{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://streaming.peabody.jhu.edu/iiif/9k45q4s52k/manifest","type":"Manifest","label":{"en":["Ruby Glover oral history, 2002 August 28"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/008/original/peabody-institute.logo.large.horizontal.blue.cropped.png?1549570058","metadata":[{"label":{"en":["Description"]},"value":{"en":["\u003cp\u003eRuby Glover (1929-2007) was a singer. As a student at Dunbar High School in Baltimore, Glover was already singing professionally. She performed regularly at jazz clubs on Pennsylvania Avenue in the 1940s and 1950s, with groups such as the Parrish Sextet, Doug's Blue Notes, and King Draper. Glover taught jazz history at Sojourner-Douglass College. She was one of the organizers of the Billie Holiday Vocal Competition and regularly participated in Baltimore's major annual arts festival, Artscape. In this interview, Glover discusses her musical influences, her encounters with other musicians on Pennsylvania Avenue and at the Left Bank Jazz Society, and her teaching.\u003c/p\u003e (Abstract)"]}},{"label":{"en":["Date"]},"value":{"en":[" 2002-08-28 (created)"]}},{"label":{"en":["Agent"]},"value":{"en":[" Glover, Ruby, 1929-2007 (Interviewee)"," Schaaf, Elizabeth M. (Interviewer)"]}},{"label":{"en":["Language"]},"value":{"en":[" English (Primary)"]}},{"label":{"en":["Format"]},"value":{"en":["audio/mp3"]}},{"label":{"en":["Publisher"]},"value":{"en":["Peabody Institute of the Johns Hopkins University"]}},{"label":{"en":["Rights Statement"]},"value":{"en":["\u003cp\u003eThe collection is open for use. Contact peabodyarchives@lists.jhu.edu for more information.\u003c/p\u003e"]}},{"label":{"en":["Source Metadata URI"]},"value":{"en":["https://aspace.library.jhu.edu/repositories/4/archival_objects/215356"]}}],"summary":{"en":["\u003cp\u003eRuby Glover (1929-2007) was a singer. As a student at Dunbar High School in Baltimore, Glover was already singing professionally. She performed regularly at jazz clubs on Pennsylvania Avenue in the 1940s and 1950s, with groups such as the Parrish Sextet, Doug's Blue Notes, and King Draper. Glover taught jazz history at Sojourner-Douglass College. She was one of the organizers of the Billie Holiday Vocal Competition and regularly participated in Baltimore's major annual arts festival, Artscape. In this interview, Glover discusses her musical influences, her encounters with other musicians on Pennsylvania Avenue and at the Left Bank Jazz Society, and her teaching.\u003c/p\u003e"]},"requiredStatement":{"label":{"en":["Attribution"]},"value":{"en":["\u003cp\u003eThe collection is open for use. Contact peabodyarchives@lists.jhu.edu for more information.\u003c/p\u003e"]}},"provider":[{"id":"https://streaming.peabody.jhu.edu/aboutus","type":"Agent","label":{"en":["Peabody Institute of the Johns Hopkins University"]},"homepage":[{"id":"https://streaming.peabody.jhu.edu/","type":"Text","label":{"en":["Peabody Institute of the Johns Hopkins University"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/008/original/peabody-institute.logo.large.horizontal.blue.cropped.png?1549570058","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/117/417/small/glover_photoshop_jpeg.jpg?1650135729","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117417","type":"Canvas","label":{"en":["Media File 1 of 2 - pims0091_GloverR_01.mp3"]},"duration":3018.03102,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/117/417/small/glover_photoshop_jpeg.jpg?1650135729","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117417/content/1","type":"AnnotationPage","items":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117417/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-peabody.s3.wasabisys.com/collection_resource_files/resource_files/000/117/417/original/pims0091_GloverR_01.mp3?1624270841","type":"Audio","format":"audio/mpeg","duration":3018.03102,"width":640,"height":360},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117417","metadata":[]}]}],"annotations":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117417/transcript/35147","type":"AnnotationPage","label":{"en":["Glover1_OHMS_20220113 [Transcript]"]},"items":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117417/transcript/35147/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SCHAAF: Interview with Ruby Glover, August 28, 2002, at the home of Ruby Glover\nin Baltimore, Maryland.\n\nSCHAAF: Would be kind enough to introduce yourself and tell us where you were born.\n\nGLOVER: My name is Ruby Glover, and my birth date is December 6th, 1929. So this\nyear I will celebrate my 73rd birthday. I'm a Baltimorean, born and raised,\neducated right here in Baltimore, not too far away from where I live today.\n\nI am about to share with a dear friend a lot of information that probably I\nnever thought about sharing or having to share. I just had a good time daily and\nwas very thankful for the blessings that were given to me at birth.\n\nSCHAAF: Just fine. Tell me where did you grow up in East Baltimore.\n\nGLOVER: I grew up in East Baltimore about five blocks from here. I lived on\nMonument Street, right there in the thirteen hundred block, which would have\nbeen between the alleyway which is now the driveway for the Chick Webb Center,\nand Central Avenue. And that encompasses a school yard -- that's what's there\nnow. 1309 Monument Street is where the majority of my young life was.\n\nHowever, I do know that I was born like twelve blocks from there in a small\nstreet called Dallas Street. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117417#t=0.0,120.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117417/transcript/35147/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Of course, in the '20s not many black women had\ntheir babies in hospitals. There were still quite a few nurse midwives who were\navailable to them for delivery of children, and I was born at home in Dallas\nStreet. So that would have been between Monument and Madison, somewhere in that\narea. It's documented, but you don't remember that when you get to the gentle\nages. That's pretty much where it was.\n\nAnd then from first grade, because I didn't go to kindergarten, first grade was\nin what is now the Sojourner-Douglass College. That was my elementary school. So\nwe're still within the parameters of that same circle. The elementary school\nthat is there now is sitting pretty much where the Dunbar Theater sat. So that's\nCentral Avenue. But my first grade on up to the fifth grade (because then, you\ndid fifth and sixth grade) was there, and then I went to junior high at seventh grade.\n\nSo my junior high school is the middle school today, between McElderry Street\nand Orleans, that was Jefferson Street. So I still remember what beautiful\nstreets were there.\n\nBut all of this area is a part of my growing up.\n\nSCHAAF: What about your parents? Were they involved in music?\n\nGLOVER: My mom. I didn't have the pleasure to know my dad. My dad was killed ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117417#t=120.0,240.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117417/transcript/35147/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"in\nmy second year. I knew I had a father who was a seaman, but I never saw him or\ncould tell anyone that I actualized with him. But my mom always gave us the\nimpression that he was fine, and I did learn at a much older age, about tenth\nyear, that he was killed when I was two. He was shot the day that he decided to\ncome home and then go back out to sea. He was killed, and it was a robbery, so\nthey tell me. The store was not far from where our house was. When he got out of\nthe car to come to my mother, a guy who was robbing the store ran out the store,\npassed between my mom and my dad, and the firing of the bullet from the store\nkeeper's gun killed him.\n\nAnd that's all I knew, and it never came up again. I think once or twice I may\nhave asked my mom about it as I got older, but we never talked about it. So\nthere are usually some things that the older folks --\n\nSCHAAF: Don't feel comfortable.\n\nGLOVER: And so we never discussed it again. But my mom was the one. My mom was a\nyoung teenager who wanted to do a lot with music, could sing -- was always\nsinging. And she had a younger brother, who was like to her. She and her brother\nwere the youngest of her mother's children and, of course, both sang. They loved\nto sing duets and go around singing, and that's how I heard it. I only heard it\nin my house where we lived because then -- pianos and club life and all -- your\ncommunity was pretty much someplace that ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117417#t=240.0,360.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117417/transcript/35147/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"people were about each other in\ncircles. They would always be together. Your home was always an area of\nenjoyment and that's how mine was.\n\nBaltimore was such a musical town -- I didn't live far from the Club Astoria. I\ndidn't live far from the Orleans Club that used to be Tanglefoot's [Roy McCoy's]\nplace. Well, my mother and all of them would frequent those because that was\nright in the same area that I lived in. She knew just about all of them, and she\nworked in some of the nightclubs as a waitress. And you know you could be an\nentertainer and sing and still earn your keep right there. So East Baltimore\nbecame her area.\n\nShe wasn't born here, though. She was born in Barbados. She remembered to tell\nus that. And her family life brought her from Barbados into the States. They\nfirst resided in Gary, Indiana. Then my grandfather, her father, decided that he\nwould like to come to Maryland, and they went to the Eastern Shore. And that\nmuch I remember of his life. I knew that my mother's mother was a nurse midwife\nwho studied in Oxford, because those papers were still a part of the Bible that\nshe kept. On my grandfather's side, there were fifteen boys.\n\nWhen he married my grandmother, her mother, there were two girls and a boy. I\nnever saw my Aunt Jessie who was my mother's older sister. She evidently died\nbefore my mom had children. And my uncle was the joy of her life. Both of them\nwere very, very popular, very warm ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117417#t=360.0,480.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117417/transcript/35147/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and friendly folks. Clarence \"Du\" Burns\n[former Mayor of the City of Baltimore] and my uncle were like best friends from\nchildhood, evidently. I often remember having to go with them to sing and dance\nwhile they would treat me to an ice cream cone and [laughter] bring me back home.\n\nBut that's the life that I remember. And all of this area is quite familiar\nbecause the Old Town Mall was very much a popular area for the familiarity of\nyour family life. My mom used to walk from our house to this street, Sterling\nStreet, and on both sides of the street, of course, she knew the persons who\nlived here. I would get to know the children, and Mott Street, there were\nfamilies along Mott Street. In the back of Mott Street was the beautiful Belair\nMarket, both open and enclosed. So I got to skip down the street while she would\nchat with the neighbors, and many times I'd sing. I'd like to skip and sing, and\nmy younger sister was born with rheumatic fever so a lot of her life, about\nthirteen years of her life, she was in and out of the hospital, always with\nnurses, not able to do a lot of romping. So I was the romping, jumping,\nskipping, tomboyish little girl that everybody got to see. You didn't see a lot\nof my sister.\n\nBut my mom was very, very energetic, loved to sing. She reminded me that music\nwas the soul of our life, and I enjoyed it because I got a chance to see a lot\nof the folks who were singing and doing around that time. I'm an early '30s baby.\n\nSCHAAF: In Baltimore, there were so many wonderful blues singers in Baltimore.\n\nGLOVER: Yes there were.\n\n","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117417#t=480.0,600.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117417/transcript/35147/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SCHAAF: And you hear less about them than the people who played the clubs on the\nAvenue. Who were some of the ones?\n\nGLOVER: Well, there's Wee Bea Booze. And most folks know that she wrote \"In the\nDark\". The words of \"In the Dark\" are hers. No one tried to change those words,\nbut she wrote that song. She was a tiny, little-framed lady who used to visit\nwith my mom when she worked at the Club Orleans. She worked at another little\nclub between Monument and Caroline, and Monument and Central Avenue. There was a\nsmall area of Spring Street that had a club. I don't remember the name of the\nclub, but it was a nightclub, and Wee Bea Booze would perform there. My mom\nwould perform between there and a club on Monument Street. It sat where the\nalleyway is, on the corner of Eden and Monument, which was the opposite end of\nthe street between Caroline and Spring, there was the First Apostolic Church\nthat sits down on Caroline Street now, that was on Eden Street.\n\nBut in the back of that, Spring Street, where Ashland Avenue is, that's where\nChick Webb lived. His niece and I were the same age, so we went to school\ntogether. And so there were times when Ella [Fitzgerald] and he would be\nvisiting. It was nothing for us to just sit in the yard and see\n\nthem as they come in or hear them practicing, or to get to know that he was a\ndignitary that was ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117417#t=600.0,720.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117417/transcript/35147/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"very much honored.\n\nBea was just exciting! She wasn't a big woman. She was a short little lady with\na pleasant smile. But you had Dorothy Green, Dottie they called her. And there\nwas a gentleman whom I saw about three weeks ago, and I can't remember his name,\nbut he had a fine tenor voice. And he and my uncle would love to sing. They\nwould sit on the step next to the ice cream parlor and sometimes harmonize. But\nit was people like that that you got to see a lot of.\n\nThere is Johnny Sparrow and his Bows and Arrows. Well, they would visit my house\nbecause my mother -- every house, I think, had a piano. On Friday or Saturday\nyou would have like your own jam session because they would get off of work.\nThey'd come. Well, from Johnny Sparrow, I learned to sing \"Pennies from Heaven\"\nbecause he would always say, can you remember the lyrics, and I would shake my\nhead yes, and my mother would always let us sit on the steps that would come\ndown into the living room. But you could only stay a little while because after\na while, you know, children had their space and the adults had theirs.\n\nErnie Washington -- I hear very little. I think somewhere I have an album of\nhis, but I remember seeing Ernie, well, now it's been maybe about twenty-five or\nthirty years ago. But he was a very, very beautiful jazz pianist who used to\ncome and sit and play, and my mother would sing, and my uncle would sing, and\n","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117417#t=720.0,840.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117417/transcript/35147/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"they would just have a good time. But Ernie Washington went to live in -- I want\nso say Hawaii. It was one of the Polynesian areas that he lived for a long time.\nAnd then once, many years ago -- it had to be close to thirty years because I\nwas working at [Johns] Hopkins -- he came through town and the Avenue\n[Pennsylvania Avenue] was still going. It was before the riot [1968], so we\nstill had Buck's Bar. And he came to visit. I don't remember what brought him\nhere, but I remember how lovely it was to see someone who remembers you as a\nchild, and then, of course, wants to share some of his travels and his writing.\n\nWonderful jazz pianist who just had a wealth of knowledge about singers because\nthat's why he went away from here. So I don't know if he's still living, but\nErnie I remember, and it was just always so good to hear and see him because he\nliked to sing as well. Not a very big stately man, but about 5'6\". Demonstrated\nquite a bit of entertaining. I'm going to look for that album because I have it.\nAnd it's just very interesting to see folks who remember my mom quicker than\nthey remember me. I was such a little girl when he left, but I've had the\npleasure of seeing Johnny Sparrow's family, what's left of ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117417#t=840.0,960.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117417/transcript/35147/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"them.\n\nI share a conversation monthly with a friend of mine whose name is Irma Curry.\nNow Irma was the first to leave Baltimore and go with Lionel Hampton. But we\nwent to Dunbar High School together. We went to grade school together and became\nfriends, and then later both our careers in singing developed right there in our\nelementary school life.\n\nSo it's been fascinating to see persons who knew you when you were younger or to\ngo visit spots that might be a little different today, but they offer quite a\nbit of memories -- for the area itself seems to change. What used to be there is\nno longer there, so it's been exciting.\n\nAnd I'm telling you, that's how I saw [Roy] McCoy the first time, as a part of\nthe Club Orleans group. The picture that you have of them--. I remember when I\nused to walk with my mother, because then it was after they had built the ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117417#t=960.0,1080.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117417/transcript/35147/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Chick\nWebb Center. My mom and just about all the persons who lived along that block,\nMrs. [Georgeanna] Chester and her husband's family, we all moved one and half blocks away to\nthe twelve hundred block of Madison Street. So it wasn't far away, but it was\nfar enough for you to walk around the corner on Gay Street and see them when\nthey would take their break. And my mother used to say, do you come around this\ncorner and hear the music? I said, yes, but I stand on the other side of the\nstreet so that I'm not being punished, because then people could chastise you\nand send you home.\n\nSo I would stay across -- there was a furniture store across the street from it\nand I would stand on the opposite side. Or I would ask, could I sit on the\nlittle stool that the gentleman had out there when they would play early on\nSaturdays. Some Saturdays they would have like a special, and I'd get a chance\nto hear them.\n\nBut he was always so tall and stately. You'd look at him, a little one would\nlook at him in awe because everyone else just seemed general, but he was tall\nand he was pleasant. He always had such a charm about him and he would smile. Of\ncourse, I liked to sing and I liked to dance so I would always be catching the\nmelodies when they were playing.\n\nThen they would open the doors. They didn't have air conditioning. If it was\nhot, they would open the doors. And they had those swinging half shutters that\nyou could just about enjoy the music right through there, especially on Fridays.\n\nSo it all comes back as great memories. Loving neighborhoods. Great rearing by\nmy mom, and ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117417#t=1080.0,1200.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117417/transcript/35147/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"a lot of love and attention from the neighborhood because then if\nyou could perform, and since I liked the idea of singing, I'd wind up singing\nfor persons who had died. I remember at about six or seven years old, asking my\nmother how come everybody -- then you had everything in your home. They didn't\nhave funeral parlors opening up. It was still very personal, and only your\nimmediate friends and family were a part of that going-home ceremony. So I would\nwind up singing for persons who had passed and were in the casket. And I\nremember asking my mother one day why is it everyone else seems to applaud -- or\nI said clap your hands. It was really my first putting together that it was\ndeath and not asleep, like I used to say. Why was the person asleep and\neverybody is tearful or crying? And that was the first time my mother expressed\nto me that the person that I was celebrating, they're going on. I was a part of\nthe celebration, and I was the living part of the celebration.\n\nAnd I said, but I never knew that person. And my mother said you probably don't\nremember that you knew this person in their living way. And since you are still\na baby, we don't force you to look upon their face of the person who is dead.\nBut they are grateful that in their sleep and going- home ceremony, you\nparticipated. And so that always made a great deal of good feelings. The\nfeelings were always good.\n\nAnd then when I lost my godmother, it was not so easy. And so my mom didn't\nexpress ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117417#t=1200.0,1320.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117417/transcript/35147/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"any desire unless I wanted to. I remember I didn't want to, because her\nson was crying, and by me being a part of their family all the time, I was\ngenerally seeing him smile. And I remember it was quite a sad moment for me.\nThat's when my mother chose to say that she would not ask or call or have people\ncall upon me to do that. That it was something that I began to rationalize, and\nI had the right to say no. But that was my first audience. [Laughter] First one.\n\nAnd you look at sadness, and they would try not to be so sad, especially with\nthe little ones. So I was about eight. By then I was beginning to show quite a\nbit of talent, and by then my teachers at the school recognized that I had a\ntalent. I was very lucky because I had a music teacher, two music teachers that\nthey were very wonderful and early enough.\n\nOne of them was Mrs Chester, Georgeanna. And the other one was Mrs. Williams,\nMildred Williams. I never will forget them. And at, where Sojourner sits now,\nthat was my first stage because we what we called an outreach of talent, and\nthey chose Dorothy and Wizard of Oz to portray that year. I was Dorothy, and the\nfirst group that I really performed with musically were the Lion and the Tin\nMan, and we had a ball.\n\nBut every year we had some type of celebration. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117417#t=1320.0,1440.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117417/transcript/35147/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"That was my first. As we grew\nmusically, we grew closer together, and the first sextet was created when we got\ninto middle school under Miss Chester's skill and Miss Williams. It was called\nthe Parrish Sextet, and James Parrish, who's still living, played piano,\nMcKevett Seymour who's dead and gone, played bass, James Tillery played guitar,\nand James Brown played drums. And we had a saxophonist who left us after we\ngraduated from high school and went into service. I can never remember his name.\nAnd so that was at the beginning of the music, my career. We were a sextet.\n\nSCHAAF: But where did you all sing? Where did you perform?\n\nGLOVER: At Dunbar [High School], for the dances and the special occasions. By\nthe time I was fifteen, sixteen, we were good. We had been pretty much ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117417#t=1440.0,1560.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117417/transcript/35147/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"a part of\nthe lot of the amateur contesting. We won. We got so good until if we had talent\ncontests, the kids would always say, well we don't want to be on the contest if\nthe Sextet, Ruby and the Sextet are going to be on 'cause they always win.\n\nMrs. Williams was the one who said well, what else would you all do? And it was\nJames Parrish, who's a firefighter -- that's what he is today. I think he's\nretired. But it was he who said, well, we asked to play for the dances at some\nof the halls, because you know we could go by being teenagers, well supervised.\nWe could do the \"Y,\" we could go to Odd Fellows Hall and a couple of areas, and\nthen there were a couple big bands like Doug McArthur and his Blue Notes and\nKing Draper and who were asking my mom for permission for me to sing with them.\n\nBut she would always say, she has to be chaperoned, and you know you can't have\nliquor around her because that's against the rules. And so the Biddle Hall and,\noh my goodness, the Odd Fellows, and there was another dance hall that was right\nthere on Pennsylvania Avenue, right before you got up near the Royal. The\nAmsterdam -- that's what sticks in my mind.\n\nBut I was a teenager and so I got chaperoned by the wife of the leader of the\ngroup, and my mom would let them come pick me up and I sang with the big bands.\nThe union allowed us, at fifteen,\n\nsixteen, to be a ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117417#t=1560.0,1680.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117417/transcript/35147/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"part of their union without paying a lot of dues just so we\ncould appear as music for the \"Y\" on Friday nights and the Odd Fellows Hall.\n\nAnd school dances, even though we were East Baltimore, we played for some of the\nthings that brought the two schools together, Douglass and Dunbar. And it's\namazing because I looked at Charles Funn about a week ago with the Dunbar big\nband and sextet, and I look at Douglass, and they're still the two greatest,\nproducing music and producing new musicians all the time -- so\n\nit's not strange. It's not new. It's that the old system aids in the production\nof those who come from those two areas in music. And it was just fascinating to\nlook over Charles Funn's shoulder and see the development, as well as looking\nover the shoulder of the two music teachers who have been up there at Douglass.\nIt's fascinating.\n\n","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117417#t=1680.0,1800.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117417/transcript/35147/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I'm very, very lucky and privileged to be able to hire them, the new musicians,\nin capacities that are not so restrictive as when I was young. But they were\nthere. The guidance was there. That, I hope, will never, never disappear because\nit's so needed for the developing musician -- to get to know those who are\nalways there in some capacity sitting in your audience, reviewing, suggestions\nbeing given for your betterment. It's just wonderful.\n\nSCHAAF: Who are some of the young faces that you've seen that you could almost\nguarantee that they're going to have a career?\n\nGLOVER: Oh, it goes further than that. I can take you three to five years back.\n\nSCHAAF: Okay.\n\nGLOVER: Camay [Murphy] and I were a part of the first organization, the Jazz\nHeritage Foundation, and we viewed Antonio Hart ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117417#t=1800.0,1920.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117417/transcript/35147/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"as being a very striking\nindividual in his music, and wanting to further his future in the music. I think\nwe were the first to give him a stipend as part of his going to school in New\nYork. And so we raised the funds so that he could get a scholarship from the\nJazz Heritage Foundation.\n\nAnd it was so funny and wonderful because it was like everyone was thinking\nAntonio, and when his name up in our meeting, it was like we stumbled over each\nother to just say yes, and got so tickled that he was chosen. So he was one of\nthe first. Then Dontae Winslow is another product of that overseeing, that\nbehind-the-scenes push. And, of course, he's made every step.\n\nGary Bartz, his dad was someone whose foresight in the earlier time period of my\nlife -- I've been able to watch Gary develop from a young teenager whose dad\nenvisioned a jazz club. It was right over here in East Baltimore, on Gay Street,\nright between North Avenue and Port Street. He wanted a club. He didn't want his\nson having to venture farther away, just to have the artists that were his dream\nor his vision. He wanted his vision to be able to be developed inside of a club\nthat would bring the artists to him. And I'm telling you, Mr. Bartz had a jazz\nclub that was phenomenal, so quaint ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117417#t=1920.0,2040.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117417/transcript/35147/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and wonderful.\n\nAnd as I go by there -- it's a church today -- but it brings back so much.\n\nSCHAAF: What was the name of the club?\n\nGLOVER: I'm getting that now. What did he call it? The North End Lounge. That's\nwhat it was, the North End Lounge because it sat right at North Avenue, and\nNorth Avenue pivots right to the Baltimore cemetery. The North End Lounge, and\nit was always packed. I pretty much believe that vision either started before\nLeft Bank [Jazz Society] or about the same time that Left Bank was coming\ntogether. Because it was obvious that there was going to be another section of\nBaltimore City in the black neighborhoods that would give you a theater that you\ncould go to.\n\nIt wasn't long after Mr. Bartz's club that, on the opposite end, near Chester\nand North Avenue, became another high spot with two brothers who pretty much\nspun off of what Mr. Bartz used to share with them -- bringing noted\nentertainment, but also having a stage where young can develop. His son started\nright there in his own place, and he wanted to see others provide a stage for\nyoung artists like that, and so those two brothers did that. And what did they\ncall that? ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117417#t=2040.0,2160.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117417/transcript/35147/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"It's a senior moment. It has a cute little name. And it's there now.\nIt was a hot spot. And the beauty in all of it was not just to go in to hear who\nthe artist was, but the crowd as they left their cars to go in there. The hi and\nhello and the musicians greeting one another, the personal atmosphere, that\ncharm that it had. It was almost like you swooped up a part of New York, Harlem,\nand sat it into our city.\n\nSCHAAF: What years are you talking about?\n\nGLOVER: This has to have been around late '50s, into the '60s, because the riots\ncame in the '60s so it had to be pretty much around that time period. But it was\nexciting, very exciting.\n\nSCHAAF: And then Pennsylvania Avenue.\n\nGLOVER: Was still quite, quite vibrant. And kids still had access to being able\nto see individuals, but not a lot of them could go, because of the liquor being\nin the spot. But Mr. Bartz was the kind of person who made availability happen\nfor his young son who is today's master. You know, I'm trying to think who else\ncame out of that. Well, the Gross boys from the School of the Arts.\n\nThere's Mark Gross and Vincent Gross. Mark is a saxophonist with his own group\n","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117417#t=2160.0,2280.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117417/transcript/35147/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and his own albums now. And Antonio and he were like, when you saw one, you saw\nthe other. And I was\n\ntold that Mark has a family, and Antonio's the godfather to his first-born.\n\nAnd Vincent is the trumpet player. And Vincent comes in and out from Virginia\nnow. But Vincent's trumpet and flugelhorn, and I'm told he's singing now. Never\nheard him actualize it. You know, always heard him singing behind you, but when\nyou try to pivot him, he would always find excuses why he could not.\n\nThere's a young drummer today that I've met there, James Johnson, who's a part\nof Mark's family. I learned that Mark and Vincent are his uncles. So it's a\nhand-me-down stimulation. You know, you're good. You need to be doing this and\nthis. And an encouragement to better themselves.\n\nSo, yes, I've really been very pleased with what has happened, and how the high\nschools feed into it. Stephanie Powell, when we speak of talent, Stephanie\nPowell's someone who went all through school and wanted to ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117417#t=2280.0,2400.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117417/transcript/35147/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"dance all her life.\nShe is a great power and recognizing talent as\n\nshe goes through and opens the door for development. She produces and gives\ngreat energy back to the community that she's come from. Her sister lives around\nthe corner from me.\n\nSo I'm honored that I am able to, from every level, be accessible to encourage\nor to provide support to them. And these are my little sisters. As I've told\nthem, I've had all my children. I don't need more children. I need little\nsisters, big sisters and brothers. Left Bank also provided an openness to family\nenjoyment, something that on Sundays is greatly missed from Charles Street. You\ncould stand on one side of the street and watch families go in. I mean, it was\njust exciting.\n\nI'd always come in after most of the crowd, because it was such a joy to stand\non the opposite side of the street and to see mothers and fathers. I am all\nfamily life. That was also something that intrigues me and is just so warm. As\nyou talk about it, you just get warm feelings.\n\nBut the music has no color. It has no color. It embraces people, all forms of\nlife, all hues, all nationalities. The music has one spirit and that spirit is\nso driven and so electrifying when the music is playing. It drives people to\neither stand up and either ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117417#t=2400.0,2520.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117417/transcript/35147/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"shake hands with their neighbor or laugh about a\nparticular person who's on stage. Music excites an individual, and just for the\nsake of it, they get so overwhelmed. It's like being in a different kind of\nchurch, where instead of shouting out loud, because they do some of that, they\nwould embrace whomever was with them, or they would throw their hands up and\nclose their eyes and they'd dance to it in some form or fashion.\n\nThose memories are inside of me all the time. It's an energy that I don't have\nto call upon. The minute I hear a developing talent with an electric something\ninside of them that drives them to want to be better, it's like they press my\nbutton. You know, I want to get to know this baby, and I want to encourage, I\nwant to open a door.\n\n","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117417#t=2520.0,2640.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117417/transcript/35147/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And so I got all of those feelings as I grew up watching and enjoying the\npersons that stimulated me. I had a mom who said yes, yes, yes. Her only\nencouragement was that I not try to in any way accumulate bad habits. And I've\nbeen blessed. If I accumulated them at all it's because I'm standing up in the\nmidst of the smoke. [Laughter]\n\nSCHAAF: Well, it's tough to be a musician without that support.\n\nGLOVER: Yes. You have to appreciate the camaraderie and the respect you must\ngive because you recognize that with some, where you might be reinforced with\ngood family and friends, to some you were the friend and you were the\nconfidante, and you were the person encouraging them to move to the next level.\n\nI was very fortunate to have made some of those connections, and many of them.\nAnd they never die. That's the thing that is so wonderful is that people who say\nwell, so and so died. To me they never die. I can put the music on, and they're\nrefreshing in their spirit to me as if they ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117417#t=2640.0,2760.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117417/transcript/35147/annotation/24","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"just walked through my door and we\nwere chit chatting, because the music sets the pace for that memory, for that\nembracing, that warmth, that design to never be alone.\n\nSCHAAF: What about music in the church when you were growing up?\n\nGLOVER: For me it was Catholic Church.\n\nSCHAAF: Which church?\n\nGLOVER: St. Francis Xavier. Yes. And I found that I met people who could enjoy\njazz because most of the persons who saw the talent in me never said that was\nnot going to be, or that should not happen. I think the three who come to mind\nare Father Albert, and he was always there, and said you could always come and\nsing to us at suppertime because you can sing. I found a great camaraderie\nbecause within the congregation there were kids and young people that I still\nwas going to school with who were that talent. When specialties were going to\nhappen for our church, we were the talent that would perform. They looked over\nour shoulders, they not only embraced what we were doing, but they encouraged it.\n\nSCHAAF: And they didn't mind you listening to jazz?\n\nGLOVER: Not at all. No one spoke of it being horrific or the devil's music. You\nknow. I heard more of that from Black congregations than I heard from the\ncongregations of the world.\n\nIn fact, when the Pope visited us last, my son, my youngest son who is a\ndetective now, but he was one of the special guards given to our Pope when he\ncame, ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117417#t=2760.0,2880.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117417/transcript/35147/annotation/25","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and I have the tile that he stood on. Aaron said he talked very openly\nwith them about music, and jazz came up. Aaron said my mom is a jazz performer,\nand he looked at him and he said, what does she do? He said she sings. He said\nyou will have to get us together. He said well, I will pray for that. And he was\nfrail then, but he prayed with my son before he left. He's a great music lover\nand he's a darling old gentleman. And this year I think he won my heart more and more.\n\nI find I don't go to church as often as I used to. I think a lot of what I enjoy\nis an ability to go to many varieties. I think I want to hear the world singing,\nthe world playing. Because it's a harmony that does not really get shared or\njustifiably described by others. Consequently, some of what you're feeling as\nbeing overwhelming and ugly with the deaths, the many deaths, I think, a lot of\nit is because we don't listen much more.\n\nThere's not a calming factor like we enjoyed as we were coming up. We were\neverybody's child.\n\nSCHAAF: I have heard so many people say that.\n\nGLOVER: We were everybody's child, the policeman on the street, the postman, the\nstore owners on the corner, an elder on the corner who knew you. You'd wonder,\nhow could they remember all those children! They knew the person at the movies,\n","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117417#t=2880.0,3000.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117417/transcript/35147/annotation/26","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"the gentleman who managed the movies. Your parent would stop and say after such\nand such, they need to come home. You couldn't go over that time. So you were\neverybody's child.\n\n[END OF SEGMENT]","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117417#t=3000.0,3120.0"}]}]},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117418","type":"Canvas","label":{"en":["Media File 2 of 2 - pims0091_GloverR_02.mp3"]},"duration":3018.03102,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/117/418/small/glover_photoshop_jpeg.jpg?1650135739","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117418/content/1","type":"AnnotationPage","items":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117418/content/2/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-peabody.s3.wasabisys.com/collection_resource_files/resource_files/000/117/418/original/pims0091_GloverR_02.mp3?1624270843","type":"Audio","format":"audio/mpeg","duration":3018.03102,"width":640,"height":360},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117418","metadata":[]}]}],"annotations":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117418/transcript/35148","type":"AnnotationPage","label":{"en":["Glover2_OHMS_20220113 [Transcript]"]},"items":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117418/transcript/35148/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"GLOVER: Respect. We couldn't even roll our eyes! You had to sit or you stood,\nand you dared not to give any portrayal of being disrespectful to the other\nindividual. That put more protection on the child growing up, becoming an adult.\nBecause even today, you heard him, Yes, ma'am. No, ma'am, and: Excuse me?\nManners. Manners. You know? And damn it, curse words, if you knew them, you\ndidn't use them. And if you used them, you had a certain area that you used them\nin, and they better be a whisper and not let the other adults hear you. What's\nmore, you couldn't use them at another friend or another person in a derogatory\nmanner. And that is derogatory.\n\nAnd even at Left Bank on Sundays, there was a camaraderie and a respect for\neveryone. And the children could come. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117418#t=0.0,120.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117418/transcript/35148/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Even though there might have been some\nbeer, there was a respect for the child who was sitting at the table or who was there.\n\nSCHAAF: Who were some of the voices and players that you heard at Left Bank?\n\nGLOVER: At Left Bank, umm, they always brought you the best. Betty Carter, whom\nI loved and adored. These are the ones that impressed me the greatest. Miles\n[Davis], and of course, then Baltimore's own Albert Dailey. Albert was\nfascinating. My greatest amount of attention was through the musicians who\nrespected me enough to want to encourage me to get better. Donald Bailey, ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117418#t=120.0,240.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117418/transcript/35148/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"who's\ndead and gone; Claude Hubbard, who just retired from the Prime Rib; two\nbassists, Phil Harris was one bassist, who was the bassist that I started sing\nwith when I went into clubs; then there's the drummer, oh my, my. I called his\nname the other day. But when I call his name, you'll say yes because his name\ncomes out so much.\n\nDonald Bailey and Albert and the drummer that I'm trying to search for his name,\nthey were always out on the road with singers, and they were fascinated that I\nshould be so open. Jimmy Wells was another one. I'd be always asking them, well\nhow do you do such and such, and why is it that they scat so. Ella was\ninteresting and intriguing to me. But to me Ella gave me the big band in every\naspect of her performance. And by me hearing her more because of the proximity\nof where she was when she'd come here to Baltimore, I got a chance to hear her\nwhen she's practicing or things like that.\n\nI was turned on to big band early. When you're coming up as a teenager in high\nschool, that's what we had. We swung because you could have the dance and all of that.\n\nAnd so I listened to the musicians who would say, ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117418#t=240.0,360.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117418/transcript/35148/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"man, you got to learn to\nswing. But getting musicians to play for you as a singer was very much something\nfor them as a hardship. First of all, they didn't want no girls. Yeah, we don't\nplay for no singers. That's what you would get. So you had to either get better\nor go to them in a desire to learn. So I said if I open up and desire to learn,\nI'll get better.\n\nA great influence of mine was Sarah Vaughan. I loved the melodic approach. I\nloved the intriguing long-winded endings that she seemed to have. I almost fell\ninto a very bad scene by mimicking everything she did. Consequently, my real\nvoice was not presenting itself until I was well involved with the music, almost\nlike ten years. I sounded so much like her, ending for ending, briefing for briefing.\n\nColumbia Records, when I was twenty-two, got interested in recording me, and the\nfirst recording, Mr. Fox took me to Columbia. We did the recording, and when we\ncame out -- you know how you listen to the music -- I'm listening to the music\nand I said I don't remember Sarah singing that. And Mr. Fox was sitting on one\nend, and Ray Chambers, who had just been the pianist, he was sitting at the\nother. He said, that's not Sarah. That is you. And I said, wow, I'll never go\nanywhere sounding like her. She's already alive and well. I've got to find me.\n\nIt took me a good ten years to identify who I was under her.\n\nSCHAAF: How do you think you got there?\n\nGLOVER: Oh I got there because I began to listen attentively ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117418#t=360.0,480.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117418/transcript/35148/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"to what I was\nsounding like, what I was saying. I found that I would demonstrate certain\nprivileges with the person who was on piano. Like saying, oh no, don't play it\nthere. Let's change the ending, let's change some of the area where I'm going\ninto certain keys. And I named it, and I said end it here. I found that I\nwouldn't end them the same way. And I loved minor keys.\n\nI said I have to be soft, but I don't have to be exact. So I began to listen to\nme and to her. And I said, well, I've got to change. I've got to be me. If I'm\never gonna be of any great use to myself, I've got to be me. And then in came my\nlistening to Betty [Carter]. I liked her drive. I liked that ability to relate\nto the music as a horn. So I began to listen to the two of them. I liked\nBillie's expression, but she was always so sad, and I didn't want to be sad.\n\nThen I listened to Carmen McRae who was funny. Carmen really had a sense of\nhumor, but she was direct and very brash at times. So I said, if the four women\nhave to be in there, I like to scat, that was the day when I said I'd love to\nlearn to scat. I'll never forget it. We were all four together at Albert\nDailey's house, and Miles [Davis] had just come out with Milestones. I'm coming\nacross the street. I could hear them rehearsing. It was Albert Dailey and Jimmy\nWells. It was Donald Bailey, because Donald had just come off the road with\nCarmen McRae, and there was a drummer with them. It wasn't Reggie, the same\ndrummer, it was Purnell Rice. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117418#t=480.0,600.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117418/transcript/35148/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Anyway, they were playing and I'm coming across\nReservoir Street and Albert lived in a corner house and I could hear them\nplaying -- right there where Linden goes up and then Reservoir Street. There was\nanother little street that came out and there was a school yard on this side and\nthey all came out to Linden Avenue. And so by me coming up that street, I could\nhear, his house window was katty-corner. The window was up and I could hear them\nplaying \"Milestones.\" They were just playing it. I said to myself, that sounds\nlike a good rehearsal and I rang the bell and his wife came down and let me in.\nI said, they sound like they're having a ball. She laughed and she said, yes\nthey are and they just spoke your name. They said, Ruby ought to hear this! Like that.\n\nSo I came up the steps and I got at the top of the steps and it's Wells. Wells\nsaid, you know how we've been telling you what you should listen to in order to\nclearly define who you are? And I said, yeah, like that. You know how you\nquestion them over making a decision over you. And so Albert said, man, you need\nto listen to horns. I looked at him and I said, why? Like that. And he said, a\nsinger cannot learn from a singer without duplication. Her bad marks or his bad\nmarks -- ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117418#t=600.0,720.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117418/transcript/35148/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"you're going to have them. You're going to demonstrate the flaws in\nyour own presentation.\n\nYou're going to sound like that individual. He said, the best way, musically,\nand he went right into it, he and Wells. Bless them.\n\nAnd Donald Bailey said, for instance, we've been listening to Miles. So he said,\nyes, we know you like Miles and the way he plays. It would behoove you to begin\nto listen to Miles, to listen to Coltrane, to listen to all the idols who play\nhorn that you like. And he said even Chet Baker. He said you were the one who\nsaid Chet's not a singer. He sings almost too soft. So they said, you were the\none who brought that out. We thought he was fine like he was. We found when we\nlistened to him play you said that he played soft even when he was playing his\ntrumpet because he was still gathering in his mind what should be expressed. So\nwe want you to try to begin\n\nlistening to horn players for the melodic sound you're after without the\ninfluence of singers. So I began listening, and Miles was the first one. The\nsecond one for me was -- shucks -- Cannonball [Adderley]. Only I said that\nCannonball was a little too melodic, but Sonny Stitt came to town and I began\nlisten to his fastness and I liked Gene Ammons and him together. And as the\nworld would have it, as God would have it, ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117418#t=720.0,840.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117418/transcript/35148/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"he placed me in the Alpine Villa to\nsing with Gene Ammons and that was exciting because is he going to like me?\nThat's when Donald said most horn players don't like singers.\n\nI knew how they felt about me. I knew they were open because Freddie Thaxton\nused to say, I hate like hell to play for singers. So he said, you either have\nto sing good and take me somewhere else when I'm playing because I get drugged\nwhen I have to play for a singer. I said well, you're not the only one. But yet\nthey would always be open enough -- because Freddie was in school with us too.\nThey'd be open enough that when they would travel with a singer -- or with a\nhorn player -- they would come back and say, you need to try this! And they'd\nplay it and I'd sing maybe the levels of it. I'd say, I don't like that sound\nand they'd say, well try again. They would try many aspects for my ear to catch.\n\nSo through my musician brothers, I began to listen to horns. I fell in love with\nthe trumpet. I fell in love with the tenor saxophone and then, ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117418#t=840.0,960.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117418/transcript/35148/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"of course,\nlearned later how to associate all of that with the bass. And Donald Bailey, I\nhave to add, was someone who was a great influence on that. He played very\nmelodically on the bass. He was the top bass player that any of the singers\nwanted -- like Keeter [Betts] is to everybody now. That is how Donald Bailey\nwas. He was always on the road with someone.\n\nOne day we were going to appear up on the [Pennsylvania] Avenue at a club called\nthe Tijuana-- it was a jazz house -- and everybody, the pianist, the drummer and\nthe horn player, were taken off the stage because their union fees were not up\nto par. That left me and Donald standing the on the stage for the show. I looked\nat him and I said, did I ask for this? And he said no, but\n\nit's a good challenge. I said, how in the world am I going to get to sing with\njust a bass? He said, there's a lady named Sheila Jordan that sings with just\nher bassist. I said, I've never heard of her. He said, you will from now on. He\nsaid you're going to be Sheila Jordan.\n\nI had to go off on the side. I knew the keys, I told him the keys and I put my\nfingers in my ears so I could not hear the bass sound but could hear me for my\nstarting key. And we had a ball! I learned to solo -- we became a duet. So we\nbegan to do more and more of it. Then I began to do it with the drums. So I\nlearned meter ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117418#t=960.0,1080.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117418/transcript/35148/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and I learned accommodations that would be very, very much a\ngrowth factor for me. And not to have a sound that belonged to anybody but me.\n\nThe first time I really tried it, I was at the Red Fox. Ethel [Ennis] was away\nand I was replacing her at the Red Fox. In the midst of the song, I was scatting\nand singing, and I forgot about the microphone and I said, oh, my goodness, that\nis really me! The people out in front applauded and I was so joyous. I said, I\ngot a sound! I don't remember who -- I think it was Freddie -- if it wasn't\nFreddie it was either Freddie or Claude [Hubbard] who said, man you are silly. I\nsaid, well, it's such a wonderful feeling to identify with yourself and it\nreally was. It was so much fun! And from that point on, the four of them always\noffered something to me.\n\nI've been very fortunate and I have two friends who always made my birthdays a\nspecial gathering for me. I have had the privilege of meeting everybody that has\nbeen my idol. When I met Carmen McRae, Donald [Bailey] was playing for her. She\nwas at Oregon Ridge and I said, I'd love to meet her up front. Donald said well,\nshe's not the charmingest person in the world. I said, yes she is. He said, no\nRuby, you see her from the stage. He said, I work with her. She's a driver\nbecause she's a pianist and she knows what she wants and she drives you. There's\nsomething I find that most of the women ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117418#t=1080.0,1200.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117418/transcript/35148/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"in the business do that you don't do. I\nsaid, well what is that? He said, they curse like sailors and you don't curse. I\nsaid no, I guess that's somethingthat's not my forte. I can say what I've got to\nsay without those comical little words. He said,\n\nthey're not so comical when they're firing at you like that. I met Carmen\nthrough the musicians but I met Sarah Vaughan up front in a master class over at\nDuke Ellington school by another musician who was playing with her and that was\nAlbert Dailey. He was playing for her that day. So I got to meet her up front.\nVery charming, very warm and friendly, with her little bitty voice -- her\nspeaking voice never matched what her singing abilities were. I was mesmerized\nby that.\n\nThen I met Billie [Holiday] just before she passed because of Albert [Dailey] --\non the Avenue, right by the Comedy Club. She had been in the hospital and she\nhad come out and she was doing a tour again. That was just not the most\ndelightful of my life, but it really had a lot of warmth and remembrance to me,\nbecause to have someone that you love and adore, someone who the nature of ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117418#t=1200.0,1320.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117418/transcript/35148/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"bad\nwriting just destroys with bad writing.\n\nShe was very frail and I went back into the dressing room and they introduced\nme. She said, you're a singer, and I said, I try at it. She said, I'm told by\nAlbert that you're very good. I said thank you and thanks to my musician\nbrother, I get better. She said, do you drink or smoke? I said no, I don't drink\nor smoke. And she said, you work in the clubs? And I said yes. She said, you're\na family person, too? I said yes, like that. She said, well, never do as I do\nbecause, she says, I didn't have a family life. But be as great as you can be\nfor yourself, and never forget that you have to live within the walls of who you\nare, even in the midst of a crowd. You still have to be you. I never forgot\nthat. I took her hand and I shook her hand and she said, don't go home.\n\nYou know, they had a stage that came out from the wall and so when I went out to\nsit, Albert said, I sat you right here. Here was the stage and here I was, so I\ncould see her. I could see the piano, and I could see the bassist and drummer.\nShe sat on a stool that sort of swiveled, but you could see that she needed the\nkidney part of the piano to rest on. She was as beautiful as ever, but she was\nvery ill and you could see that.\n\nBut as I teach my students, when we study masters of any sort, we study them for\nthe ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117418#t=1320.0,1440.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117418/transcript/35148/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"legacy that they leave, not the ills that they perceive, or have, or are\ndealing with. That has nothing to do with the quality of the individual or their\nliving, or how they perform, because they leave you that legacy. They leave you\nthat warmth and all of that comfort, embracing you when you put their music on.\n\nThat's the first thing the students tell the other students -- if you're going\nto take Ms. Glover's class, don't go in there talking about the person's had\ndrugs because she isn't going to let you have that!\n\nSCHAAF: It must have been interesting for you to meet her.\n\nGLOVER: She came out of this area.\n\nSCHAAF: Mr. McCoy mentioned that she used to drop in at the club.\n\nGLOVER: Right up there at the Club Orleans, because she wanted the warmth of\nfriendship. She wanted all of that. She always felt so alone, even, she said, in\na crowded room she felt alone. I guess so. It was so negative, and she came up\nin a time in a time period where slavery and stuff were being dealt with. There\nwas still a lot of ignorant behavior between Blacks and Whites and yet on stage\nit was totally different. Isn't it amazing what the music could do and the artists?\n\nThen I get to meet Ella [Fitzgerald]. My youngest daughter loves her to pieces.\nElla for me, and it was her last performance at the Morris Mechanic [Theater] --\ndo you remember that? Keeter [Betts] and Joe Pass were with her and Tommy\nFlanagan. I said to [Clarence] \"Du\" Burns, ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117418#t=1440.0,1560.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117418/transcript/35148/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"oh, after the program I'd love to\nintroduce my daughter, Toni, to Ella because she talks about Ella all the time.\nAnd \"Du\" was always identified to me from my mother as being my Godfather and\nthe Mayor of Baltimore City long before he became the Mayor. I made reference\nalways to him because that's how he was introduced: Here comes the Mayor!\nEverbody Black knew who he was because of his aspiring. He was just so many\nthings to so many people and he's still like that in his darkest moments,\n\nSCHAAF: A wonderful man.\n\nGLOVER: Yes he is and his wife. I went to school with his sister-in-law. His\nsister-in-law came out of Catholic school, but we came out of public school and\nwe could always get together on weekends.\n\nBut \"Du\" said to me, it's already arranged. And so we were sitting and she sang.\nShe sang so beautifully. She made reference to special greetings going out to\nspecial people that she would very much like to meet with. I had no idea what\narrangements \"Du\" had made, and so when the show was over, we started to go over\nto where his car was. He said no, you and Toni are going backstage and you're\ngoing to meet Keeter, because I'd said I'd like to meet Keeter up front. I'd met\nhim, but I had not spent quality time with him. And so we go in the back and he\nsaid to Toni, \" Toni; she said yes Uncle Du, he said, come here, I want you to\ndo something with me. So he took ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117418#t=1560.0,1680.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117418/transcript/35148/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"her. She just had her 20th birthday. And he\ntook her backstage.\n\nWell, I'll tell you, I had seen my children mesmerized but she was mesmerized.\nThey were hugging and Ella looked at her and said, well I always wanted a\ndaughter and she said, you could have me. So she said, I'm just mesmerized. When\nmy Mom puts you on, I want no talking -- nothing!! I just want to be there and\ntonight I was like a little robot. I just sat still. My mom could have pressed\nall the buttons and I would have moved nowhere except right here to you. So she\nspent about an hour and a half with her and Toni's never forgotten that. She\ngave her pictures and signatures and they talked. She talked about Toni's\nshyness and she said, are you ever going to stop calling me Miss Ella? And she\nsaid, no. She said, how about Aunt Ella, I could fit that in very well. She said\nwell do that.\n\nFor a while she would send Toni cards when she was around, but as she got busy\nshe also got very sick too. It hit very hard when I had to tell Toni that she\nhad passed, but my daughter had heard it over the air. She really questioned me.\nI was shocked. I knew she had diabetes, but I had no idea that she was staying\nin Paris because she had had the amputations done.\n\n","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117418#t=1680.0,1800.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117418/transcript/35148/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So I began to think about who else I had on my agenda. So for my 60th birthday,\nI got the opportunity to meet Nancy Wilson, like I'm talking to you. Thom and\nDorothy made that available to me. It was fascinating;. Just before my 65th\nbirthday, Thom took me to see Betty Carter up front. Betty and I had met\npreviously, because Betty remembered. She whispered in my ear, you're the lady\nwho doesn't drink or smoke, and I asked you did you get married and\n\nyou said yes, and I said I didn't think that would happen either. [laughter] She\nwas funny, but she was so talented. So I got to meet her up front and all to myself.\n\nAnd for my 70th birthday, I got the pleasure of meeting and enjoying the Cat\nLady [Eartha Kitt] -- I thought she was adorable. She was a cute little lady. She was very warm and friendly.\n\nEartha Kitt, I guess having seen her in movies as well, I couldn't imagine that\nshe was older by two or three years. Because she chatted with me and said you're only as old as\nyou feel. She said, I'm always going to be 20.\n\nAnd here's a picture of when they did the stamp. Now the three ladies on the far\ncorner, the one that's holding the end with me, that's Billie's [Holiday]\ncousin. She's 75 now. I grew up with her, and those are her two daughters.\nThat's the only two living members I remember, Geraldine as being a living cousin.\n\nJust the memories alone. I grow as part of the history, because the history\ndoesn't change. In my heart and in my soul the music is always there. When I'm\n","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117418#t=1800.0,1920.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117418/transcript/35148/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"lonely I put the music on of the folks who gave me the opportunity to find me. I\nfind that I am closer to them then I ever thought I would be. I am grateful for\n","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117418#t=1920.0,2040.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117418/transcript/35148/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"that, because I am able to tap into a newer energy -- the newer development of\nthe young -- the ones hoping to reach another part of their life. I find that my\naging is not aging at all.\n\nIn the deepest part of my heart, I don't believe Dizzy [Gillespie] and Charlie\nParker and all the ones that went on before, thought that the music would ever\ndie. To them it was ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117418#t=2040.0,2160.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117418/transcript/35148/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"always going to live. And it only lives through the people\nwho perceive it as a valuable talent and treasure and those who do something\nabout giving it on. It is now ours to keep. And the talent is only given to us\nto develop. And once I've met the quota that God or some greater power than me\nperceives as being where I stop, only then will it stop. There are many, many,\nyet that we need to touch and there are many yet who would love the opportunity\nto touch those who ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117418#t=2160.0,2280.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117418/transcript/35148/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"they see within their realms who have a talent.\n\nSCHAAF: You are right and it is good that there are people out there making that\nhappen. There's been a resurgence in the past five years.\n\nGLOVER: It's like deja vu. It's like you walk into a setting -- exactly the\nsetting or that you've done it before -- and the person on that stage is you, or\nwhomever. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117418#t=2280.0,2400.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117418/transcript/35148/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"That happens and you have to chuckle to yourself, particularly when\nyou get to be a young lady. You perceive it and the water comes up in your eyes\nbecause you don't just see yourself. You see the whole circle. The whole circle\nis there. You hear the music, and the artists that are there playing are not the\nartists that you see. You see those who have gone home before you. They are\ncoming back to allow you the privilege to say yes, it's okay. We appreciate\nwhat's happening and you just keep on. You keep right on. It is not a\ncompetitive thing -- that I must get across. Elizabeth, it is our privilege,\nyours and mine, and those who have come before us. It's never meant to be\ncompetitive. It is a concert that has been going on since day one until all of\nus meet in that wonderful area and have a bigger show than we ever had. But we\nmust never let even the youngest of the performers see everything competitively.\nThe minute that word or that feeling gets in there, they loose all the warmth\nthat we enjoyed. They don't get that old baggy sweater that may have a hole in\nit, but it still keeps us warm when we need it.\n\nSCHAAF: You saw Pennsylvania Avenue and you were part of Pennsylvania Avenue.\n\nGLOVER: That was my heart. I was like Alice in Wonderland -- if they ever had a\nblack Alice, I was. [laughter] And for me, just to get off the 21 bus -- see,\n","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117418#t=2400.0,2520.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117418/transcript/35148/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"because street cars left in about the '40s and '50s and we got those buses.\nWhen those buses hit, I was old enough to go by myself. Before, it was just a\ntrip with your mom, but I was excited anyway. It was fascinating to see people\ncoming and going and looking like -- the dress was awesome. And then the place\nthat you were going -- my mother would always be going to the Royal Theatre and\nyou would see more beautiful entertainment. People standing in line, holding\ntheir children's hands. We went early. Then they always had a midnight show --\nFriday they'd have a midnight show. People would be standing at 10:30 for the\ntheatre to let about and they'd be going in to something that would be --there\nwas a big show for New Year's Eve, and they would have big show for Duke\nEllington -- the bigger bands with a lot of real good finesse and swing -- they\nwere the ones who'd have the bigger programs. I'm telling you, I'd get excited\nand want to just like click my heels so I could go. So when I got up there I'd\nbe smiling for days.\n\nAnd it was just as exciting inside as out. And the music and how the people\nreceived it. It was always such a wonderful feeling -- like nothing else I can\nremember. Because my mother was an entertainer, she knew how to go through the\nback and come through he back. When I got old enough, on a Saturday they'd be\npracticing music, I ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117418#t=2520.0,2640.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117418/transcript/35148/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"could sit on the stool and see who was going over the music.\nOf course, this darling here, he would never let them say, no she can't come in.\nI had my mother's pride. She would leave me there. I would sit on the stool and\nI'd be mesmerized. I was always there. When I first saw Sarah [Vaughan] there, she\nwasn't singing. I first got a chance to see her with [Earl] Fatha Hines, and she\nwas playing the piano. That was one year and then, like a year later, here she's\nback with Billy Eckstine and she's singing. So that was a great jump for me. She\nhad almost no hair. She had a very close bob. She was a very pretty woman, very beautiful.\n\nOf course you didn't always look at the woman, you looked at how fascinating\nBilly Eckstine was. Every time he came to town, something changed in the style\nof the men's wear -- their shirt collars started to change, the kinds of suits.\nThe men would beat it to the Royal Theater just to see what he was wearing. It\nwas fascinating. The Avenue itself was electrifying because as I grew, it grew.\nIt allotted me the pleasure of what just maybe a few steps to get to the Royal.\nAs I got older, those steps added more of a lineage to me. To go straight on up\nuntil I hit the very top and it was always something for you to see, something\nexiting happening musically, wherever you went on both sides of the street it\nwas music. If you went into the barber shop that used to sit right there at\nDolphin and Pennsylvania Avenue, the barbershop sat next to the Pharmacy.\n\nWhen you went in there they were always talking about who was up the street, or\nwho was playing, or don't forget there's a dance at the corner. There was always\na conversation in every little pocket, where you saw people talking. They were\ntelling each other, remember to come out because so and so is going to be there.\nDon't forget to go up the street because the Casino's got so and so. And so I\nwatched myself and as I grew, I was not only able to see people who would come\nto the Royal, I was beginning to see those clubs develop to a point where they\ncould have some of the acts that were at the Royal -- in these private little\nclub spots. Then, if you were old enough and accepted, you could go to the\nSphinx Club and see everybody, because that's where they'd all be after the\nhours. By being a private club, you could get someone to take you and by the\nmusicians always going up there, that's how I always got in and out of the\nSphinx Club, before I became a real performer and when I did become a performer.\n\nI didn't start on the Avenue. I started at Phils, on Mount and Mosher Street, in\nthat cozy quaint place that he had in the back with Phil Harris on bass and\nPrince on drums and Claude Hubbard on piano. I went there one evening and I sang\na song and the audience liked me and so did the owner, Rubin -- the Rubin\nBrothers. Joe Rubin was the one who had that one. Joe came back and said to\nClaude, who's the singer? He said, her name is Ruby Glover. He said does she\nsing anywhere? No. He said, the ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117418#t=2640.0,2760.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117418/transcript/35148/annotation/24","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"audience sure liked her. They came in and out.\nIt was a lovers' hideaway. He said, I can't hire her because my amusement tax\nwill go up -- she has to have an instrument. And so Prince, who was playing congas, said, \"I've got just the\nthing. I'll teach her to play a cocktail drum.\" They decided if I was going to come\nto work at a club, I'd have to play that drum.\n\n[END OF INTERVIEW]","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44133/file/117418#t=2760.0,2880.0"}]}]}]}