Bourbon Blues" followed by "Love Is A Dog From Hell." The video below shows off their enthusiasm and musicianship. (Videos embedded on this site are usually truncated, losing some of the right-side edge. So, you might want to watch it on YouTube or at the Canadian music magazine site, exclaim . . . or, double-click on the video feed below.)

This is exciting. And, you know, they might not be out of place in New Orleans.

A Merry Prankster riffs off St. James Infirmary

In this video Ken Babbs (Merry Prankster who was engineer and chief conspirator on that "psychedelic bus" called Further that rolled across America in the 1960s spreading a message that there are many many ways in which we can view our world) riffs off "St. James Infirmary." His lyric recalls his good friend and fellow Prankster Ken Kesey. Kesey died in 2001 at the age of 66. Babbs is still a force to be reckoned with at 76.

Babbs and Kesey are probably best remembered through Tom Wolfe's account of their journeys, The Electric Kool-Aid Acid Test. And so they are both forever linked to the popularization of LSD in Amerika. I think they felt that the country and the world, everybody, was in very deep trouble and needed a quick wake-up. They did not hold any notion that this substance could be used for entertainment; rather they saw it as a way of helping us see the urgency of our situation, and the need for personal change.

"Where is the Revolution at?" Babbs asks in this video:

Mercy comes before justice
The carrot comes before the stick
And Love is the only compass
You can trust to guide you
Down the mean muddy mad streets
Of Mainstreet America.

(You can see this full-frame at YouTube by clicking here)

Neil McCormick's 100 Greatest Songs

Neil McCormick - musician and music critic for the Telegraph - recently listed, with comment, his 100 greatest popular songs of all time. "Any such list will always be personal rather than definitive," he wrote, "we all have songs that sing in our hearts."

Not only do we find the usual names from these sorts of lists - Bob Dylan, The Beatles, David Bowie, and so on - but also Vera Lynn, Chet Baker, Julie London, etc.

Way up there at the number 7 spot is a song from 1928: Louis Armstrong and "St. James Infirmary."

Ahhh, Neil, you are a man of taste.

Interested? Click HERE for the link.

Ward-Bergeman and eighth blackbird at the Curtis Institute of Music

I know noble accents
And lucid inescapable rhythms:
But I know, too,
That the blackbird is involved
In what I know.

That is the eighth stanza of Wallace Stevens' Thirteen Ways of Looking at a Blackbird.

The chamber group, eighth blackbird (lower case is deliberate), are an adventurous sextet with three Grammy trophies who explore the edges of the modern repertoire, from Reich and Lerdahl to, well, "St. James Infirmary." Clarinet, flute, violin, viola, percussion, piano, cello . . . this is a virtuosic ensemble of great depth and feeling.

Recently they met with composer, singer, accordionist Michael Ward-Bergeman at the Curtis Institute of Music in Chicago, for a rendition of a Ward-Bergeman arrangement of SJI. Readers of this blog know of Michael Ward-Bergeman as an accomplished composer of contemporary classical music, as well as a musician deeply committed to roots music, blues, Americana ...

The link below is via YouTube. You can also access this video through Ward-Bergeman's site at http://compmjwb.blogspot.ca/ In fact, he has recently posted the score for this performance on his site. You can read it by clicking here. The performance is eight minutes of stellar musicianship and takes us to many places, including a lively gypsy campfire.

Porter Grainger on film?

Porter Grainger pops up frequently on this blog, partly as the composer of "Dyin' Crapshooter's Blues," partly because so little is known about him, and I hold hope that someone will come forward with more information.

I am aware of only two photographs of Grainger - in one of them he is part of a large group of black composers in the 1930s, including Jelly Roll Morton and W.C. Handy. It is likely that he also appeared in a short film.

Yesterday I was reading an updated Wikipedia entry on Grainger which included these words: "He was also Mamie Smith's accompanist in the 1929 film short Jailhouse Blues." I found the video on YouTube, as an Italian upload. The pianist is briefly visible at the beginning of the film. So ... what do you think? Is this Porter Grainger?

The film lasts just over one minute. Smith was forty-six when this film was made. She was one of the pioneers of early blues recording; in her heyday she was immensely popular, appearing on stage in extravagant dresses while dancers and acrobats spun around her. Grainger was thirty-eight, and at the height of his career.

More on Blair Thomas, puppeteer

Puppeteer Blair Thomas in front of his
stage. (Image captured from Vimeo.)

A year ago I wrote two posts about puppeteer Blair Thomas who, among many ambitious undertakings (such as an adaptation of Moby Dick), has developed a St. James Infirmary puppet show. You can find my original postings here, including one in which Thomas explains his approach to the SJI show.

Yesterday I stumbled upon a video on Vimeo. It is almost half-an-hour long, and documents an entire SJI performance.

Blair Thomas, in white-face, is in front of the stage playing multiple instruments (and, I think, creating sound loops that play on while he attends to the puppet characters), carrying a coffin on his back, flying the unfortunate woman up to heaven. And, of course, he is also behind the stage, pulling the strings that animate the characters in front of a rolling backdrop.

It is a complicated choreography, and a most engaging performance. It makes me aware of how much puppetry has changed since, as a small lad in Belfast, I watched "Punch and Judy" in the park. (Here, in this SJI performance, Thomas references early puppetry techniques. In other works his approach can be very different.)

This is really interesting!  You can watch the video here: Vimeo - Blair Thomas and St. James Infirmary.

Cory Seznec: Beauty In The Dirt

The roots-music group, Groanbox, has been a friend of this blog for some time now. You can find them on YouTube performing versions of "St. James Infirmary," or their own variation, "DarlingLou." Each member of the trio are accomplished musicians (accordionist and multi-instrumentalist Michael Ward-Bergeman, percussionist and multi-instrumentalist Paul Clifford, and guitarist/banjoist and multi-instrumentalist Cory Seznec) who branch out into multiple projects of their own, some of them of a most esoteric nature. Earlier this year Seznec released his first solo album, Beauty In The Dirt.

Two of the songs on this album are covers - "East. St. Louis Blues" was written by Blind Willie McTell, and recorded by him in 1933. "East Virginia" is a traditional song with very long roots, recorded by- among many others- banjoist Buell Kazee in 1927 and guitarist David Bromberg in 2007. Seznec credits the influence of string duo The Alabama Sheiks' "Travelin' Railroad Blues"  on his song "(21st Century) Traveling Man." Well, the Alabama Sheiks were in the studio in 1931 for that one. (The Alabama Sheiks recorded a total of four songs - you don't get much more obscure than that.)

I mention this because while Seznec did not include "St. James Infirmary" on this disc, the blog you are reading covers not only the song itself, but the period in which it found popularity. And this, from the blues to Appalachia, is the musical period that resonates throughout Beauty In The Dirt. 

The CD opens with a brief instrumental, "Southern Bound 1" which, in variations, appears three more times as a kind of unifying theme. And then . . . "Dragon Tree." As with many of these songs you might find  yourself scratching your head and searching your memory: it sounds familiar, like a traditional song from the early days of American settlement. But it is an original composition. And so it goes, song after song.

For instance, "Sisyphus" opens with a traditional sort of lyric/melody:

You know I feel the spirit and I'm so glad
You know I feel the spirit and I'm so glad
You know I feel the spirit and I'm so glad
The world can't do me no harm

And then:

The stolen throne of Sisyphus hath crumbled beneath his feet
Condemned to push a giant boulder borne of his own greed and deceit

Even with a lyric like this, the song feels as if it had been written in a bygone time.

There is also a significant African influence here, both in the strength of his melodies and in the restrained use of percussion. Seznec - who spends much of his time in Africa - plays ngoni, a sort of gourd-lute, on some of these songs.

This might be the best album I have heard this year, with superlative musicianship throughout. A chorus from Seznec's "Dragon Tree" gives a hint of how we might approach these songs:

Hey children let's go down

Down to the creek get mud on our feet
Hey children let's go down
And leave the future behind us

To put a bit more of an SJI spin on this, two of the early musicians mentioned earlier, Buell Kazee and Blind Willie McTell, recorded their own versions of "St. James Infirmary." Buell Kazee was - in 1928 - the second person to record the song, which he titled "Gambling Blues." Blind Willie McTell recorded SJI for record shop owner Ed Rhodes in 1956. That recording has never been released.

MP3 - The Kenneth Terry Jazz Band updates SJI

Michael Ward-Bergeman, friend of this blog, sent me a copy of a local - that is, New Orleans - rendition of "St. James Infirmary." Now, this is a real treat, because the performer, Kenneth Terry, has given permission to post the performance on this site. A great talent, his recorded output as a feature artist is woefully inadequate. As soon as you tune in to the music below, I have no doubt you will agree. Talent and renown are not necessarily related.

At about nine minutes, Terry's rendition flows through a history of jazz, flawlessly connecting the past to the present, and includes an unabashed nod to Louis Armstrong's 1928 recording. There is not a wasted second.

Kenneth Terry is one of the premiere trumpet players in New Orleans, as a performer, as a band leader, and as a teacher. The members of the band on this recording are:

kenneth terry - vocals, trumpet
julius mcgee - tuba
keith anderson - trombone
elliott callier - saxaphone
dwane scott - drums
john michael bradford - trumpet
bruce brackman - clarinet

You can buy the CD from Kenneth if you happen upon a performance of his in New Orleans.

I feel honoured to offer this to you. At over nine minutes, here is: "Kenneth Terry Jazz Band - St. James Infirmary."

Many thanks to Michael Ward-Bergeman for alerting me to this and sending the file. Thanks to Kenneth Terry for giving permission to post the recording here.

SJI on HBO

Friend and fellow SJI enthusiast, Rob Walker, recently sent me a link to the "tease" for the finale of HBO's Boardwalk Empire. The theme music is, of course (otherwise why would I be writing this?) "St. James Infirmary."

Thanks, Rob!!
ps For those who might not remember, Rob Walker ran the first blog that was primarily concerned with "St. James Infirmary" - check it out here.

Copyright and St. James Infirmary - a personal rant

Who owns a song?
Or anything else?
image © Robert W Harwood  ; )

I recently exchanged some comments with a fellow photographer. She had found, quite by accident, that a painter had incorporated one of her images as a chief design feature in one of his paintings. That painting was on display (and for sale) in a gallery. She, Lorrie, commented:

    It was a surreal experience for me to see my work manipulated and presented as fine art for sale. I pondered whether to contact him, but I let the impulse go, as my reaction was not one of indignation but rather befuddled amusement. Yes, he had violated copyright by using my photo for commercial purposes, but I was swept up in philosophical thoughts about what constitutes original content.

It is that question of Lorrie's, "what constitutes original content?" that is at the heart of any copyright argument. Here is my response to her:

    It is an interesting discussion you are entering into, Lorrie. 
    Things related to "intellectual ownership" and "copyright" become complicated. Things related to "courtesy" do not. Informing a person of your use of their work (or even asking permission) is common courtesy.
    Copyright use, the question of who owns these sorts of images, is related to courtesy, but is entangled with bureaucratic tape. So, here are my few words on that.
    Copyright was originally - and we're talking 18th and 19th century in the U.S. - intended as a way of limiting a person's ability to profit from something he or she created. It was recognized that everything - from a painting to a spinning wheel - was based on something that preceded it, that nothing is original, and so ultimately belongs to our commonality. In other words, copyright ensured that the item returned, within a reasonable amount of time, into the public stream; in this way others (the public in general) could benefit from it and incorporate it into their own explorations, without fear of repercussions. And thereby to help us all progress.
    The notion of copyright changed as corporations became more influential in legal processes, and it segued into a means of preventing commodities or ideas from becoming public property - they would probably refer to it as protection of investment. So, in effect, the notion of copyright did an about-face. And that might be why something about current copyright law has a peculiar, and not attractive, smell.
    One thing it does, this contemporary interpretation of ownership, is undermine common courtesy. We are not, in this legal notion, participating in a mutual undertaking (that is, living life with concern for each other) but are instead isolated from each other in a kind of pecuniary or egoistic selfishness.

The history of "St. James Infirmary" is intimately entangled with copyright law. In the case of SJI, copyright removed it from the public domain. This is a peculiar thing, and it is a disturbing thing. Were it not for the fact that SJI is so obviously not an original composition, it would still be restricted by copyright protection. But, you see, that returns us to Lorrie's question of "what constitutes original content." Even the most cursory thinking on this matter should reveal to us that we are not the originators of anything - we modify what went before. And it is this incremental increase in knowledge and creativity that moves civilization forward. The intention of copyright law was to encourage people to innovate, to develop new ideas and contraptions, by offering a period of exclusive remuneration. That period was limited in order to ensure that society as a whole benefited. Everything arises from the common ground, and the common ground needs to remain fertile.

If you doubt this, the following quote - cited in Lewis Hyde's "Common As Air: Revolution, Art, And Ownership" (2010) - is from a 1988 review of copyright law from the U.S. House of Representatives:

    Under the U.S. Constitution, the primary objective of copyright law is not to reward the author, but rather to secure for the public the benefits derived from the author's labors. By giving authors an incentive to create, the public benefits in two ways: when the original expression is created and . . . when the limited term . . . expires and the creation is added to the public domain.

Now, having said all this, I have to admit that if I was the author of a song, or a book, or a spinning wheel that was returning significant profits, I might want the copyright extended for as long as possible. (Thus the stance of Walt Disney Corp, Paul McCartney, and so on.) Well, at least part of me would. Another part, I hope my primary part, would recognize the place from which I received inspiration and would prefer to, as at least a gesture of gratitude, return my creation to that place, to the human race.

This is only reasonable.

I Went Down To SJI - in New Orleans

Photograph by Michael Ward-Bergeman

Michael Ward-Bergeman recently sent me a photograph of "I Went Down To St. James Infirmary" situated proudly on a display table in the store "Forever New Orleans." This is the only store in New Orleans in which this book can be found. I think it looks at home.

Last of the orchestral sheet music: trombone, violin, and bass

A reader recently asked about the trombone parts for the 1929 orchestra score that appears elsewhere on this blog. I had obviously lost track of which sections I had already included, thinking I had posted them all. But, no, I had omitted the trombone, the violin, and the bass parts. So this should do it. Piano. Trumpet. Saxophone. Banjo. Drums. And now, trombone, violin, and bass.

Trombone

Violin

Bass

Minstrel advertisements - Hi-Brown Bobby Burns

Advertising blotter for Minstrel producer Hi-Brown Bobby Burns

I found myself recalling that there is evidence that Blackface Minstrels performed "St. James Infirmary" in the years before the song was first recorded in 1928. And then I remembered that I own a number of the advertising items pictured above. These are blotters, from the days when people wrote with fountain pens and needed to blot up the wet ink from time to time. I used to use blotters like these. Even when ball-point pens had become popular, teachers felt we had to learn how to write with "proper" pens. Because I am left-handed, my hand would smear the ink across the page as it followed my pen. Teachers did not like that. So, I would place a blotter over what I had just written, and rest my hand upon it. Blotters were very handy. It was a clever gimmick, handing them out as advertisements.

Postcard for Hi-Brown Bobby Burns

Those blotters are probably from the 1920s, when minstrelsy was being absorbed into and supplanted by vaudeville. They measure about 3.5" by 6". Here, Burns shows his "real" face, and his clown face (our modern-day clowns are really just minstrels in whiteface). "Hi-Brown" Bobby Burns was a minor producer of minstrel shows, and occasionally his name shows up on minstrel or circus advertising even into the 1940s. Judging from the evidence, it seems that Burns, like Emmett Miller, was very late in leaving the profession.

Business card "The Last of the Red Hot Minstrels"

Thoughts while reading Teachout's new biography of Duke Ellington

At the recommendation of a friend I recently purchased a new biography of Duke Ellington. Written by Terry Teachout, the book was released a couple of months ago. I was surprised to find, while perusing the "Select Bibliography," my own book, I Went Down to St. James Infirmary, listed. In all humility I have to mention that this was one of close to two hundred books that Teachout listed. But he did write this: "No biography of (Irving) Mills has been written. The best short treatment of his life and work is in Harwood (I Went Down to St. James Infirmary)." Irving Mills, of course, was central to the early career of Duke Ellington, as he was for Cab Calloway and other black musicians of the era.

It is a shame that there is no detailed biography of Mills. Information about him comes in dribs and drabs; what is unearthed often requires considerable effort. And, of course, the longer we wait, the more difficult it will be to write accurately or honestly about the man. A surprising amount of what we do find takes the form of critical opinion, rather than biographical fact, and that opinion is often scathing.

Let me try to explain. Irving Mills was intimately involved in the popularization of what the world thinks of as "American music" - music that arose out of the black culture of the 1920s and 1930s (as well as popular standards from the pens of white tunesmiths). He was foremost a businessman, though, and one who saw opportunity where others - because of the intense prejudices of the time - saw nothing. With the black artists he represented, Mills would take up to 50% of their earnings, rather than the 10% or 15% common between managers and white artists. But in return Mills worked hard. He made Ellington (for instance) into a star, and that could never have happened without a white manager; it might be surprising that it could have happened at all. In other words, Mills charged a lot for his services, but he did not take the money and run, and every indication suggests that he treated his clients with respect. Much of the criticism leveled at Mills is based upon contemporary notions of fairness and racial equality. From the perspective of nearly a century ago, things take on a different sheen.

If you're interested in Duke Ellington, this is a good book to read. Teachout takes an even-handed approach with Mills, and that is refreshing.

A side-light here: none of the three Ellington biographies I have read make any mention of "St. James Infirmary." This even though his band recorded it twice in 1930 - as The Ten Blackberries (with Mills assuming lead vocals under the pseudonym Sunny Smith), and again as The Harlem Hot Chocolates. But, really, it's not surprising. SJI is little more than a small footnote in the history of a man responsible for such standards as "Sophisticated Lady," "Black and Tan Fantasy," "Mood Indigo" and seemingly countless other significant compositions.

From the hand of the puppeteer: Blair Thomas on St. James Infirmary

Photo from a recent performance of Blair Thomas' puppet show "Moby Dick."
Contrast the style of these puppets with the ones shown in the previous post.

In the previous post I wrote about master puppeteer Blair Thomas, and his show based upon "St. James Infirmary." I wrote to Mr. Thomas, asking "what was it about the song that attracted you sufficiently to create a puppet show around it?" He was kind enough to respond:

"I'm a puppeteer. I make solo shows such as this one, as well as larger shows where I act as the designer/director. I've known the song "St. James Infirmary" for about 20 years. I worked on developing a puppet show based on the song for a long time, and produced this version in 2009. "St. James Infirmary" has a great untold story lurking in between its few short verses. My interpretation of the song uses the visual medium of the single rolling paper scroll and a few puppets. The scroll is motorized so I can run around and do other things. I use a digital loop station to record the music live - usually while the scroll rolls and then it can loop while I use the marionettes and sing the song. I really enjoy playing the music on this - the scroll works well over the music.

"For this show I use wooden rod marionettes - a style of puppetry that is more folk in its origin than the customary string marionette. In a rod marionette the puppet is held up with a single rod to the hand-control, and then just a few strings to move its arms and legs. The result is a more primitive performance style - a rawness that goes well with the song. There is an intimate relationship between puppetry and death, and I see this song as a form of mourning or grief at the loss of a loved one.
"Denial has famously been called a stage in the grieving process. What happens with carnal desire when the body of the one you so desired is now rotting in the ground? Repulsion probably, but I would also imagine emotional incomprehension; where has it gone? A practice for Buddhist monks seeking to free themselves from carnal desire was to meditate in the charnel grounds, where bodies of the dead were decomposing. I am also playing off the New Orleans tradition of the brass band funeral march, mixed in with a heavy dose of sadness and grief."

(For more on Blair Thomas, see here and here.)

SJI as a puppet show!

Imagine attending a concert in which a "master puppeteer" presents three shows in an evening. One, based upon a script by Federico Garcia Lorca, one based upon a poem by Wallace Stevens, and one based upon the song "St. James Infirmary." The latter featuring string-marionettes, a hand-painted scrolling backdrop, and a puppeteer who manipulates his characters while belting out the song as a one-man band.

You can find out more about Blair Thomas at his web site: http://www.blairthomas.org/ The photos I have included here to illustrate this post might be misleading - Thomas performs with puppets of many forms and sizes (some as large as the people animating them).

Look into it. This is fascinating!

(For more on Blair Thomas see here and here)