I could hear it right now before you leave. And he went there and put it on the board. They had just put this little board in. So Dad found all of these musicians which later became the Memphis Horns. Because Dad had performed so many years with the big bands, he knew the orchestra leaders, the African American composers and orchestra leaders in the city.
But there was one small snag. A couple of months later, Carla released her solo debut on Satellite. Because that was my era, I wrote like that.
Once again, Jerry Wexler and Ahmet Ertegun were interested. We just seemed to click, you know? But we sat down and wrote it. WDIA deejay A. Steve was up there, putting some of the master tapes away. That was a great song! I love it. That actually is one of my favorite songs. I think we would have written well.
But I knew Carla. She was going to the university back there in Tennessee, and we were there playing, so I did know her already. And eventually we went to Memphis and I started writing songs down there. You know how Curtis Mayfield played? He had that little twirl when he played. Al played a lot like that. You hear the difference in the guitar. So in those early times, Eddie was doing a lot of writing.
Hayes and Porter were just hitting their stride, although Carla initially found their next offering less than pleasing.
You should do it! So the next day, they called over to the house. Booker changed the whole song. Drummer Al Jackson, Jr. Stax was starting to show more interest in the album market, assembling a pair on its resident queen in Compositions by Hayes and Porter were flying up the charts. I loved Otis. You know how you put it on the track and you sing with him?
You know how to bless people out! I never had nobody I had to bless out! Over the past several years, Thomas has continued to live in Memphis and invest in her community. She became involved with Artists in the Schools Residencies, a series of workshops designed to encourage individual creativity for K grade students.
As an internationally appreciated musical pioneer, she helped pave the way for the success of not only the Stax artists who came after her, but also other major artists like Aretha Franklin and Gladys Knight. Much beloved by her community and a lifelong Tennessean, the Memphis music story would not be the same without Thomas, and music history will be forever changed by her significant and lasting impact.
He's still in demand. Thomas said she never saw June perform while the younger artist lived in Memphis, but agrees the women make a complementary pair, and not only musically: Both artists have a colorful and distinctive fashion sense. Introducing Thomas on the stage of the Ryman, June said: "Tonight is a dream. This woman, who has honored me with her voice on this stage, Carla Thomas, too, is a dream.
An inveterate moviegoer, she continues to get out to local cinemas, however. What has she seen lately? Good lord, no," she responded. Wednesday's Americana event was only the second time Thomas has been to the Ryman.
The first was in , she said, when she performed at a benefit concert for Nashville radio disc jockey John Richbourg, known as "John R," a rhythm-and-blues music enthusiast who died of lung cancer in James Brown even showed up in his bus.
She said receiving "lifetime" recognition from the Americana Music Association has caused her to contemplate her legacy — and the possibility of future recordings.
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