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to how he was projecting. To hang with it as long as Irving has it's got to be in your blood." Another young guitarist who learned from
Banister was Ernie Vincent. He recalled Banister tutoring him after his gigs. "I used to go by his house when he got off of work." Vincent added, "He was the first guy that took me on Bourbon Street. I started picking up a lot of stuff from him. He's showing me all the chords. He's the first one showed me how to do a major 7 chord that was working." He noted Banister's technique. "He does minor solos against major scales." Vincent continued "I liked his style. He was very influential in my life."
166:, who was doing production work for Aladdin in New Orleans, signed the band. The contract stipulated 1/2-cent per song to be divided between the writers and 1/2-cent per record to go to Dr. Daddy-O. Potentially lucrative performance royalties were specifically excluded from the contract. Of the four songs recorded only two, "Early Sunday Morning" and "No One To Love Me", were released at the time, under the name The Sha-Weez. The record did not sell, but the band's popularity increased, assisted by their weekly radio broadcasts. They performed at Club Tiajuana and the
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R&B back to
America." White American groups also began to freely copy black idioms. When club dates dried up, Danny White disbanded the Cavaliers in 1966. Irving Banister returned to Sugar Boy Crawford's band. Crawford was attempting to restart his career, after a beating by Louisiana State Police left him out of action for two years. Sugar Boy's comeback was brief. Banister said, "He couldn't sing the fast numbers anymore so he retired." After 1969 Sugar Boy sang only in church.
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group came to the attention of Dr. Daddy-O (Vernon
Winslow), New Orleans' first black disc jockey, who aired a daily show on WMRY. He invited them to perform on his Saturday morning radio show. The band did not yet have a name, but they had an instrumental that was their theme song called "Chapaka Shawee", creole words they heard on the street that translated roughly as "we aren't raccoons". When Dr. Daddy-O wrote of the band as the "Chapaka Shawee" youngsters, in his column in
318:." Porter told interviewer Chris Robie, "I was playing with a band called Irving Banister & the All Stars. Irving Banister was the guitar player who played this famous solo on a Danny White song, 'Kiss Tomorrow Goodbye'. Irving's fame in New Orleans was huge." Banister recalled, "I picked up freelance gigs with other bands when the All Stars weren't working. I've worked with local artists like
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were popular in Texas then and I picked up a lot of their style. T-Bone was a real showman and from him I learned how to do the splits on stage and how to play the guitar behind my head. In El Paso, I played at the Black and Tan Club and sometimes over the border in Juarez." Banister was by this time
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was a young guitarist in Irma Thomas' band who looked up to
Banister. "I met Irving way back in the Dew Drop days. I had a chance to see him playing with Danny White at the Sho-Bar (on Bourbon Street). He was very sure about all the things that he did, and I started watching him and paying attention
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recordings. Banister had lessons from a
Mexican guitarist while stationed in El Paso, Texas . "He listened to me play in the B flat tuning and said,'You can't play anything with the guitar tuned like that.' He showed me how to tune the guitar properly." Unlike other New Orleans guitarists, Banister
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Robert
Fontenot, Jr. of the Ponderosa Stomp wrote of Banister and the All Stars, "Lack of fame never stopped Bannister (sic) from keeping the spirit of traditional New Orleans rhythm and blues alive, and his band lives up to its billing by consistently featuring some of the finest musicians in the
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Banister returned to New
Orleans when he got out of the service, taking over his old job with Sugar Boy. The band was booked into clubs and gambling joints run by alleged mobsters. "All our work was white clubs- that's why I left Sugar Boy around 1956. We couldn't eat, drink, or sit down in those
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recalled, "During high school we had a little band, nothing real organized at first. I was back playing piano... The other fellows in the band were Edgar "Big Boy" Myles, Warren Myles, Nolan
Blackwell, Irving "Cat" Banister, and Alfred Bernard- just a bunch of youngsters having fun." In 1952, the
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Irving
Banister was born in New Orleans, Louisiana to Louis and Elsie Mae Banister. He had two brothers, Joe and Guardie. Banister formed a band with some of his fellow students at Booker T. Washington high school. "I was playing the trumpet until I was seventeen, but I got my front teeth knocked
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had begun to dominate radio play and gigs were harder to find. Ironically
British musicians, who adulated black R&B, pushed established R&B artists from American radio airwaves. Author Rick Coleman wrote, "There was a strange, distorted reflection taking place, as British groups brought
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used to come in there a lot and watch me play", Banister remembered. "He used me on some sessions but I don't remember the artists. I do remember playing on some country sessions, which blew some minds, but I learned to play that stuff in Texas." White cut a down-tempo version of "Kiss Tomorrow
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Banister said his musicianship was limited at that time. "Every song was in B flat. I tuned the top three strings to a B flat chord and the bottom three strings regular. I'd just play the B flat chord open, then go to the four and five chords. We didn't have a bass player, so I'd play the bass
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and the Cavaliers in 1959. "I fit in pretty good with the Cavaliers because they were doing a lot of the same material that Bo was doing", he said. Their early Sunday morning gig at the Dream Room on Bourbon Street was the band's most popular.
350:. Littdell was married to Irving Sr. at age 16. Her husband, she said, never took interest in being a masking Indian; she started in the tradition a year after their son, Irving "Honey" Banister Jr., joined as chief scout in 1971.
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who was on the road doing all black clubs. We had to sleep six to a room in boarding houses sometimes, but at least we didn't have to worry about going to jail most of the time." Bo's rhythm and blues band included drummer
155:, the name stuck. He booked the band's first job at the Shadowland Club on Washington Avenue in 1952. Sugar Boy remembered, "We were all still in school so we could only play on weekends."
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Banister's last known recording was an appearance on son Honey's band Cha Wa's 2016 debut "Funk and Feathers". Irving Banister, Sr. died December 15, 2020. He is buried in
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In the mid-1960s dates at white clubs dried up. Owners worried that R&B bands would attract black patrons who would scare off their white audiences. The
283:, who recorded the renowned guitar part from Irving Banister and background singing by Wanda Rouzan and her sisters. The record scraped the bottom of the
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Banister and wife Littdell "Queen Bee" Banister were the parents of Cassandra, Terry, and Irving "Honey" Banister Jr., Big Chief of the Creole Wild West
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out," said Banister. "I couldn't hit the high notes anymore. There weren't any guitar players in the band, so I bought a big hollow body
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but failed to take off nationwide. The song was a favorite in New Orleans, whose residents could not understand why it wasn't a hit.
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later covered as "Slippin' And Slidin". Banister considered Bo's mid-1950s band as one of the best to ever come out of New Orleans.
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had no background in jazz. He began to play solid body guitars with thin necks. "You could really bend the strings on those.
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Music History Conference in New Orleans Banister recalled how he studied blues guitarist
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took his place in Sugar Boy and the Chapaka Shawee, playing on the Carnival perennial
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The band's first recording session was through the intercession of Dr. Daddy-O with
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520:"ponderosastomp.com.- "The Things That I Used To Do: The Story of Guitar Slim"
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patterns on the bottom strings. I wasn't good enough to solo then." At a 2011
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The Cosimo Matassa Story (liner notes by Adam Komorowski) Proper Records 2007
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Goodbye", written by Al Reed. The session was produced by adept arranger
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played on, incorporating aspects of their styles into his own technique.
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After things slowed down for Eddie Bo's band, Banister left to join
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Banister was drafted into the Army and served as a cook. Guitarist
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Up from the Cradle of Jazz: New Orleans Music Since World War II
747:""Irving's Obituary" Gertrude Geddes Willis Funeral Home, Inc"
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I Hear You Knockin': The Sound of New Orleans Rhythm and Blues
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places. We couldn't even use the bathroom. I got a job with
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Blue Monday: Fats Domino and the Lost Dawn Of Rock 'N' Roll
690:"ponderosastomp.com- "Irving Banister & the All Stars"
607:"wwoz.org.- "Four Guitars: The Legacy of Irving Banister""
669:"homegrownmusic.net- "Featured Artist: George Porter"
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The Soul of New Orleans: A Legacy of Rhythm and Blues
133:music, in a career lasting more than sixty years."
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726:""Cha Wa: Funk 'N' Feathers" by Chris M. Slawecki"
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384:"nola.com- Irving "Sully" Banister, Sr. 1933–2020"
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630:Danny White: Natural Soul Brother
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801:20th-century American musicians
550:. University of Georgia Press.
496:Rhythm And Blues In New Orleans
498:. Pelican Publishing Company.
450:(Media notes). Proper Records.
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328:Ernie K-Doe
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316:Art Neville
271:Danny White
185:Guitar Slim
137:Early years
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361:References
260:Ruth Brown
104:Instrument
54:1933-02-16
286:Billboard
196:"Jockamo"
65:Louisiana
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144:Epiphone
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
