by Michael G. Nastos
Of the many projects Hendricks has been involved in, this is his crowning glory. It toured the country as a stage production, depicting the history of African-American roots music, from spirituals and field hollers to blues, gospel, and jazz. Hendricks recites signposts of the musical progression in rhyme, and singing here and there. Pony Poindexter plays a little tenor sax and talks about New Orleans, while Ike Isaacs' trio backs the singers. An intro by Hendricks postulates that adults &have their minds made up, don't confuse 'em with facts& and refers to musicians as &metaphysicians.& This is one of several pieces where the chorus hums while Hendricks tells his tale. African drums, serving as a call-and-response device, inform &Amo.& A slave story told in a Harry Belafonte style by Hendricks accents &Some Stopped on De Way,& while a spiritual rap precedes &Swing Low Sweet Chariot.& Big Miller digs into a personalized gospel blues, &If I Had My Share,& and Witherspoon belts &Please Send Me Someone to Love& like only he can. A highlight is Miller's &Sufferin' Blues,& followed by Hendricks' field holler &Aw, Gal& and Witherspoon's groovin' &C.C. (Circuit) Rider.& Poindexter returns on &Jumpin' With Symphony Sid,& which includes references to jazz and Lester Young. The program ends with Witherspoon's brilliant rendition of Big Bill Broonzy's &Sun Gonna Shine,& Hendricks' downtrodden take on &W.P.A. Blues,& and Big Miller's turn on &Motherless Child.& If you'd like to get your children -- or uninformed grown-ups -- a quick, painless, enjoyable lesson in the last 100+ years of our American classical heritage, this is a perfect primer.