LeadBelly (1976)

Here are some You Tube videos from the Paramount Movie LeadBelly (1976). This Movie features Roger E. Mosley and Art Evans, with me and my undeveloped voice at that time. I hope I am singing better than that, these days. Back in 1974 when I did the vocals for this movie I was chosen and hand picked from many competing singers, by the great Gordon Parks. Working with Gordon Parks, and Fred Carlin was really a great experience for me. Just think I was working with two academy award winners. I had to do some research and study LeadBelly, only to fine one of the most interesting people I have ever known about. Think over it, a two time convicted murderer, sings his way out of the penitentiary, and finds his success in New York City, singing for children. I learned that many of the children songs which I sang in school when I was a child where either written or brought out of the deep south by LeadBelly. He was not a blues singer, although he sang blues very well. Speaking of the blues, This job brought me to work with Sonny Terry and Brownie Maghee. They were flown in to back me up on some of the tracks. Working with Sonny and Brownie was not only a wonderful musical experience. Hanging out with them helped me complete my research on LeadBelly, because they told me all about the man, and their experience of living with him and his wife in New York City. There is an error in LeadBelly (1976). Well it is in this seen Six String and Twelve String, where LeadBelly is drinking a lot. I say this because Sonny and Brownie told me that LeadBelly Didn't Drink Alcohol, or Smoke at all, and he was very huble in respecting his elders. Do I believe it, YES! Nevertheless in one of his songs he sang these words "Cocaine's for horses and not for men. The doctor said stop it, but he didn't say when". The name of the song is Take A Whiff On Me, it's one of my favorites. Sonny brought his nephew along to play bones, I'm talkin'bout J.C. Burris. On account of J.C. living in San Francisco He and I became good friends. J.C. was a good and decent man, he was an unusual musician, and the worlds funniest puppeteer. There was never a dull moment while hanging out with these guys. Sonny became to know my speaking voice, I have escorted him while strait-arming a path through the crowd to get him to the bandstand. Sonny and Brownie really knew the blues, and how to drive them away. I could go on and on about my experience with LeadBelly (1976), in fact I could write a book about it, but this is just a little Internet article that am writing for you. Well I'll leave you with this; Maybe I'm the only cat around who has recorded with Sonny Terry and Brownie Maghee. Look Mom, no hands!!! To find more videos of LeadBelly (1976) on You Tube Click Here Hi Tide Harris 5/28/08

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Leadbelly (1976) Opening Credits and

LeadBelly (1976)

Six String and Twelv String

LeadBelly (1976) Leadbelly sings his way out of the pin.	LeadBelly (1976) Midnight Special
LeaBelly Meets Blind Lemon	LeadBelly(1976) Green Corn, being plaied at a Soocky Jump!

was one of the most high class musicians I have ever worked with. As I said, he was an academy award winner, he arranged for Benny Goodman, he had all these big time credits like that. Would you believe it, Fred came across as not having an arrogant bone in his body. I saw him fire guys, and hire guys, he listened to me when I had something to say about the music. I was catching hell from some of the businessmen who were working on LeadBelly(1976). They had me staying at a real low down flea bag hotel, and were giving me, well let's just say peanuts to stay in L.A. Well one day when we finished work Fred dropped me off at my hotel, after he saw what was going on, this is what he did. The next day he called me to his office. There were greetings, but after that he didn't say a word to me, he made a telephone call. There was never a hint of forcefulness or of him razing his voice. I could tell they were talking about me. That's when I learned the word per diem, and what it meant. Fred finished his conversation. and turned to me, we talked about the music a little bit, and I went back to work. After work Fred dropped me off at the Continental Hyatt on Sun Set Boulevard right next door to The Comedy Store. He told me to go to the front desk, sign in, get my key, and that I was all ready registered, I could sign for any thing I wanted. The next day I received a $600. per diem check which I would receive every week while I was in L.A.,working on LeadBelly(1976)and I would stay at the Hyatt as long as I was in L.A. working on LeadBelly(1976). Oh and don't let me forget the 1975 Oldsmobile Omega which Marc Merson the producer leased for me. Fred was so humble with me, that I had no idea of him having so much power at Paramount. He opened up Hollywood for me. Between the Hyatt, and the Comedy Store I met cats like Freddie Prinz, Jimmy Walker (JJ). My good friend, and Boss of the Blues Shaky Jake would some times come by and have dinner with me, of course I would sign for it. The OJs were staying at the Hyatt some times, Marven Gaye was there, Liza Minnelli was there, and so on, and so on. let me tell you I was making it in the Big City!!! Fred introduced me to Dino De Laurentiis and Maurice Jarre, two academy award winners. The reason he introduced me to these guys is so they could ask me to write the theme song for a movie called Mandingo(1975) Taking this job brought me to work with The Great Muddy Waters, as he sang the song titled Born In This Time which I wrote for the movie Mandingo(1975). There I was, working with Dino De Laurentiis, Maurice Jarre, Muddy Waters, and introduced by The Great Fred Carlin. Those were the days my friend! By the way I think Mandingo(1975) was the only featured film that Muddy Waters has ever sang in, over his long glorious career, and here is another thing about Muddy. People use to say that Muddy was illiterate. Well I remember walking in to the studio and handing my song to Muddy. As he was seated, He laid the papers down on the table before him, and pulled a pair of eye glasses out of his jacket pocket, put them on, and began to READ. I found that Muddy was a very intelligent man. Need-less to say Fred Carlin became one of my best friends, and I am proud to have a credit with him. One more thing. When I told Marc Merson that I was writing the theme song for Mandingo, he sharply replied and said "Mandingo is a piece of 'it!" It took me a while, but now I agree with Marc. Dig these Videos

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I would like to say some thing about Bishop Norman Williams,and how grateful I am to him. Back in the 70s he was with my band for a few nights, and by the way he is on my RCA album The Gentlemans Blues. What makes this Bishop so important to me is told in this little story.

After every gig He would say to us in the band "You guys are going to be all right after you learn your Two Fives." At that time all I wanted to do was play like T-Bone Walker, BB King, Albert King, Albert Collins, and Freddie King, But none of these players used Two Five movements in their play. I was crazy about the way Bishop played also, because at that time I was just getting into Charlie Parker, after working with Red Hollaway, in John Mayall`s band. Red would talk about Bird a lot and I would pick-up on it. After that association with Red I found Bishop Norman Williams playing in a big band at The Green Earth Cafe In San Francisco. I would play there on weekends and they would have Big Band on Wednesday nights. At that time that Big Band was the best thing going in San Francisco. They had Tricky Lofton, John Handy, John Hunt, Edd Kelly and many others. The arrangements were great, and the solos were fantastic. For me the out standing thing in that band was Bishop Norman Williams` solos. Hell, I had to brace my self, hold my hat on, and grip my drink, and the table I was sitting at, just to get through one of his solos. So naturally I approached him and ask him to play some gigs with me. Bishop is an extremely friendly and kind man. While we were working togather he mentuned the Two Five so many times `till I began to wonder what I was missing. So I did it, I went to his house and asked what the hell is a Two Five. Without delay he picked up his horn and began to play, I sat down and listened to what he was telling me about how Two Fives worked in compositions. He even wrote down some Two Five Cord Progressions and licks on music paper for me. He showed me how beautifull and extendable the flat nine was. How dumb was I? I did not know at that time that I was being taught by a real Protege of Charlie Parker. When he kept saying "You guys are going to be all right after you learn your Two Fives". Now I get it, I think these are the words that Bird said to him, and he was passing them on to us in my band. He was teaching me what Bird taught him. But, when I left Bishops house I still didn`t understand Two Fives. I just kept on playing the same way, and I quote my dear friend Sonny Simmons "'N' words who cut and shoot all night like the kind of Blues you play Hi Tide". By the way I did play Cut and Shoot, Texas with Jimmy McCracklin. One thing I can say for my self, I did listen to Bishop and what he played and what he said, and I kept the papers for years. But It was years later when I moved to Japan where I studied Charlie Parker through David N. Baker books that I caught on to what Bishop was trying to teach me. It was Dave Bakers book that brought every thing that Bishop was saying in to focus for me. I don't think I could have ever understood Dave Bakers book had it not been for Bishop taking up time with me on the suject.The music that Bishop wrote down for me was basically the same things that was in Dave Baker`s book, and I remembered the sound of the licks that Bishop played and how that Flat Nine sounded when Bishop played it. This helped me to comprehend Bird`s playing much better. I am very grateful to Bishop, because this whole experience has brought My Music to a Higher Level. I am still playing the Blues, but not so much like they do down in Cut and Shoot, Texas, and my base of comprehension is much greater and now I never run out of Ideas.

Sincerely Hi Tide Harris

Yes I know that a black person can't keep his or her job without denouncing this minister, and his group, however as one who admires, and respects Art, and Talent, I am not afraid to say, I think the world of Minister Louis Farrakhan. He is a great musician, he sings beautifuly. Before he was a great dancer, and now a great teacher. Not to mention his marvelous public speaking ability. How much talent can one have!?

Hi Tide Harris 6/15/08