Meet Me with Your Black Drawers On: My Life in Music by Jeannie Cheatham

Meet Me with Your Black Drawers On: My Life in Music by Jeannie Cheatham

By Jeannie Cheatham

Jeannie Cheatham is a residing legend in jazz and blues. A pianist, singer, songwriter, and co-leader of the candy child Blues Band, she has performed and sung with some of the greats in blues and jazz--T-Bone Walker, Dinah Washington, Cab Callaway, Joe Williams, Al Hibbler, Odetta, and Jimmy Witherspoon. Cheatham toured with mammoth Mama Thornton on and off for ten years and used to be featured with Thornton and Sippie Wallace within the award-winning PBS documentary 3 Generations of the Blues. Her song, which has garnered nationwide and foreign acclaim, has been defined as unrestrained, exuberant, soulful, rollicking, depraved, virtuous, wild, and fair. Cheatham's signature music, "Meet Me along with your Black Drawers On" is a staple in jazz and blues golf equipment throughout the USA and in Europe, Africa, and Japan. during this delightfully frank autobiography, Jeannie Cheatham remembers a existence that has been as exuberant, virtuous, wild, and fair as her track. She starts in Akron, Ohio, the place she grew up in a colourful multiethnic local surrounded by way of a kinfolk of sturdy ladies. From these roots, she introduced a musical profession that took her from the Midwest to California, doing time alongside the way in which all over from a prison mobile in Dayton, Ohio, the place she used to be innocently stuck in a police raid, to the collage of Wisconsin-Madison--where she and Jimmy Cheatham taught song. Cheatham writes of a existence spent combating racism and sexism, of rage and unravel, distress and miracles, betrayals and triumphs, of religion virtually misplaced in darkish areas, yet mysteriously regained in a flash of sunshine. Cheatham's autobiography can be the tale of her fifty-years-and-counting love affair and musical collaboration together with her husband and band companion, Jimmy Cheatham.

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He sat down on the piano stool, hands in his lap, eyes closed, his breathing deep and steady. Then he raised both hands and placed them on the keys, opened his bright blue eyes, and began playing a beautiful song, as different from the one-hand stranger as day is from night, but it made your insides ebb and swell with the story the music told. When he finished he was very still. ’’ We all smiled and nodded. Uncle Sid cleared his throat. ‘‘All right, Riley,’’ he said, ‘‘she’s all yours. ’’ Aunt Catherine and I were left in the capable hands of the Englishman, who took a red book from his valise and placed it on the piano.

After we cleaned up the mess in my bed, she turned to me and said, ‘‘Listen I Meet Me with Your Black Drawers On 37 and listen good! This is all natural. Tomorrow when you get up, you do everything you been doing. Make the bed, make the oatmeal, wash dishes, and since it’s Saturday, it’s your turn to scrub the kitchen. I don’t want to see frowns or grimaces or hear any groans. I don’t want anybody in this house to feel that you have a problem, ’cause you don’t.

Aunt Catherine meekly obeyed. He reached in his pocket and pulled out two pennies, placing them on the backs of Auntie’s hands. He then took her elbow and gently guided her up the five keys starting with C. She did it. The pennies didn’t move. Then she was told to come down the five notes. As she maneuvered her unruly fingers downward, off flew the pennies. Auntie struggled for an hour: up—fine, down—disaster. Mr. Riley never budged. ’’ ‘‘Fifty cents, Mr. Cox,’’ Mr. Riley sighed. He then put on his coat and hat and said to Auntie, ‘‘You must practice every day.

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