Archive for the ‘Bobbie Nelson’ Category
Willie and Bobbie Nelson in front of the sculpture of Willie Nelson that was commissioned by the City of Austin, stands on Willie Nelson Boulevard, in Austin, in front of Austin City Limits/ Moody Theater. Photo thanks to Turk Pipkin.
“One of the most incredible women/angels I know. My Aunt Bobbie Nelson “
photo: Janis Tillerson
“Thank you Rep Richard Raymond of Laredo and the Texas Legislature by proclaiming it Bobbie Nelson Day in Texas.
What a great honor! Thank you!”
Lana Nelson shared this photo of Willie Nelson and Family at the Aalborg Kongress & Kulturcenter, in Aalborg, Denmark on April 25, 2008.
Willie Nelson and Sister Bobbie
Liner Notes by Mickey Raphael:
Peering through the control room glass into the studio, a cloud of smoke rises from Sister Bobbie Nelson’s Bosendorfer grand piano. After four hours of non-stop recording with baby brother Willie, perhaps she has ignited the keys during this marathon session???
Listening back to “I Never Cared for You,” the interplay between Bobbie and Will on the instrumental intro “Ou-es tu, mon amour” sets the mood perfectly for the darkness the song portrays.
“Nuages,” a song written by French Gypsy jazz guitarist Django Reinhardt, showcases Willie’s dexterity and guitar genius. Whenever we are just sitting around the bus, Willie will pick up a guitar and start playing. Like the horse heading to the barn, he always gets around to “Nuages.” It’s good mendicine for him. And on this take, Bobbie’s piano provides the support that makes their performances seem effortless.
In the beautiful hill country near Austin, Texas you’ll find Willie’s Pedernales studio. Willie and Bobbie are set up in the main room which is L-shaped and doesn’t allow direct eye contact during recording. Without much discussion of an arrangement, Bobbie started playing and Willie began singing “Mona Lisa.” That was the beginning of another magical session.
Recording engineer Steve Chadie and Willie’s friend and producer, Buddy Cannon were at the controls as it all happened. It’s kind of like photographing a ghost; you don’t really see it till the picture is fully developed. Throughout these sessions Bobbie and Willie played continuously and seemed to never run out of song ideas — which is a producer’s dream (or nightmare). Eventually songs had to be picked for the final selections. With so many outstanding performances to choose from. I’m glad I wasn’t a part of that process.
As long as I can remember. Willie and Bobbie, who ride together on Willie’s bus, spend some of their traveling time jamming on their favorite songs. Bobbie has a travels size keyboard on the bus and Willie’s guitar, Trigger, is always by his side. This is where the idea for DECEMBER DAY was born. “Why not record our favorite songs like we play them for ourselves?” Bobbie asked.
In 2010 after ending a tour in Austin, Texas, the band, made up of Paul and Billy English, Bee Spears and myself, went in the studio to record with Bobbie and Willie. The song “What’ll I do” is especially bittersweet because of the passing of Bee Speers. Bee was Willie’s bass player for more than four decades and this was the last recording session he played with us. He is missed by us all.
In 2012 while recording songs for the record LET’S FACE THE MUSIC AND DANCE, we would stray from the song list every once in a while. Willie might call out a song title or Bobbie might have a suggestion and this was the fun part of recording with these guys. You didn’t know where the music was going next. “Alexander’s Ragtime Band” was born from such a diversion. We are all fans of the Irving Berlin songbook and of the Ray Charles version, so this was a perfect tribute to both.
In 2004, another impromptu visit to the studio resulted in three songs penned by Willie. “Walkin'” is truly a classic. Originally heard in the concept album PHASES AND STAGES, this version goes right to the heart. Willie’s guitar solo hits you like a gunshot at the O.K. Corral. If through is the question, then Bobbie is the answer as nothing rings more true than her piano.
“Laws of Nature” is an “a-ha” moment. Willie writes like he’s talking to you face-to-face. Bobbie provides the soundtrack for that conversation. It’s easy to make records with these guys. You just have to listen… and then react from the heart. It’s pretty primal.
The song “Amnesia” rounded out those sessions but honestly, I can’t remember anything about it.
Raised by their grandparents in Abbott, a small farming community north of Waco, Texas, Willie and Bobbie began a musical odyssey that has continued for over 70 years. Daddy Nelson taught Willie how to play guitar when he was seven, and momma Nelson taught sister Bobbie the piano when she was nine. Sundays were spent playing at the Abbott Methodist church and gave Bobbie and Willie the spiritual foundation that still can be found in their music.
When it comes to a brother-sister collaboration with the longevity of Willie and Bobbie, there is beauty in keeping things simple, “Less is more” is the underlying theme. We’ve heard these songs before but not like this. The spontaneity born out of familiarity is what this record, DECEMBER DAY is all about.
It’s not rocket science. It’s alchemy.
Willie Nelson and Sister Bobbie
(Willie’s Stash, Vol. 1)
1. Alexander’s Ragtime Band (Irving Berlin)
2. Permanently Lonely (Willie Nelson)
3. What’ll I Do (Irving Berlin)
4. Summer of Roses / December Day (Willie Nelson)
5. Nuages (Django Reinhardt)
6. Mona Lisa (Ray Evans & Jay Livingston)
7. I Don’t Know Where I Am Today (Willie Nelson)
8. Amnesia (Willie Nelson)
9. Who’ll Buy My Memories (Willie Nelson)
10. The Anniversary Song (Al Jolson & Saul Chaplin)
11. Laws of Nature (Willie Nelson)
12. Walkin’ (Willie Nelson)
13. Always (Irving Berlin)
14. I Let My Mind Wander (Willie Nelson)
15. Is the Better Part Over (Willie Nelson)
16. My Own Peculiar Way (Willie Nelson)
17. Sad Songs and Waltzes (Willie Nelson)
photo: Janis Tillerson
(Photo by Todd V. Wolfson)
by Michael Corcoran
She had done whatever it took to raise three sons alone after their father died in an automobile accident in 1961. She demonstrated organs for Hammond, taught at J.R. Reed Music on Congress Avenue and at night played elegant solo piano at local lounges and restaurants.
But what Bobbie Nelson really hungered for, especially after her boys had grown up and moved out by the early 1970s, was to play again with her brother Willie. The pair had forged an undeniable musical bond since she was 6 and Willie was 4 and their grandparents showed them the chords to “The Great Speckled Bird.”
Then one day in early 1973, Bobbie got a call from Willie, summoning her to New York to play piano on his gospel album “The Troublemaker.” Willie had just signed a deal with Atlantic Records that gave him the creative control, including choice of session players, that had been denied him in Nashville.
So at age 42, empty-nester Bobbie Nelson took her very first airplane flight and embarked on a glorious musical journey that is still en route. Willie and “Sister Bobbie,” as she’s known in the extended Nelson family, have been musical partners for an incredible 70 years.
“There’s just no way to explain how lucky I am to have a good musician in the family,” Willie Nelson said last week from the tour bus he shares with his sister. “Whenever I’ve needed a piano player, I’ve had Sister Bobbie right there.”
While Brother Willie has become a major music icon, as instantly recognizable as anyone on the planet, Sister Bobbie has happily remained in the shadow, except for the one spotlight turn â€” usually “Down Yonder” from “Red-Headed Stranger” â€” she gets at each Willie Nelson and the Family concert. “I’ve always been very shy,” said Bobbie. “I sang a little when we were kids, mostly in church. But Willie had such a beautiful voice. I’d always tell him, ‘you sing, Willie, and I’ll play the piano.’ ”
This week, 76-year-old Bobbie stepped out of the background with her first solo album, “Audiobiography,” titled so because it’s the story of her life through the songs she’s played. “I’ve always expressed myself best through music,” she said recently at the Pedernales recording studio owned by her son Freddy Fletcher. “I remember when I got my first piano. I thought, ‘I’ll never be lonely again.’ ”
Not that there weren’t painfully trying times in the devout Christian’s life. She lost two of her three sons, Michael to leukemia and Randy in a car crash, in a six-month period in 1989. “Me and my three boys grew up together, and we had so much fun … and then to lose two of your three babies, well, it’s something you never get over,” Bobbie said. “It taught me to never take life for granted.” Another reminder came in March, when Bobbie underwent heart surgery to insert a pacemaker.
“I’ve never been so happy as this past April 15,” Bobbie said with a smile as radiant as Willie’s. “That’s when I flew to L.A. and joined up with the band. It’s just the most wonderful therapy in the world to play with Willie.” She said that sometimes when she’s away from Willie for more than a couple weeks, she gets a cold and feels worn down.
“Audiobiography” contains 10 piano instrumentals, bookended by a pair of Willie Nelson originals. It’s just Willie and Bobbie on those two new tunes, just like on their tour bus, where Bobbie slides a keyboard from the bottom of an adjoining bunk and Willie pulls out a guitar whenever inspiration hits. Even after two and a half hours on stage, the brother and sister â€” whose ages add to 150 â€” will often play gospel standards or work out new songs on the Honeysuckle Rose IV bus as it hurtles through the deep darkness between gigs.
It will also be just Willie and Bobbie on “The Ellen DeGeneres Show” Tuesday and “The Tonight Show” Wednesday, as the younger brother has pledged to promote his sister’s album however he can. “It’s long overdue,” Willie said. “Whenever our band plays, Sister Bobbie is the best musician on the stage.”
Bobbie Lee, born on the first day of 1931, and Willie Hugh, born April 30, 1933, were children of the Depression. Their biological parents were a pair of married teenagers who had recently moved from Arkansas to Abbott, a farming community about 70 miles south of Dallas. But Bobbie and Willie were raised by their paternal grandparents, whom they called Mama and Daddy.
“Daddy Nelson was the sweetest person I’ve ever known,” Bobbie said. “He had the most gorgeous tenor voice.” A proficient player of stringed instruments, Daddy Nelson taught Willie how to play guitar, while Mama Nelson, who lived to be in her 90s, showed Bobbie how to play piano. “It was just so amazing to us that I could play one part and Willie could play another and together we had a song. We’d look at each other and our eyes would light up.”
After Daddy Nelson died when Willie was 7 and Bobbie was 9, the brother and sister took to tunes, both spiritual and secular, to soothe their sorrow. “Playing music made us realize that there was something bigger out there, something more than human life,” she said.
They played together for hours every day, and on Sundays they played and sang at the Abbott Methodist Church (which Willie bought in July 2006 when he heard prospective buyers had planned to move it to another town). Bobbie, who could read music at age 6, also played at other churches in the area. When she was 16, she met 21-year-old ex-GI Bud Fletcher at a revival at Vaughn Methodist Church, near Hillsboro. The couple married a few months later, while Bobbie was a senior at Abbott High. “I’d kiss my husband goodbye every morning then get on the school bus,” she recalled.
Seeing so much talent in his new bride and the brother she called “Hughtie,” Fletcher organized a western swing dance band around them â€” Bud Fletcher and the Texans. A non-musician in the beginning, Fletcher took on the role of emcee, adding a Bob Willsian “Ah-HA” to hot solos, introducing band members and pumping up the crowd. He eventually learned to play bass fiddle and then the drums.
“Bud was one of those outgoing guys who could talk to anyone,” Bobbie said. “And he was a fabulous dancer.”
Bobbie became pregnant with Randy when she was 19; by age 23 she had three sons and was still playing in her husband’s band. But too many nights in a roadhouse were wearing Fletcher down. “Bud was a great person and we loved each other very much, but he was having a rough time,” she said. “That’s why, to this day, I hate alcohol. I’m so glad Willie doesn’t drink anymore.”
The young parents of three small boys also had very little money. In 1955, Bud’s parents went to court to get custody of Randy, Michael and Freddy and won. “Bud’s father was the road commissioner of Hill County and had a lot of influence,” Bobbie said. “They tried to portray me as unfit because I played honky tonk piano. It just broke my heart.”
Bobbie said she had a nervous breakdown after losing her children.
“The Fletchers hated the Nelsons,” said Freddy Fletcher. “They looked down on musicians and blamed my mother for getting my father involved, when in reality it was his idea to start a band.”
After she gave up the nightlife, took bookkeeping courses and got a job with the Hammond organ company in Fort Worth, Bobbie got her sons back after a year with their grandparents. She later divorced Fletcher and remarried, but that union ended in divorce after a few years, as did her third and final marriage in the late 1960s.
While Bobbie’s life revolved around her three sons, Willie had hit the jackpot as a Nashville songwriter. In 1961, three of his compositions were big country hits: “Hello Walls” by Faron Young, “Crazy” by Patsy Cline and “Funny How Time Slips Away” by Billy Walker.
“I was just so proud of him,” Bobbie said. “People got tired of hearing me say ‘my brother Willie wrote that one’ whenever one of his songs came on the radio.”
It was Bobbie, not Willie, who moved to Austin first. She came down from Fort Worth in 1965 to demonstrate a Hammond organ for the El Chico restaurant set to open at the spanking new Hancock Center. Impressed by her interpretations of such standards as “Stardust” and “Laura,” as well as her boogie-woogie and swing numbers, the owners offered Bobbie a job playing nightly. She later opened the Chariot Inn in North Austin and played regularly at the Lakeway Inn.
“When Willie called me (in 1973) to come to New York, I was ready,” Bobbie said. “I was always playing the piano, using music to survive, so I never got rusty.”
Although Willie and producer Arif Mardin had blocked out five days at Atlantic studio, Bobbie would be needed only the first day, when “The Troublemaker” was knocked out in ten hours. The next day, Willie was back with his band to record what would become “Shotgun Willie.” Bobbie had planned to do some shopping and then head home to Austin. “They must’ve missed me,” Bobbie said, “because when I stopped by the studio the next day, Willie asked me to stick around and play the piano some more.” Sister Bobbie has been with the Family ever since.
Willie said there’s an instinctive connection between him and his sister that he doesn’t feel with any other musician. “She knows what I’m going to do even before I do sometimes,” he said with a laugh.
In 1976, Willie bought Bobbie an $85,000 Bosendorfer grand piano like the one she played on “Red Headed Stranger.” But when IRS agents seized Willie’s property in 1990 to help satisfy a $16.7 million tax lien, Bobbie’s piano was among the Pedernales studio contents auctioned off.
Friends of the Nelsons bought the Bosendorfer and gave it back to Bobbie. It’s the piano she plays so exquisitely on “Audiobiography” and all of Willie’s records.
The brother and sister have never had an argument, Bobbie said, even after she was awakened by police in Louisiana in September 2006 and charged, with Willie and three others, with possession of a pound and a half of marijuana and three ounces of psychedelic mushrooms. The prim and proper churchgoer has never used drugs, but since they were found on the bus she was traveling in, Bobbie was cited with the others. “All I knew was that if Willie was going to jail, they’d have to take me to jail, too,” she said. But Willie and company were issued only misdemeanor citations and sent on their way.
In the mid-70s, when “Red Headed Stranger” hit and the parties and groupies got crazy, Bobbie didn’t ride with Willie and the band but flew to gigs and stayed in hotels. But she’s traveled with Willie since 1983 and has learned to tolerate the ever-present illegal perfume.
“I think he smokes (marijuana) too much,” Bobbie said, “but that’s just because I’m worried about his health.” Willie said his sister’s physical well-being is also foremost in his mind. “We were all very concerned (in March), but she has great doctors and they caught the problem early,” he said.
If any two people deserve to live forever, they are Bobbie and Willie Nelson, who have filled the air with beautiful music and helped whomever they could. But one day, one of them will have to go on without the other, a prospect neither Willie nor Bobbie wants to face.
“Every day is so precious,” Bobbie said. “Every time I play with Willie is a gift. We are just so blessed to be still doing what we’re doing after all these years.”
In a small Texas town in the 1930s, a 6-year-old girl and her 4-year-old brother learned the power and magic of making music together. And they’ve been doing it ever since.
By Todd Money
Getting a job working for your sibling isn’t always the easiest or most advisable career move.
Never a stranger to music herself, Bobbie had played the Texas honky-tonks with younger brother Willie when they were in their teens, in a band with Bobbie’s husband and Ira Nelson, their guitar-playing father. But when her husband died in a car accident, she was left to raise three sons on her own. That brought her to business school in Fort Worth, Texas, where she aimed to learn secretarial skills.
It was music, though, that led to her first job out of college, with the Hammond Organ Co., where she was hired for her office skills – and her ability to demonstrate the company’s organs. Before long, she was working as a piano entertainer in restaurants, eventually making her living as a pianist in Austin, Texas, and Nashville, Tenn.
It was in the early 1970s when brother Willie, who had just signed a recording deal with Atlantic Records, asked Bobbie to join his band. Her playing mixed well with the rest of the band’s free-wheeling style on hits such as “Whiskey River” and “If You’ve Got the Money I’ve Got the Time,” and more than 35 years and countless albums and concerts later, brother and sister are still playing together.
Recently, the lesser-known Bobbie has garnered a little spotlight of her own. In 2007, at the age of 76, she released “Audiobiography,” a debut album that shows off her understated and romantic playing style on some of her favorite tunes.
- Back To Earth (With Willie Nelson)
- Boogie Woogie
- Death Ray Boogie
- The House Of Blue Lights
- Deep Purple
- 12th Street Rag
- Sabor A Mi
- Down Yonder
- Until Tomorrow (With Willie Nelson)
Bobbie Nelson, sister of legendary singer-songwriter Willie Nelson, talks about her career, her brother and life on the road.Â Recently, Bobbie talked about where they’ve been.
Question: How’s it going on the tour?
Bobbie Nelson: This is a great tour. We’ve just done Farm Aid up in Massachusetts, and I’m in New Jersey tonight, and we do Connecticut tomorrow night, and then we do (New York’s) Radio City Music Hall the next night, so we’ll be out a couple more weeks. Everything’s going very well. I’m very grateful.
Q: You guys still share a tour bus, from what I understand, and you’ve been playing for 35 years or so. How do you kill time on the bus?
BN: Willie is very busy, and he has all of his office there on the bus – his computers and phones and everything – so he actually does his office thing right there on the bus, and then we have our instruments. He’s got his guitar, and I have an electric keyboard â€¦ I can pull this little keyboard out, and we can practice and play music.
Q: Musically speaking, it seems like Willie’s always had a thing for these really super-complex chords and neat chord changes and stuff. How much of that is your doing?BN: You know, we listened to the radio as we were growing up and listened to all kinds of music. That was, of course, during the big-band era, as well as all the border stations and all the country music that we listened to. He actually likes all the different kinds of music, the Latin rhythms and all the different, beautiful chords. He loves a lot of the jazz things.
Q: You can tell, just in the songs he’s covered over the years, how diverse his interests are.
BN: Yes! I love chords, too, and as you study piano, you get into all of that. â€¦ And the music we grew up with in the church – those hymns have a lot of beautiful harmony.
Q: Are you surprised that so many of these songs over the years have become classics? Do you think Willie knows a song is a classic when he comes up with it?
BN: No, I don’t think so. â€¦ When he writes, he just writes, and I don’t think he’s really ever thought, “I’m gonna write a song that’s gonna be a classic or a hit.” He’s just composing. He’s just letting go of some of his feelings and his thoughts that he’s got.
Q: You came out with an album last year. How did you pick the songs that went on that?
BN: Willie had scheduled studio time, because he had written a couple of new songs. So we were off the road during our holiday season â€¦ We were waiting for (guitar player) Jody (Payne) to get back, to get to Austin. So Willie just said, “Sister Bobbie, why don’t you just go up there and warm up that old piano?”
“So I went in the studio and just started playing this beautiful piano. I just was playing some of these songs I used to play when I played by myself, and also some of the boogies and things that we played when we were kids. And they recorded it. I didn’t know they were recording me. ”
(Justice Records owner) Randall Jamail, we were having lunch one day, and we were talking about it, and I said, “I’ve had people ask me why I don’t write my autobiography. And I always feel that I can do it better with music, because my life and Willie’s life have just been music.” And he said, “Well, that’s what we’ll call your album – ‘Audiobiography.’ ”
Q: Do you have any plans to put out any more music?
BN: They’re asking me if I will record some more â€¦ maybe if we’re off during the holiday season again this year, maybe I’ll have a little time to put into that.
Q: Obviously, growing up with Willie, you’ve got a lot of interesting stories. Is there anything that people would be surprised to find out about Willie?
BN: I don’t know, we’ve both done a lot of interviews â€¦ Willie has always been a wonderful person. He was a fun-loving kid, and he’s a fun-loving man. We have a lot of fun, and we both have the same feelings about wanting to make Earth a better place and making a better place for our children, and just to help humanity in general.
Q: If there’s one thing that’s been the secret to you guys’ success over the years, what would it be?
BN: Our grandmother took us to church every Sunday, and we were at prayer meeting every Wednesday night, and choir practice once or twice a week, and Bible school. The teachings that we were taught when we were growing up – our grandmother being one of these teachers … She had a love for music, as did my grandfather – so our lives have been about music. Learning music and performing it, and always trying to improve ourselves with our talents. I think that’s what has meant more to us than anything else, is the love we feel for others and the love we feel for music and performing it.