The Cherokee Who Taught Me the Blues
Posted: Friday, December 30, 2011
by Christofer French
Rain Dancer Associates, LLC
Something for the Heart to ponder, as I make an orderly march into the old age phases of my personal and professional life. An incomplete sentence, yes. But fragmented sentences and broken phrases are part of the Blues.
I lived in Lubbock, Texas in the mid-60’s. The place where Buddy Holly and the Crickets shook the world. I say they shook the world because not only was Buddy a uniquely talented artist who wrote and sung “Peggy Sue” and “Donna” and a score of other hits, but also because they absolutely intrigued and captured the ears and hearts of four guys from Liverpool. It was that unique rhythmic guitar, driving in a southern kind of way, but relentless like Buddy and his garage band did.
Buddy’s buddies were a drummer and a stand up bass and Buddy playing guitar. You couldn’t get any smaller. They recorded in a garage, and there really was a cricket that chirped. When they would finish, they would hear the cricket chirping up in the roof. So, they thought of a name for themselves.
John Lennon absolutely adored the Crickets. He thought of “The Beatles” (Beetles) to tip his hat to this great and unique artist who has stood the test of time.
Of course, that driving sound, you thought came from Liverpool. Listen to Buddy Holly, then listen to the early Beatles. You will hear Buddy Holly and the Crickets. The guy who told me this story was a Cherokee. He was from Oklahoma, and he was a great and versatile guitar player and song writer. He could play country, hill billy, rock and roll, folk – but man he could play the blues.
I sat with him in his garage, not far from Buddy Holly’s old house and that legendary garage. We would sing for hour after hour, day after day. I was new to Lubbock, and I had this one friend. He loved the theatre and we met at the “Little Theatre” when my Dad was the resident Director.
Since we had each other, I absorbed everything he knew. He could imitate the black singers, Hoyt Axton and all kinds of blues artists I had never heard of (Hoyt Axton’s mother wrote “Heartbreak Hotel” for Elivis). He sang and sang and sang. I copied and copied and copied. His knowledge was not only voluminous, but it was spread across the eras and the types. He taught me of the continuity of musical influence. He taught me how to do “There is a House in New Orleans” in a special way.
“Cherokee People”
The guy was only 18 at the time. He sings and plays in Austin now, but then, he was just a rebel Cherokee who lived with his parents and his guitars, banjos and harmonica. He was patient with me, but he taught me that just because I was a white kid with no apparent talent, I could still learn much. He taught me about the heart and core of all the sounds. He would make fun of each style to draw out the individuality of that sound. He would even make fun of his favorite songs – the ones he wrote.
He did have a couple habits that worked on him from his early youth. Along with booze, he was a “chimney”. He smoked little cigars. I told him that my Dad had smoked day and night since he was fourteen in Boston. It was these two people’s experiences who made me completely opposed to putting a cigarette in my mouth. I saw up close the tale of musical artistry and how it can also be destructive.
But he taught me hundreds of old and some relatively new blues songs.
In this time when people are on the streets and you look at them and wonder what got them there, and why the blues evokes so much from the guts and viscera – why it has a magnetic and unforgettable effect on its fans and adherents, give yourself the time when you look on them, and tell yourself: “They haven’t always been on the street.”
What kind of life did they live before, before now - when I see them from my car, at this moment at the curb?
He was only 18, but he was a Cherokee. He had the Native American other worldliness. He had a sense of compassion for suffering. He told me to think about where all of the suffering in these songs comes from.
I remember a song: “I got the blues since my baby left me, down on the Frisco Bay”. He said, “I want you to sing this song super slow.” I did. It had a special impact. “Now, I want you so sing this as fast as you can!” I did. I couldn’t believe the difference. It was the same song both times, but it sounded like two different songs. He taught me how to modulate, sing falsetto, before Barry Gibb, and different strumming techniques. He taught me much, but mainly he taught me about the feeling and soulfulness of singing. I am not saying I ended up being that great; but I am saying he taught me much about life itself. At the time, I just thought this was a neat old bluesy song that few had heard of. The below list tells you how much this song has been covered. But then, I was just happy to learn this song, and feel the broken heartedness of ups and downs.
The Cherokee and his Talent Taught me this Classic Song of Ups and Downs
" Nobody Knows You When You're Down and Out" is a blues standard, written by Jimmy Cox in 1923. Its lyric, told from the point of view of a one-time millionaire during the Prohibition era, reflects on the fleeting nature of material wealth and the friendships that come and go with it.
Written in 1923, by Jimmy Cox
Once I lived the life of a millionaire
Spending my money I didn't care
Always taking my friends out for a good time
Buying champagne, gin and wine
But just as soon as my dough got low
I couldn't find a friend, no place I go
If I ever get my hands on a dollar again
I'm gonna squeeze it, and squeeze it
Till the eagle grins
Nobody knows you when you're down and out
In your pocket, not one penny
And your friends, you haven't any
And as soon as you get on your feet again
Everybody is your long lost friend
It's mighty strange, without a doubt, but
Nobody wants you when you're down and out
You know folks, I once had a mansion
Way up on the side of a hill
I'd give champagne and caviar parties
Just for fun and get a thrill
But you know things they just can't stay like that forever
And now I can't muscle up enough money
To buy a shot of gin
But you know, if I ever get my hands on a dollar again
I'm gonna squeeze it, and squeeze it till the eagle grins
It's mighty strange, without a doubt
Nobody wants you
Nobody needs you
Nobody wants you when you're down and out
Here is an enumeration of how much this classic has been covered. Of course, I did not know the history, nor the future of it when I sang it as if it were a newly discovered secret.
Year Performer Style 1927 Julia Lee blues 1927 or 1928 Bobby Leecan & Robert Cooksey blues 1928 Pinetop Smith talking blues 1929 Bessie Smith blues 1936 Count Basie Orchestra jazz 1938 Louis Jordan And His Tympany Five jazz 1939 Sidney Bechet jazz 1942 Eddie Condon jazz 1945 Josh White blues 1946 Mutt Carey & Hociel Thomas jazz 1946 Lee Collins & Chippie Hill jazz 1948 Leadbelly blues 1958 Juanita Hall blues 1958 LaVern Baker jazz 1959 Nina Simone jazz 1959 Bill Smith jazz clarinet 1959 Scrapper Blackwell blues 1961 Rolf Cahn & Eric Von Schmidt blues 1962 Dave Guard And The Whiskeyhill Singers folk 1962 Odetta jazz 1962 Jimmy Witherspoon jazz 1963 Colette Magny blues 1963 Chad Mitchell Trio folk 1964 Alice Stuart folk 1964 Janis Joplin & Jorma Kaukonen blues 1964 Sam Cooke soul 1965 Liza Minnelli pop 1966 Otis Redding soul 1966 The Spencer Davis Group rock 1968 Duane Allman and Gregg Allman blues 1969 José Feliciano Latin 1969 The Blues Magoos rock 1970 Derek and the Dominos blues 1970 Trader Horne folk 1972 The Allman Brothers Band rock 1973 Tim Hardin folk 1973 George Melly jazz 1974 John Lennon rock 1975 Rory Block blues 1976 Carrie Smith blues 1976 Vic Dickenson jazz trombone 1978 Alberta Hunter blues 1970s Martin, Bogan & The Armstrongs folk 1980 Archie Shepp & Horace Parlan jazz instrumental 1985 Dick Hyman jazz piano 1985 Chris Barber jazz 1985 Newport Jazz Festival All-Stars jazz 1988 Rod Stewart pop 1988 Danny Barker jazz 1989 Ruth Brown blues 1992 Eric Clapton blues 1993 Billy Joel rock 1997 Don McLean rock 1997 Popa Chubby blues 1997 Andrés Calamaro Latin 1999 B.B. King blues 2001 Dave Van Ronk folk 2005 David Krull Blues unknown
(released 1992) Bobby Womack R & B unknown
(released 1993) Big Joe Williams blues unknown Joe Dassin blues unknown Carla Bruni folk
Now that I know how many artists have covered this song, I see that the humanity and universality of these sentiments were taught me rightly by my Cherokee friend, long ago in 1965.
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Top-level comments on this article: (3 total)"The Trail Of Tears" and many Cherokee, who hid out in NC/TN/GA Mtns, to avoid going to Oklahoma endured great suffering beyond our imaginations. Our Cherokee Reservation is close to me, and I go there occasionally..during college I took some classes on the Reservation (long time ago)......the suffering of the Cherokee, and the future generations it touched, such immense pain. I realized something while there one day:
The white man came and saw the beauty of where they lived and wanted it; and took it by government law/force. Poverty and pain for all tribes abused by these acts of greed (in many villages across our land).
However, we now see the gambling casinos and the descendants of those same people who abused the Indians, losing all they have, and seeing it being divided between the descendants of those tribes who suffered loss. Poetic Justice in a way.
As for The Blues-great music. Patsy Cline, Buddy Holly (even after plane crash/deaths) always loved here in south. Interesting info on The Beatles. Informative article
Addl Note:
Since the 1988 Gaming Act that allowed Reservations to make money, there were gaming machines on the Reservation here...but the actual casino came about 1995;.Harrah's took over mgt later. Here is how they are helping the youth handle finances now:
http://www.smokymountainnews.com/news/item/3135-cashing-in-tribe-teaches-teens-to-get-smart-with-casino-windfall
Thought you might want to read that article, although you have Indian blood from diff source.
Until 1988 there was no way for Native Americans to prosper from outside sources, only crafts, tourism; not enough. When I realized 'why' they were marched to Oklahoma, it was devastating to know people could be so cruel...but now that I see this generation benefiting from the casinos, it is a positive thing....watching the change. Gambling is not positive. NC has a lottery, and it is supposed to benefit the schools...SC's does. We can't change people's behavior, and gambling will exist anyway, only how it's applied will make a difference. Regulating morality never works, for example: Prohibition.
Your Friend, Blues Music, and Any group, who has suffered greatly produces exceptionally great music/art due to their suffering. Thanks.What a tremendous offering of knowledge and comment. Praise you!Praise God, for we are only instruments of his intelligence....thanks for giving us all thoughts to ponder, and a place for our opinions.
Quite a bit of personal knowledge and history here. I'm going to hear the early Beatles differently now because you have really made me curious. I'll go to Playlist for expediency and just play Holly and Beatles and several others. I never thought of it before, but you are so right.
Then I want to hear some great Blues as well. I'm in the mood for some blues classics.
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