The DeFord Bailey Legacy Festival, Dec. 13-15 at Freight & Salvage, pays tribute to the legendary Black musician. Born in 1899 and short of stature at four feet, 10 inches tall, Bailey was dubbed the “Harmonica Wizard” for his monumental talent, diverse command of country and blues styles, and a legacy long overdue for recognition when he was posthumously inducted into the Country Music Hall of Fame in 2005.
The three-day festival is curated by Grammy Award-winning artist Dom Flemons, artistic director Peter Williams and director of education PC Muñoz. Events include evening concerts and daytime talks, workshops, free community activities such as cowboy hat-decorating, a guided tour of the “Westward Bound: African-American Country Music History & Cowboy Lore” exhibit at Berkeley Library’s Central Branch, and more.
Several musicians appearing present setlists unquestionably demonstrating Bailey’s imprint on traditional Americana and country music history. Among them are Flemons, known as “The American Songster,” whose wide range includes American roots, folk blues and country music; Oakland-based country/Southern soul/gospel musician Miko Marks; and blues/jazz/folk multi-instrumentalist Jerron Paxton.
Other artists provide clear, audible evidence of how Bailey’s artistry became a trajectory that continues to shine in the careers of today’s established and rising Black musicians. Oakland’s own Fantastic Negrito brings to the festival his forward-leaning blues, soul and rock repertoire, while Grammy-nominated fiddler/singer/accordionist Cedric Watson draws from and reimagines Cajun, Creole and Zydeco genres.
Guitarist/composer Yasmin Williams’ innovative playing style on kora, harp guitar, banjo and electric guitar are a subtle but strong connection to Bailey’s nothing-will-stop-me attitude and inventive approach. As a SouthPaw, Bailey played the banjo and guitar upside down and laid the early tracks for harmonica-playing techniques musicians used ever after and employ to this day.
“Within my shows, there’s always a harmonica instrumental,” Flemons says. “People usually hear harmonica in a band setting, but like Bailey, I show how powerful solo harmonica is. I’ll be playing in first position, which means it toes the line of country and jazz more than the blues. I’ll be double-noting (playing a chord), doing melodies and bending notes in a way that’s part of early, pre-World War II traditions. It’s almost like bending the reed of a clarinet. It’s not done with breath like when playing harmonica in blues style.”
Flemons says the concert with Paxton and Fantastic Negrito displays the full spectrum of Bailey’s influence, adding, “Paxton has developed as a deeply talented musician. He’s doing more the traditional side, I’m doing country and Western aspects, and Fantastic Negrito is presenting blues and ideas of contemporary Black Americana music.”
Importantly, all of the musicians performing or leading elements of the festival are Black. Flemons says when the invitation to curate and participate in the festival arrived, he jumped at the opportunity—and this central principle shared by the three curators bedrocks the event.
“It’s an all African-American lineup, something we chose intentionally. Many festivals might have one African-American act, but we wanted to showcase the legacy of Black music that spawns out in multifaceted ways. Bailey’s story comes from a time when Black music wasn’t crossing over into the world of folk and Americana in the way it is now,” Flemons says. “So we’re juxtaposing traditions and innovations (of his time) with where we are now. Today, people are able to take in the idea that Black Americana artists are not few, but numerous.”
Flemons believes Bailey was a particular kind of pioneer who deserves to be talked about more. “He set the precedent for all the people who played on the radio, which includes people like Sonny Boy Williamson, folk revivalist Sonny Terry, even early country music performers like Henry Whitter, the McGhee Brothers and Crook Brothers,” he says.
Flemons often thinks about increasing visibility and awareness of Black artists and how best to frame their stories, saying: “From the beginning of the folk revival, Black artists have always been involved. In country music collectively, Black artists have always been involved. I don’t take the position there’s never been an embrace. There has been, to a degree. Now, in this new era, people need spaces to see the continuity between generations of Black artists.”
This festival, he emphatically suggests, pushes back stigmas and shows powerful, contemporary performers who reflect and expand upon the many phases of Bailey’s music. Celebrating Bailey’s legacy and the past, the festival drives into the present. With enough energy to continue in future years, Flemons says he hopes to curate another round of the festival that presents new facets of Black music history and stories.
“He grew up in a strong musical family, was acclaimed in early country music, had struggles and tribulations being a Black artist in his time, and didn’t get his due in his lifetime,” Flemons says. “Now, after being added into the Country Music Hall of Fame, it’s a new story that deserves to be told again and again. There’s power and healing in thinking of and celebrating where we’ve triumphed over the years.”
It’s great to finally recognize legendary BLACK artists, who have contributed much to the HISTORY OF AMERICAN MUSIC, but NEVER honored!