In lieu of an abstract, here is a brief excerpt of the content:

Kenneth "Little Milton" Terry, Trumpet BORN: New Orleans, 1969 Played with the Bucket Men Brass Band, theJunior Olympia Brass Band, the New Birth Brass Band, the Rebirth Brass Band, the Chosen Few Brass Band, the Treme Brass Band, and the Regal Brass Band Interviewed at his home on Urquhart Street, October 1001 Actually, years ago, it "was kind of funny how I came to music. Growing up in New Orleans,you always see like afuneral orparade. I'd see a guyflaying a horn, people dancing, and I was inspired by that. I startedplaying cornet at school, in the fifth grade. I wanted togiveplaying the second lines a shot, so me and some of the guys, we were all playing sports together, got together and started to teach ourselves topick out the notesnoformal teachingfor that. This was in the neighborhood around Urquhart Street,just outside the Treme. Wejust started walking round the street, trying toplay. I wasplaying sports over at Tambourine and Fan, and the coach had seen usplaying music. So they brought us into the Tambourine and Fan, and wejust sat in a room and startedpracticing. Wewere thefirst band they had, and we were called the Bucket Men Brass Band. That cameabout because Tambourineand Fan had a second line club called the Bucket Men. Through time, around six or seven months later, we were introduced to Milton Batiste. He used to sit us down in the locker room by thefield, and we'djust try to learn toplay the songs.He always used to holler at me, "Boy, you'replaying the wrong note." At first, it was intimidating, becausehere's a guy thatyou seeall over the city, playing music, and I'm there trying to learn from him. So he tells me I wasplaying the wrong note, I got kind of nervous, fussing that the next note might be wrong too. But hejust kept at it. I used to think, "Shit, I don't know if I should bedoing this." He always said, "Kenneth,you gotta make the note." Thefirst song he taught me was "Down by the Riverside ." I still remember that. After that we carried onpracticing by Tambourine and Fan, twice a week, I think it was Tuesdays and Thursday. Wewouldstart around six or seven o'clock, and we were always the last to leave the organization—we were in the back,practicing our horns. Then we did a couple of gigs under the name of the Bucket Men Brass Band. We had Stafford Agee, Taju Smith (Revert Andrews came later), Abraham Cosse when wefinallygot a tuba player, Kerry Hunter on snare, Tanio Hingle on bass drum. There was a guy wecalled "Specs"; his right name was David Gallaud. We had about ten or twelveyoung guys. '39 Then we startedpracticing at someone's house, so the band got smaller. There was me, Revert Andrews on trombone, Glen Andrews on trumpet, Tanio and Kerry, Abraham Cosse, andErskine Campbell (KidMerv's brother) on saxophone. That was when it becametheJunior Olympia. How it happened, Milton Batiste had a gig somewhere, and we used to always go with him to listen. So he said, "Man,whaty'all think about changing the name of the band?" And he talked to us about keeping the tradition going,for the sake of the music. He was always telling us not to ever leave the tradition. Then he suggested using the nameJunior Olympia. The guys were real excited:here's the number oneband in the city of New Orleansasking us to be thejunior band! So we said, "Yeah, why not?" That was around ip8z. We used togo by his house and rehearse. We had like a real closed rehearsal—we didn't allow too manypeople to come in. We had to concentrateon what we were doing—we were there for one reason, to learn. We'd sit in the practice room and listen to old recordings by Louis Armstrong, the Olympia, the Young Tuxedo. Then we'd try toplay the tunes. Every rehearsal, before we left, we'd learn at least three traditionals. Weknew the songs as agroup, and we couldplay them the way we wanted to. And we were listening to the Rebirth, the Dirty Dozen, and the Chosen Few. Oneday in thepractice room we started playing "Tuba Fats." Milton went into a rage. He told us, "Don'tyou ever come back hereplaying that shit! Whatever you do, I wantyou to stick to the tradition. Seeall that other stuff? It's nogood."Believe it or not...

pdf

Additional Information

ISBN
9780807155820
Related ISBN
9780807133330
MARC Record
OCLC
849949632
Pages
216
Launched on MUSE
2014-01-01
Language
English
Open Access
No
Back To Top

This website uses cookies to ensure you get the best experience on our website. Without cookies your experience may not be seamless.