BUNK’S SAINTS
Hank Cherry’s piece on Bunk Johnson in your June 2010 edition is quite interesting and to the best of my knowledge completely accurate, but it leaves out one important historical fact. It was Bunk’s recordings and regular playing of “When the Saints Go Marching In” that turned it into the musical icon that continues to reverberate throughout our culture to this day.
True, Louis Armstrong recorded a jazz version first, on the Decca label in 1938, and Wingy Manone followed up with another take on the tune on Bluebird in 1939, but it wasn’t until Bunk made it a steady part of his musical repertoire in the 1940s that this gospel original reached anthem status.
Bill Russell recorded Bunk doing “Saints” several times for his American Music label, including a version in his 1945 Bunk’s Brass Band album which incidentally may be the first recording ever of a New Orleans jazz brass band. It was most probably, though, the RCA Victor recording, made in 1945 when Bunk as playing at the Stuyvesant Casino in New York, which because of its international distribution became “the shot heard round the world.”
When Bunk played “Saints” at the Stuyvesant, he’d listen for audience reaction and if there was sufficient enthusiasm, which there usually was, he’d stomp his foot twice and the band would simply play the tune again. That probably contributed to the notoriety that “Saints” acquired among musicians by the time that Preservation Hall opened in 1961 that led to the sign behind the bandstand which today reads “Requests: Traditional $2, all others $5, Saints $10.”
—Steve Steinberg, New Orleans, LA
LONERO & PRIMA
In January 1978, Gia Prima put together a group billed as “The Louis Prima Show, starring Gia Prima & the Witnesses” to play at the Hilton Hotel in New Orleans for the City of Hope benefit. Bobby Lonero and I were part of this ensemble. Louis Prima had been comatose for approximately three years at this time and Sam Butera was touring with this group, also called “The Witnesses.”
Gia Prima & the Witnesses subsequently played a few dates in New York in February and March of 1978 including the Copa and Caesars. Bobby and I played these dates. Gia sued Sam Butera for the rights to the name “The Witnesses” and won. Sam’s band then became Sam Butera and the Chiefs. I understand Louis had been referred to as “the Chief” and Butera later changed the name of his group to “the Wildest.”
Does Bobby Lonero do a great Louis Prima? Little doubt. Anyone love his music more? No doubt. For one cold winter in New York, Bobby and I played the happiest music in the world with Gia Prima and loved every minute of it. But, alas, no Louis. We were “Witnesses,” shared his music, but never the stage.
—Raymond P. Shall, Metairie, LA
Musicians have either played with someone or they haven’t. The phrase “shared the stage” is a huge red flag. If a musician ever played with Sting, his bio would say “played with Sting.” One of Gatemouth Brown’s old roadies is claiming that he was his bass player. The world has gone mad, I tell you!
In Lonero’s case, Prima had a guitarist named Rhondo James (Ronnie James) playing with him during that time in the early ’70s. That’s not to say that James never took a sick day (as they played 6 nights a week) and someone subbed for him. While it’s not a stretch to put “subbing” on one’s resume, it should be clarified.
My personal philosophy is to only put people on my resume that I have been paid to play with, not sub or sit in, or shared the stage. Never mess with Gia Maione! I am sure The Chief is looking down and smiling at her.
—Joe Sunseri, New Orleans, LA
Thank you for your recent story in OffBeat. I thank you (Mr. Rawls) and Mr. Irrera for your integrity. I found the article humorous, but at the end, the point was very clear.
—Gia Maione, Destin, FL
