Collection ID: SC 106
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Collection context

Summary

Creator:
Otis, Johnny, 1921-2012
Abstract:
Approximately 800 radio aircheck tapes of radio programs of black popular music (live and prerecorded), hosted by Johnny Otis, and featuring live interviews with blues and rhythm & blues artists from the 1940s, 1950s, and 1960s. Artists interviewed include Little Esther Phillips, Al Frazier, Mary Wells, Zola Taylor, the Coasters, Horace Silver, the Robins, Etta James, Big Jay McNeely, Bobby Day, Bumps Blackwell, Pee Wee Crayton, Jimmy McCracklin, and Joe Liggins. Also included are photographs, memorabilia, books, and compact discs.
Extent:
1 records carton, 310 photographs , 753 Audiotape Reels (analog : 5, 7, and 10 in.), 3 Videocassettes (VHS), 5 Videocassettes (MDV), 2 Audiocassettes (DAT), 77 Audiocassettes (analog), and 1 digital audio files
Language:
Materials are in English.
Preferred citation:

Johnny Otis Collection, SC 106, Archives of African American Music and Culture, Indiana University, Bloomington.

Background

Biographical / Historical:

Johnny Otis, known as the "Godfather of R&B," was born in 1921 to Greek immigrants in Vallejo, California. Two years later his family moved to a predominantly Black neighborhood in Berkeley, where his father opened a grocery store. In this environment, Otis experienced and internalized Black culture from an early age and was particularly influenced by African American music styles. In high school he learned to play the drums and in 1940 landed his first professional job with Count Otis Matthew's West Oakland House Rockers. The following year he began playing and touring with Black territory big bands led by musicians such as George Morrison and Lloyd Hunter. After settling in Los Angeles, Otis became a session drummer for jazz greats such as Lester Young and performed and recorded with his own big band, scoring his first hit with an arrangement of "Harlem Nocturne" in 1946.

As the demand for big bands waned, Otis downsized to a combo, forging a new style that became known as rhythm and blues. Over the next decade he played an important role in the development of rhythm and blues, discovering, producing, promoting and performing with artists such as Little Esther Phillips, The Robins, The Coasters, Mel Walker, Etta James, Jackie Wilson, Big Mama Thornton, Little Willie John, and Hank Ballard. Otis led the house bands at Club Alabam on Central Avenue and the Barrelhouse, a nightclub he opened in Watts, and toured extensively with his popular live revue show. During this period Otis also released a string of hit records including "Willie and the Hand Jive," wrote songs for other artists, served as a record label talent scout, and operated a recording studio, record shop and the Dig Records label.

In 1954 Otis began his media career as host of "The Johnny Otis Show," a rhythm and blues radio program which he adapted into a weekly television series that aired on KTTV from 1955-1961 and was briefly revived in the 1970s. The popularity of Otis's radio show persisted over several decades, continually introducing new audiences to the many African American artists he worked with throughout his career, highlighting their achievements, and addressing issues such as systemic racism within the industry. Otis also ventured into print media in 1960, writing a column for the Sentinel, one of L.A.'s leading Black newspapers, which he used as a platform to address racial equality and social justice.

Otis was voted into the Rock & Roll Hall of Fame in 1994 and received a Pioneer Award from the Rhythm & Blues Foundation for his role in the development of these styles. In addition to his musical career, Otis was an avid painter and sculptor, author, ordained minister, organic farmer, and civil rights activist. He founded the Landmark Community Church in the late 1970s and advocated tirelessly for the homeless, organizing food drives such as the Red Beans and Rice Festivals promoted on his radio shows. He married Phyllis Walker, an Afro-Filipina woman, in 1941 and had several children. Otis frequently performed with his sons, guitarist Shuggie Otis and drummer Nicky Otis, and in later years with grandson Lucky Otis on bass. Johnny Otis died in 2012 at the age of 90.

Scope and Content:

This collection includes materials created during Johnny Otis's career as a musician, artist, writer, minister, civil rights activist and radio deejay. Personal papers consist primarily of articles, biographical information, programs and press clippings from 1949-2012. Writings include copies of Otis's L.A. Sentinel column "Let's Talk" from 1960-1964, an undated article on rhythm and blues music and books published from 1993-2009. Photographs span the years from 1940-1994 and feature portraits of Otis with many notable rhythm and blues artists, candid photos taken during camping and hunting trips, family portraits, and performances at various venues including the Barrelhouse and the Hollywood jazz club Shelly's Manne-Hole. Other images capture Otis in radio, television and recording studios and his participation in political activities.

The bulk of the collection documents "The Johnny Otis Show" radio programs through recorded airchecks, original handwritten cue sheets and tape logs compiled at Indiana University. The weekly radio programs are divided into two subseries, beginning with Otis's "Blue Monday" edition broadcast over KPPC-AM (Pasadena) from 1970-1972. In addition to playing the music of blues and rhythm and blues artists, the shows feature interviews and live performance segments by artists ranging from Freddy King, Joe Liggins and Frank Zappa to Shuggie and Nicky Otis. The majority of the airchecks are from the second subseries, broadcast from 1982-1994 over public radio stations KPFK (Los Angeles) and KPFA (Berkeley) and syndicated by Pacifica. These programs frequently include musical guests from the glory days of rhythm and blues as well as call-ins from radio listeners, while other programs follow the standard deejay hosted format with Otis introducing R&B, jazz and gospel records and publicizing local events. In 1993, Otis opened the Johnny Otis Market and Cabaret in Sebastopol where he broadcast his show live, often featuring members of his band. The most notable live broadcasts were recorded at the Monterey Jazz Festival in 1984 and Chicago Blues Festival in 1993; other shows were broadcast live from hotels where Otis was performing with his band.

Other time-based media in the collection includes Otis's appearance at the 1998 Society for Ethnomusicology conference at Indiana University, Bloomington, where he participated in an interview, forum, and performed at the closing concert with the IU Soul Revue.

Acquisition information:
Donated by Johnny Otis in 1990 with regular accretions through 1995; additional accretions donated via Portia K. Maultsby and Terry Gould.
Custodial history:

The Johnny Otis Show aircheck tapes were originally deposited at the IU Archives of Traditional in 1990; custody was transferred to the Archives of African American Music and Culture in 1997 and 2022.

Processing information:

Processed by AAAMC staff. Completed in 2022.

Arrangement:

Arranged in six series:

Series 1: Personal papers
Series 2: Writings
Series 3: Radio program cue sheets
Series 4: Radio Airchecks, Johnny Otis Show
--- Sub-Series 4.1: KPPC-AM (Pasadena, Calif.)
--- Sub-Series 4.2: KPFK (Los Angeles) and KPFA (Berkeley)
Series 5: Time-based Media
Series 6: Photographs
Rules or conventions:
Describing Archives: A Content Standard

Indexed Terms

Subjects:
Rhythm and blues music
Radio airchecks

Access

RESTRICTIONS:

Use of time-based media materials (audio and video) may require production of listening or viewing copies.

Access to streaming audio, moving image, and full resolution digital image materials may currently be restricted to researchers who can authenticate with an IU account or who are physically present on campus. Remote streaming to individual researchers may be allowed with the completion of applicable forms.

For further information about access to online audiovisual materials, contact AAAMC staff at aaamc@indiana.edu.

TERMS OF ACCESS:

Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, including but not limited to the Indiana Public Records Act (5-14-3-2 et seq.). Researchers are advised that the disclosure of certain information pertaining to identifiable living individuals represented in this collection without the consent of those individuals may have legal ramifications (e.g., a cause of action under common law for invasion of privacy may arise if facts concerning an individual's private life are published that would be deemed highly offensive to a reasonable person) for which Indiana University assumes no responsibility.

Copyright is retained by the creators/authors of items in this collection, or their descendants, as stipulated by United States copyright law. All requests for copying and publishing materials must be submitted in writing to the Archives of African American Music and Culture, and may require the written permission of the creator(s)/author(s) or donor(s).

PREFERRED CITATION:

Johnny Otis Collection, SC 106, Archives of African American Music and Culture, Indiana University, Bloomington.

CAMPUS:
Indiana University Bloomington
LOCATION OF THIS COLLECTION:
Smith Research Center, Rooms 180-181
2805 East 10th Street
Bloomington, Indiana 47408-2601, United States
CAMPUS:
Indiana University Bloomington
CONTACT:
812-855-8547
aaamc@indiana.edu