American Roots Music

Othar Turner & The Afrosippi Allstars - Senegal to Senatopia


Year: 2000
Label: Birdman, BMR025
Recorded in 1999 at Otha Turner’s farm and Zebra Ranch Studios

Musicians:
Otha Turner – fife, vocals
Morikeba Kouyate – kora
Sharde Evans – fife
Luther Dickinson – bottleneck guitar
Musa Sutton, Manu Walton, Abe Young, R.L. Boyce, Bernice T. Evans, Rodney Evans, Andre Evans, K.K. Freeman, Matthew Rappaport – snare drums, bass drums, djembe, djun djun, sangban, kenkeni, bells, shakers, tambourines


In the U.S. the oldest hot music (or hottest old music) must surely be the fife-and-drum corps of the Mississippi Hill Country. Mississippi farmer Otha Turner, f-n-d’s most visible exponent in the 20th century, made his own fifes by selecting lengths of bamboo and boring them out with a red hot poker. He made the soundholes on his instruments by licking his fingers and arranging them on the flute in a position that felt right (!), then burning holes on the spit marks – a chicken-or-egg conundrum that demands tradition account for itself in this process. (I mean, how did he know where to put his fingers so that they felt right in the first place? Who was the first guy that decided where your fingers should go?) In a fife and drum corps, Otha and other blowers of the fife carry the melody of a song, while a bass drummer and at least one snare drummer kick up an accented martial rhythm behind him. Alan Lomax, who first recorded this tradition when he came across Hill Country multi-instrumentalist Sid Hemphill in the early 1940s, theorized the music dated from the 18th century. From the liner notes to Sounds of the South:

"Thomas Jefferson’s body-servant formed a fife and drum 'combo' with his best friend the day the Revolutionary War broke out, probably to play the patriotic tunes of the day….Today this combination dominates the dance music of Anguilla and Nevis in the West Indies."

(You also hear this tradition, or something like it, in the Tuk ensembles of Barbados. They use a tin whistle rather than a fife. Check out Google video for a 1/2 hour documentary on the Landship. Eye-opening.)

Ethnomusicologists (and dudes like them) couldn’t get enough of bossy, Budwesier drinking, filterless cigarette smoking Otha Turner, who hosted academics and documentary makers until his death at 95. He appeared on any number of compilations for labels like Rounder (Afro-American Folk Music from Tate and Panola Counties) and Evidence (Living Country Blues) before debuting a full-length under his own name in 1997 with Everybody Hollerin’ Goat (Birdman), a set of recordings made over several years at his annual picnics. You can find him in any number of documentaries as well. (Dig him in this 10 minute film on FolkStreams.net here).

Ethnomusicology and Otha Turner met head on in the late 1990s with From Senegal to Senatobia, credited to Otha Turner and the Afrossippi Allstars. In an attempt to give an Old World context to this most African of U.S. musics, Minnesotan college student and drummer Matt Rappaport brought a Senegalese kora player and several African percussionists (living in Chicago) to play with Otha and his drum corps.

African-American music is a fusion of African and European elements, and I think that fusion has evolved in a more-or-less organic way since The Day. For my money, cross-cultural experiments like this one generally end in tears. They leave me with the impression that the idea man behind the project wants to devolve the music; sort of “un-fuse” it so that you’re left with its constituent elements, making it easier to categorize. Not so with this album (or the even more ambitious Fulani Journey album by Afrissippi – more on it later). I suppose the best one can hope for in an album like this is that everything sounds natural together, that these musicians, whose common culture separated 400 years and 4,662 miles (thank you, this site) ago don’t screw things up; you know, no one loses the groove or, worse, bumps into the kora and loses an eye. What’s so great about this album is that adding all these African elements to the fife and drum combo seems to invigorate it. It seems like polyrhythmic djembe ensembles should have been in attendance at every Tate County, Miss., country picnic from Day 1.

Having been around since the Revolutionary War (if you’re smoking what Lomax is rolling) the fife and drum sound is pretty well-established. Whether you love it or not (and I love it – just sayin’) you know what you’re in for when you put a fife and drum side on the box: Big head-bobbing beats on the bass drum, breathy harmonics from the cane fife, snappy ass-twitching action from the snare drums. Maybe someone will clap. It’s a tried and true formula, refined over the entire lifespan of the United States, and not much in vogue among the young folks. This record shows what the possibilities for the music actually are. That doesn’t just mean that From Senegal proves that a cane fife sounds sweet over a djun djun, or even that the fife should have been played over a djun djun all along, which often seems to be the end goal of projects like this. It means that the cultures that produced the fife and the djun djun are still complimentary. Would an Antiguan cling-a-ching player have felt at home in a Dominican bélé ensemble in 1776? This record says yes.

They don’t give the kora player much, but the beats is large.
Ama-zon.com review
This CD is to the 21st century what Brian Jones's Jajouka recordings were to the past one. In his 90s, Othar Turner plays Mississippi hill-country music that retains the funky flavor of its African roots. Othar's first release, 1998's Everybody Hollerin' Goat is as good an introduction to the evolution of blues as is likely to ever be recorded. This new one pairs Othar's fife and drum corps with Senegalese musicians from Chicago, matching marching-band drums to their African mates, an acoustic slide guitar to the kora, and affirming the timeless, universal supremacy of the human breath--in this case blown magnificently by Othar through a fife made from common bamboo. The music blends easily and naturally. The drums hit you in the gut, the slide-guitar sounds roll all round your brain, and the fife makes your heart skip a beat. Like Jim Dickinson's liner notes say, world boogie is coming. --Robert Gordon

Allmusic Review by Brian Beatty
Mississippi fife legend Turner is joined on this outing by a loose union of players billed as the Afrosippi All Stars. This makeshift band is comprised of members of Turner's family, visiting Senegalese musicians, a university percussion student/organizer, and slide guitarist/producer/North Mississippi All Star Luther Dickinson. Their sympathetic accompaniment on African percussion, kora, and bottleneck guitar give "Shimmy She Wobble," "Station Blues," and Bounce Ball -- reprised from his recording debut, Everybody Hollerin' Goat -- a depth lacking on his earlier versions. Traditional African drums exchange rhythms with marching-band snares and bass drums. Staccato kora melodies complement whining slide guitar riffs. And Turner's shrill, archaic fife floats freely over it all. The title track is the album's most distinctly African number, and probably the only track here easy on the listener's ears. The closing "Sunu" is five minutes of nothing but drums. This is hardly good-time music for casual blues listeners or weekend world music fans, but it's important music all the same, bridging, as it does, great distances between continents and traditions.


Tracks

01. Shimmy She Wobble 4:43
02. Station Blues 4:55
03. Bounce Ball 3:44
04. Shimmy She Wobble II 5:13
05. Stripes 10:38
06. Senegal to Senatobia 8:51
07. Glory, Glory Hallelujah 6:54
08. Sunu 5:02

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Rev. Gary Davis - Ragtime Guitar


Label/Year: Kicking Mule 106 (1974) / Transatlantic 244 (1971)
Rec. 1962 - 1970 at Rev. Davis' house

We haven't had any ragtime yet in this thread. It was one of the more recent popular American forms before the recording industry, so it doesn't have quite the ancient quality of traditional pieces that are rooted in africa or england or colonial times. It's one of those musical forms (like Choro) that sits equally well in classical and folk traditions. Being blind, you can bet Gary Davis never read the sheet music for these pieces though, and you know he was improvising as he went too.


TrackList:

Side A:
- Cincinnati Flow Rag
- West Coast Blues
- Buck Rag
- St. Louis Tickle
- Two Step Candyman

Side B:
- Walkin' Dog Blues
- Italian Rag
- C-Rag
- Waltz Time Candyman
- Make Believe Stunt

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Tommy Jarrell - Tommy Jarrell Legacy Volume 3: Come And Go With Me


Year: 1999
Label: County Records


Tracks:

01. John Henry 2:52
02. Ducks On The Millpond 2:18
03. Tempie Roll Down Your Bangs 2:07
04. Little Maggie 4:14
05. Back Step Cindy 2:19
06. Uncle Ned 3:03
07. Sally Ann 2:18
08. Sweet Sunny South 2:22
09. John Hardy 3:38
10. Rockingham Cindy 1:56
11. Poor Ellen Smith 2:55
12. Old Reuben 2:55



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Geoff Muldaur - Sleepy Man Blues


Year: 1963
Label: Prestige

"There are only three white blues singers -- Geoff Muldaur is at least two of them." -- Richard Thompson

He's a really fantastic singer. Really. He can sound both ebullient and resigned in a breath. All of twenty-something years old when he made this album, he sings with the authority of a man at the other end of life. Fifty years unfold in a phrase. In fact, the word 'sing' can't even describe it. It's like a moan but with more force, like a shout but with more subtlety. A deep and boomy warbling trill that knocks you down as much as it pulls you in. Geoff Muldaur belts the blues like few white people ever have (Jo-Ann Kelly being the only exception that comes to mind). He manages to sound fully vital and world-weary at the same time.

Sleepy Man Blues is Geoff's first album, and he sticks to the classics (well, old & obscurites country blues classics...). Backed by Fritz Richmond on washtub bass and Eric Von Schmidt on mandolin & harmonica (& with Bill Keogh on piano and Dave Van Ronk on guitar for a couple cuts), most of the cuts sound straight out of the Sleepy John Estes/Yank Rachell/Hammie Nixon blues-jug band mold. While this is certainly a traditionalist/revivalist album, the quality of Geoff's singing makes it one of the brightest examples of that genre.

And if you have any doubt as to the right of a white kid in his early 20's to sing the blues, consider that by the time he made this album, he had already hitchhiked across the south with a broom in hand, trying to get to Texas to sweep off Blind Lemon Jefferson's grave. That, my friends, is what they call street-cred.

While he would go on to make great albums with the Jim Kweskin Jug Band, Maria Muldaur, Paul Butterfield, Amos Garret and others, there is a rawness to this early work that disappeared as he got more sophisticated with his arrangements and heterogeneus in his style. As far as I know, it has never been re-released except as a japanese import. In recent years he has returned some to this kind of stripped-down music (without abandoning his diverse & eclectic style) and made some good albums. If you like this album, check out some of them & support him so that he'll be able to make more and tour, rather than writing horn charts, film scores & commercial jingles for a living.



Tracks:

01. Jelly Roll Baker - Geoff Muldaur, Johnson, Lonnie
02. The Rain Don' Fall on Me - Geoff Muldaur, Johnson, Blind Will
03. Sleepy Man Blues - Geoff Muldaur, White, Bukka
04. This Morning She Was Gone - Geoff Muldaur, Jackson, Jim
05. I Have Had My Fun - Geoff Muldaur,
06. Good Gin Blues - Geoff Muldaur, White, Bukka
07. Motherless Chile Blues - Geoff Muldaur, Hicks, Robert
08. Georgia Skin Game - Geoff Muldaur, Peg Leg Howell
09. Aberdeen, Mississippi Blues - Geoff Muldaur, White, Bukka
10. Trouble in Mind - Geoff Muldaur, Jones, Richard [1]
11. Everybody Ought to Make a Change - Geoff Muldaur, Estes, John
12. Drop Down Mama - Geoff Muldaur, Estes, John

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Southern Journey V. 8: Velvet Voices - Eastern Shores Choirs, Quartets, and Colonial Era Music


Released 01/01/1997

The Southern Journey Series: A voyage of the road and the mind, pioneering the use of stereo recording in the field, Alan Lomax's Southern Journey is a 13-volume series of original recordings evoking the musical world of the rural South and an era before radio, movies and television. Velvet Voices: African-American music of the Eastern Shores in all its glory and variety: menhaden fisherman chanteys, jubilee and gospel singing, and echoes of Colonial-era black fife, drum, and banjo orchestras. Remastered to 20-bit digital from the original field recordings. Contains previously unreleased recordings.

Review:
"The recordings on this album were made in April and May of 1960 in Norfolk, Belleville, Arkansas, Weems, and Williamsburg, Virginia, with two additional recordings made on St. Simon's Island, Georgia." And so begins the liner notes for Volume 8 of the Alan Lomax Southern Journey series. This one is titled Velvet Voices: Eastern Shores Choirs, Quartets, and Colonial Era Music and oh, what velvet voices it holds in store.

What continues to pique my curiosity with this series is the detail to fidelity. Rounder Records has released perfectly remastered tracks that allow us to almost travel back in time to witness the actual recording, but never in a tiresome way. The recordings convey the same excitement and hope obviously felt by the artists.

The first song is Run to Jesus for Refuge, Run Right Along and is performed by Charles Barnett who accompanies himself by beating on an overturned washtub in perfect rhythm. You can barely understand the lyrics, so at the end, Alan Lomax repeats them. It's interesting, but kind of an odd choice for this particular collection considering the vocal complexities and harmonies of the other songs.

The Silver Leaf Quartet sings Witness for My Lord a cappella, and that is immediately followed by the group's rendition of Dark Day, a beautiful gospel song written by Sonny Scott, who was a local preacher.

The Bright Light Quartet provides us with Hey, Hey, Honey. This group was comprised of men who worked the fishing boats on the mid-Atlantic and were quite popular in Virginia. They're harmonies are wonderful! They do a great job with I'm Tired on this CD, also.

Walk On the Bay is a Caribbean-flavored tune performed by Nat Rahmings, Hobart Smith and Ed Young. The cane flute provides a musical counterpoint to the call and response singing. According to the liner notes, Alan Lomax paid a man's rent in Miami in order to be introduced to Nat Rahmings. Overall, this is a pleasing collection of songs and is another fine example of Alan Lomax's profound desire to preserve southern roots music.


Tracks:

01 Run to Jesus for Refuge - Charles Barnett
02 Joe Turner - Ed Young & Hobart Smith
03 The Titanic - Bessie Jones, Hobart Smith & the Georgia Sea Island Singers
04 Witness for My Lord - Silver Leaf Quartet
05 Dark Day - Silver Leaf Quartet
06 The Very Same God - Silver Leaf Quartet
07 Gospel Train - Silver Leaf Quartet
08 I Got a Home - Nat Rahmings, Hobart Smith & Ed Young
09 Hey, Hey, Honey - Bright Light Quartet
10 Menhaden Chanteys - Bright Light Quartet
11 Walk on the Bay - Nat Rahmings, Hobart Smith & Ed Young
12 I'm Tired - Bright Light Quartet
13 Just Beyond the River - Bright Light Quartet
14 Christian Automobile - Bright Light Quartet
15 John the Revelator - The Belleville A Cappella Choir
16 Walk, Billy Abbot - Willis Proctor & the Georgia Island Sea Singers
17 How Could I Live - Peerless Four
18 Noah - Peerless Four
19 Trouble in My Way - Peerless Four
20 I'm a Soldier in the Army of the Lord - Peerless Four

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Southern Journey, V. 9: Harp of a Thousand Strings - All Day Singing From the Sacred Harp, Released 01/01/1998


Label: Rounder

Product Description:
Choral music for a nation of individualists. Old-time southern "shape-note" singing from the beloved Sacred Harp hymnal; vibrant, cascading folk polyphony, captured in full swing at the 1959 United Sacred Harp Musical Convention in Fyffe, Alabama -- truly "a joyful noise." Remastered to 20-bit digital from the original field recordings. With six previously unreleased tracks. The Southern Journey Series is a voyage of the road and the mind, pioneering the use of stereo recording in the field, Alan Lomax's Southern Journey is a 13-volume series of original recordings evoking the musical world of the rural South and an era before radio, movies and television. The Alan Lomax collection gathers together the American, European and Caribbean field recordings, world music compilations, and ballad operas of writer, folklorist and ethnomusicologist Alan Lomax.

Review by Eugene Chadbourne
In the incredibly diversified, sometimes acutely strange world of ethnic music, there are inevitably titles in any collection that the owners may have never listened to all the way through. No sense of dislike might accompany such a relationship between collector and disc; in fact, the opposite can be true with a strong sense of pride and even astonishment felt about such recordings. The huge collection of Alan Lomax's field recordings that has been coming out on Rounder since the late '90s -- some of it released for the first time -- is bound to include some of these types of records -- although obviously there is no single release that somebody has ever listened to all the way through. Which is too bad, come to think of it. Anyway, the ninth volume in the series entitled Southern Journey, subtitled Harp of a Thousand Strings, is probably a contender for this sort of status which, needless to say, means it is also brilliant.

While there are previously unreleased tracks on this 1998 release, for the most part this is not an example of material in this series that has been languishing out of public availability. A subject that is both Southern and essentially religious in nature is sure to have some kind of potential audience in America, and this was one of Lomax's projects that was released almost immediately by the Library of Congress upon completion. The liner notes mention not just the genre's survival as an art form over subsequent generations, but an actual increase in activity, participation, and study of "shape note singing" spreading to countries such as Japan.

A good way to trick someone posing as an expert in esoteric music might just be to bring up Harp of a Thousand Strings. There is a delusion prevalent that some kind of amazing stringed instrument invented by a hillbilly is featured on this recording. For information's sake, there is no harp with 1,000 strings, in fact, the Chinese apparently have set the record in this area with a massive autoharp that has something like ten-dozen strings on it. In reality, there are no stringed instruments anywhere near the performances Lomax taped in Fyffe, Alabama in 1959. The performances are choral selections from the The Sacred Harp, a collection of more than 500 folk hymns first published in the early 19th century. While there are many details involved in what makes this type of choral singing so unique, some of the main musical distinctions involve the lead melody line being carried by the bass voices, the type of intervals that are used in the harmonies, and how the large choirs perceive and interpret a common musical relationship known as "unison."

There is also the emphasis on songs in minor modes, and the influence of polyphonic choral singing going back to the European reformation. Listeners will be struck by the sheer size of choir -- the unusual sound, combined with the fact that this is Alabama and there are people with names such as Reba, Buford, Velma, and Enis leading the songs, may make Yankees cringe, and even run through the neighborhood shouting "The rednecks are coming!" The thick booklet that comes with this CD begins in much the same way as the previous sentence, although in this case, the outcome is not a silly joke. "Listeners may be surprised," the text begins, and it is surely hard to conceive of anyone who would not be surprised by the way these songs sound other than someone who has heard them before.

One of the main reactions will be based around the aforementioned concept of unison. Music listeners tend to have a single-minded conception of what represents singing or playing "together," and anytime this has been challenged by performers, whether the genre be choral music or jazz, there is inevitably a freak-out of some kind. There are also lots of listeners delighted by such performing. After 26 tracks, a few of them spoken word commentary and examples of prayers, the surprise and/or delight may change to a familiarity bordering on irritation.

There might be other kinds of music in this series that are easier to listen to at greater length, yet there are few that honestly mirror aspects of so many other types of music from divergent sources. Since most of the great musical innovators of the 20th century admit -- indeed boast -- about their study of ethnic music, it is not ridiculous to conclude that "shape note singing" may have been greatly influential in many areas. The dominance of fourths and fifths in harmonic movement brings to mind Ornette Coleman's "harmelodics."

The concept of having a choir that all members of the congregation can participate in, rather than a hand-picked, polished chorus, can be traced down to avant garde ventures such as the Portsmouth Sinfonia, or Cornelius Cardew's series of "scratch music" pieces. "Rough" unison playing can be found in New Orleans jazz bands and contemporary brass band ensembles, just for starters.

Other musical references may be simply coincidental, part of an overwhelming natural pattern of aesthetic chaos. Enlarging any collection of these references can be done simply by putting on this CD in a roomful of people just to see what they wind up comparing it to: "Hey, this is the group that influenced the Swingle Singers." "Oh, I like this Eastern European vocal stuff." "Is this the Mormons?" "I like early Celtic music but I can't listen to too much of it." "This is that really weird record by the Animals, isn't it?" Whether or not any of these listeners can make it to the end of this CD more than once, this is a stop on the Southern Journey that everyone ought to make.


Tracks:

01 Sherburne - Alabama Sacred Harp Convention
02 David's Lamentation - Sung by a special group of the Alabama Sacred Harp Singers
03 Soar Away - Led by Mrs. Leslie Crowden
04 Commentary - Joyce Smith
05 Wondrous Love - Led by Mrs. King Roberts of Gadsden, Alabama
06 Traveling On - Led by Maud Quinn
07 New Harmony - Led by H.A. Buttram of Tallapoosa, Georgia
08 Hallelujah - Led by Buford King of Bowden, Georgia
09 Prayer for Recess - Spoken by Carl Hughes
10 Loving Jesus - Led by Enis Wall of Gadsden, Alabama
11 Greenwich - Led by Dr. M.O. Slaughter of Dallas, Texas
12 Milford - Led by Reba Dell Lacey
13 Baptismal Anthem - Led by Bill Matthews of Villa Rica, Georgia
14 Amsterdam - Led by Virginia Dell Schrader
15 Montgomery - Led by J.H. Lambert of Tennessee
16 Memorial Lesson - Alan Lomax Collection
17 Cussetta - Led by Martin Blackman
18 The Last Words of Copernicus - Led by Velma Johnson of Atlanta, Georgia
19 The Morning Trumpet - Led by J. Edge
20 Homeward Bound - Led by C.C. Matthews
21 Northfield - Led by Rosie Hughes of Villa Rica, Georgia
22 Doddridge - Led by J.A. Ayers of Bowdon, Georgia;
23 Weeping Mary - Sung by a special group of the Sacred Harp Singers;
24 Christmas Anthem - Sung by a special group of the Sacred Harp Singers;
25 New Prospect - Sung by a special group of the Sacred Harp Singers;
26 Oxford - Mrs. Tom Hight, leader

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Southern Journey, V. 13: Earliest Times -- Georgia Sea Island Songs for Everyday Living


Released 01/01/1998

In this reissue of the first published recordings of a unique body of African-American folk music, the Georgia Sea Island Singers perform in the African style of their forefathers, who lived as independent fisherman and farmers on the offshore islands of the Georgia coast, little touched by European culture. The Southern Journey Series is a voyage of the road and the mind, pioneering the use of stereo recording in the field, Alan Lomax's Southern Journey is a 13-volume series of original recordings evoking the musical world of the rural South and an era before radio, movies and television. The Alan Lomax Collection gathers together the American, European and Caribbean field recordings, world music compilations, and ballad operas of writer, folklorist and ethnomusicologist Alan Lomax. Remastered to 20-bit digital from the original field recordings. Contains five previously unreleased recordings.

Review by Richie Unterberger:
Subtitled "Georgia Sea Islands Songs for Everyday Living," this is a collection of 21 performances recorded by Alan Lomax in 1959 and 1960. Often structured in a call-and-response fashion, and arranged a cappella or only with minimal percussion and instrumentation, these are considered as some of the American recordings which are closest to the African roots of African-American music. About a dozen performers are heard on the record, arranged into three different combinations of groups, with different soloists spotlighted all the time. Academic significance aside, it's reasonably strong and stirring music with a spiritual current, even though many of the songs are not religious in content; one, in fact, is an original (by Henry Morrison) about the stinginess of white plantation owners.


Tracks:

01 Live Humble
02 The Buzzard Lope
03 Ain't I Right?
04 Row the Boat, Child
05 You Got My Letter
06 Riley
07 See Aunt Dinah
08 Pay Me
09 Carrie Belle
10 Reg'lar, Reg'lar Rollin' Under
11 You Better Mind
12 Everybody Talking About Heaven
13 Read 'Em, John
14 Union
15 Hop Along, Let's Get Her
16 Raggy Levee
17 Hard Time in Ol' Virginia
18 Knee Bone
19 The Old Tar River
20 East Coast Line
21 Buzzard Lope

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Hobart Smith: Blue Ridge Legacy


Released 01/01/2001

You've first got to get the tune in your mind and then find it with your fingers — keep on till you find what you want on that neck. But keep that tune in your mind just like you can hear it a-playin'. I've been to the cornfield many of a time when I was a farmer and I'd hear a good fiddle tune or a good banjer pieces and I'd commence whistlin' it. And I'd whistle that till my mouth got so tired, and I'd go home keepin' it on my mind. I'd go pretty fast and I'd whistle all the way into the holler on the mountain and my banjer would be hangin' on the wall. Sometimes I'd forget where it was at, and I'd whistle right loud and that banjer would answer me on the wall and I'd go get her. I'd keep that tune right on my mind and I'd find that tune on the strings before I'd quit.

There was a feller I was raised up with by the name of John Greer. The fact about it — all of my banjer pickin' is John Greer's type. Now, my daddy picked a banjer; he picked the old-timey rap. I can play it just like him. He kept his thumb on the thumb string and that thumb string was just a-goin' all the time. Now, John Greer come along and went from thumb string to the bottom, double-notin', and he was the best man I ever heard on that banjer. And I patterned after him. "Coo-Coo Bird" and "The Banging Breakdown" I got from John Greer.

Now the first fiddle that ever I heard in my life, when I was a kid — there was an old colored man who was raised up in slave times. His name was Jim Spencer. He played "Jinny Put the Kettle On" and all those old tunes like that, you know. And he would come up to our house and he'd play one night for us, and he'd go over to my uncle's and play one night for them, and then go down to my aunt's in the other holler — we lived in three different hollers in the mountains, you know. He'd make a round. Now, that was the first fiddling I ever heard in my life, although both my grandaddies were fiddlers. But my granddaddy on my mother's side died of TB in the old Civil War and my other grandaddy, I never did hear him but saw a little bit on it, buy my daddy said he used to be a good fiddler. So, I'd hear old-timey fiddlers in different places and I"d just get it in my head and work it out with my fingers.

We'd have a square dance in the community twice a week. We'd have one on Wednesday night and Saturday night. But then, in my home, all of my kinfolk would meet and my daddy would pick the banjo and we'd dance to twelve o'clock every night of the week. We'd go to the mountain and get us some back-logs to throw on this fireplace to throw the heat out. The boys would all help us drag wood off'n the mountain and then we'd fire up that fire and your legs'd be burnin' off and your back a-chillin', but we really enjoyed it. The way they would do the square dance in them days, they'd have one in one person's house, say tonight – say"Where'll we have the next 'un?" – "In my house, tomorrow night." Just like prayer meetin'; catch it around from house to house. There was square cancan every night. They'd work pretty hard during the day, but they'd get ready for it. They'd come in and get washed and they were ready for it.

My first life was farming. My daddy'd farmed all his life and I went into farming. And I went into wagoning long before the trucks came around, you know, or any cars at all. My daddy had a team and I had a team and we'd haul coal for people and move people and go to the station and get trunks out. And then I'm a pretty good painter; I used to paint a whole lot. And I was a butcher; I worked with the Olin-Mathieson people for twelve years, a-butchering for 'em. At the time of the first World War, I had got married and was lookin' for my first kid. Well, I got fourth class and the war never lasted but sixteen months and I never was called.

Me and my sister, Texas, went on Whitetop for the festivals. I met Horton Barker and Richard Chase at Whitetop. We played for Mrs. Roosevelt there in '36. Then, after she went back, she sent a telegram to Roanoke, to my sister, wantin' to know if we'd come up to the White House and sing some of those old songs. She wanted her husband to hear 'em. And so we did go. We went up there and spent a couple of nights with them and we had a program.

I had a band. I had two boys that played with me. I played with Tom (Clarence) Ashley thirty or thirty-five years ago. I played in a minstrel show for two years. I played my own music and danced my own music — that's one curiosity that everybody thought so much about. No, I wasn't makin' a livin' out of it. We'd just go places and play and maybe they'd give us so much. I played in dance halls back along in Hoover's time, you know, when you couldn't get ahold of a dollar nowhere. I played the fiddle the most — tunes like "Golden Slippers" and "Coming Around the Mountain" — for dances.

The fact about it — I went into this pop'lar stuff and got to playin' on that and then when I got in with Alan Lomax in 1942, he wanted me to pull back into the old folk music. And he said, "Don't you ever leave it no more!" I had just about left it. I hadn't owned a banjer in twenty-five years till the Vega people sent me that banjer from Boston as a gift several years ago. Pete Seeger got 'em to send it. I hadn't owned one in twenty-five years. Maybe I'd go to somebody's house and there'd be a banjer sittin' there and maybe I'd pick it up and play just one tune and set it down. I'd been playin' the fiddle and the gittar and the piano. And, you see, all of those old pieces on the banjer was just gettin' away from me and I didn't fool with 'em. But after I got this new banjer, why it came back to me in just a little time. In thirty days I was back just as good as I ever was.

This collection of ballads, reels, and blues is the legacy of a Renaissance mountain man: Hobart Smith of Virginia. This Appalachian virtuoso was many things: a forceful singer, a brilliant guitarist, a masterful fiddler, a spellbinding banjoist, an innovative pianist, and a musical giant whose influence on old-timey music and the folk revival remains uncharted. Banjo tablature is provided for two of his most memorable pieces "Last Chance" and "The Cuckoo Bird."

Allmusic Review by Rob Ferrier:
Those who have followed the remarkable career of Alan Lomax are likely already familiar with the work of Hobart Smith. Smith's virtuosity on a variety of folk instruments, including banjo, guitar, and fiddle, have graced many a Lomax collection, as has his salt-of-the-earth voice. Listeners may be familiar with his readings of "Ellen Smith" or "Railroad Bill." Smith's output was prodigious, but many of the records were made for companies that no longer exist. Finding his records has been a problem. What a joy then to have many of his songs collected here. Perhaps best known for his song "The Cuckoo Bird," Smith was a professional musician who performed across the country with his wife, and, as his profession demanded, could play just about anything on anything. This disc does an admirable job of summarizing his remarkable career, including both searing instrumentals and sardonic vocal performances to give the initiate some idea of the scope of this man's talent. This disc should revive interest in a man whose influence on the folk revival of the '60s cannot be underestimated.


Tracks:

01 - The Devil's Dream - 02:29
02 - Drunken Hiccups - 02:50
03 - The Cuckoo Bird - 02:40
04 - Banging Breakdown - 01:00
05 - Arkansas Traveller - 01:43
06 - Railroad Bill - 02:58
07 - Clause Allen - 03:36
08 - Hangman, Swing Your Rope - 03:26
09 - Wayfaring Stranger - 02:03
10 - Sourwood Mountain (Piano) - 01:22
11 - Going Down the Road Feeling Bad - 01:19
12 - Pateroller - 01:44
13 - Chinquipin Pie - 01:50
14 - Last Chance - 02:20
15 - Jim Along - 02:28
16 - Two brothers (The Little Schoolboy) - 03:55
17 - Ellen Smith - 02:27
18 - Graveyard Blues - 03:24
19 - K.C. Blues - 03:05
20 - Unidentified electric guitar tune - 02:20
21 - Cindy (string band) - 01:23
22 - At an Old-Time Dance (interview) - 04:45
23 - Cindy (piano) - 02:02
24 - The Thrill of Dance Music (interview) - 00:22
25 - What Did the Buzzard Say to the Crow? - 01:40
26 - Buck Dance - 01:30
27 - Old Joe Clark - 01:55
28 - Dixie - 02:25
29 - Sourwood Mountain (banjo) - 01:06
30 - Hawkins County Jail - 02:41
31 - Rocky Mountain - 01:43

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Texas Gladden - Ballad Legacy (1941-1946)


Released 01/01/2001

Texas Gladden The singing of Texas Gladden is one of the highpoints of American folk music. This Virginia artist put her own indelible stamp on everything she sang: ballads, comic material, game songs and early country music. This is the first album devoted exclusively to her singing, and includes priceless interviews and four rare performances on which she is accompanied by her brother, Hobart Smith. Portraits Throughout his career, Alan Lomax worked extensively with some of the greatest artists in folk music, many of whom he was the first to record. The Portraits series focuses in depth on these brilliant artists and heroes of traditional music. The Alan Lomax Collection The Alan Lomax Collection gathers together the American, European and Caribbean field recordings, world music compilations, and ballad operas of writer, folklorist and ethnomusicologist Alan Lomax. Remastered to 24-bit digital from the original field recordings.


Review by Matt Fink
A wonderfully comprehensive overview of the recordings of traditional ballad singer Texas Gladden, Ballad Legacy is a near-essential document for fans of the near-extinct genre. Although somewhat ethnomusicalogical in its bent, the set and its superbly assembled accompanying booklet never come off as overly academic, though the average folk music enthusiast may not be enthralled with 78 minutes of largely unaccompanied ballad singing. Still, the material presented is nothing short of first rate, presenting Gladden's nuanced Appalachian styling in all its hauntingly sweet and aching earnestness. As she originally came to the public's attention at Virginia folk music festivals in the late 1930s for her renditions of a storehouse of antique songs from the British Isles, Gladden drew the attention of Alan Lomax, who saw her as one of the greatest examples the genre offered. With her notoriety peaking with a performance at the White House at the behest of Eleanor Roosevelt, Gladden again faded into obscurity, only to be rediscovered by artists such as Joan Baez in the early 1960s. The 37 tracks here, with a few selections featuring her brother Hobart Smith on guitar and a few comprised of interviews, should provide an excellent resource for anyone wanting to learn the gorgeous old tunes, or simply experience the vibrancy of the stories and truisms lost to the collective American past.

One of the finest releases in the extensive Alan Lomax Collection thus far, this album gathers together on a single disc 37 tracks recorded in 1941 and 1946 by the highly-rated Virginia singer Texas Gladden (born 1895). Hitherto known from just a few tracks on assorted anthologies, this full-length album of mostly previously unreleased material at last presents us with a long overdue chance to properly assess her stature. And extremely impressive she proves too; quite simply, an outstandingly fine singer and interpreter, notably of traditional ballads (on which this collection necessarily focuses). Her versions of these ballads were used as source material by many of the singers from the American revival ranging from Tom Paley to Joan Baez. But despite Texas' limited opportunities for public performance, her interpretations were always fully informed and properly considered, and the interview extracts included on this release provide a fascinating insight into her approach.

Her performances are imposing, feisty and fiery; quite stark, yet full of warmth and understanding, and these nuances shine through the often rather indifferent recording quality. Her singing style is quite plain and unadorned, though she makes extremely effective (albeit wholly subconscious, judging from her comments when interviewed) use of grace notes. Texas sings unaccompanied for the most part, but on a handful of tracks she's backed by her slightly younger brother Hobart Smith on banjo, fiddle or guitar (check out his amazing Blue Ridge Legacy release too). The performances are uniformly fascinating and deeply satisfying, and it's impossible to select highlights. In short, this is an essential release for anyone seriously interested in the ballad tradition and its place in the music of the Appalachians, and comes with great notes by John Cohen – an excellent presentation.


Tracks:

01 - The Devil and the Farmer's Wife - 03:30
02 - One Morning in May - 03:19
03 - Mental Pictures (interview) - 01:06
04 - Mary Hamilton - 03:49
05 - Kind Sir, I See You've Come Again - 01:46
06 - The Devil's nine Questions - 02:42
07 - I'm Never to Marry (the Girl That I Hated) - 02:50
08 - My Mother (interview) - 01:07
09 - Rose Connelly - 02:49
10 - Been Too Busy Raising Babies (interview) - 00:17
11 - Hush, Baby, Don't You Cry - 00:42
12 - The Three Babies - 02:29
13 - Od-Time Love - 01:12
14 - Barbara Allen - 04:50
15 - Lord Thomas - 02:24
16 - The Two Brothers (interview) - 01:07
17 - The Two Brothers - 04:13
18 - Old Kimball - 01:55
19 - The Scolding Wfe - 02:05
20 - My Lovin' Old Husband - 01:40
21 - The House Carpenter - 03:07
22 - Gypsy Davy - 01:52
23 - Poor Ellen Smith - 02:27
24 - Songs and Singing (interview) - 02:55
25 - Ghost Story - 05:02
26 - I Am a Man of Honor - 00:24
27 - Roving Cowboy - 00:47
28 - Dark Island - 00:24
29 - The Wreck of the Old '97 - 02:05
30 - Always Been a Rambler - 00:33
31 - Wild and Reckless Hobo - 01:26
32 - Once I Knew a Pretty Fair Miss - 00:39
33 - Love's Worse than Sickness - 00:50
34 - In the Shadow of the Pines - 00:59
35 - Dark Scenes of Winter - 01:50
36 - Cold Mountains - 01:19
37 - The Devil and the Farmer's Wife - 04:19

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Sheep, Sheep, Don'tcha Know the Road? - Southern Music, Sacred and Sinful



A voyage of the road and the mind, pioneering the use of stereo recording in the field, Alan Lomax's Southern Journey is a 13-volume series of original recordings evoking the musical world of the rural South and an era before radio, movies and television. In 1959 and 1960 Alan Lomax returned to the South to rediscover the still-vibrant traditions of our country. For this album sin and salvation are celebrated in the rhythms, harmonies and lyrics of the many-faceted musical traditions of the South. Artists include Bessie Jones & the Sea Island Singers, Hobart Smith, Estil C. Ball, Fred McDowell, the Bright Light Quartet and others.


Review by Richie Unterberger
"Southern music, sacred and sinful" is what this volume is subtitled, gathering 16 songs that either extol the holy (the sacred) or warn against/describe evil temptations (the sinful). This has some of the more renowned performers of the Southern Journey series, such as Fred McDowell, Almeda Riddle, Estil Ball, Hobart Smith, and Neil Morris, though they don't necessarily overshadow the other performers. As always, the diversity is the most attractive element of the package, encompassing Georgian Sea Island groups, fiddlers, Delta blues, and church congregations. Willie Jones' down-home "You Got Dimples in Your Jaws," the same song as John Lee Hooker's "Dimples" (one of the blues great's most famous early recordings), seems a bit uptown in the Southern Journey context, though its inclusion is hardly upsetting. Estil Ball and Lacey Richardson's "Tribulations" is a close-harmony highlight that will appeal to anyone who likes the Louvin Brothers or the Delmore Brothers.


Tracks

01 Sheep, Sheep, Don'tcha Know the Road
02 The Juice of the Forbidden Fruit
03 Devil's Dream - Hobart Smith
04 You Got Dimples in Your Jaws
05 Drunken Hiccups - Hobart Smith
06 You Done Told Everybody - Mississippi Fred McDowell
07 The House Carpenter - Almeda Riddle
08 Straighten 'Em
09 Corn Dodgers
10 I Wished I Was in Heaven
11 Tribulations -
12 No Room at the Inn / The Last Month of the Year
13 My Mother Died and Left Me - James Shorty & Fred McDowell
14 Buttermilk - Miles Pratcher/Bob Pratcher
15 The Prayer Wheel - Bright Light Quartet
16 Guide Me O Thou Great Jehovah - Ike Caudill And Congregation Of Mt. Olivet Old Regular Baptist Church

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The Belleville A Cappella Choir - Honor the Lamb


Released 01/01/1998

A dynamic living folk tradition of classic African-American spirituals, The Belleville A Cappella Choir of the Church of God and Saints of Christ, a Virginia-based church tracing its lineage to the lost tribes of Israel, perform richly-textured and tightly harmonized settings of Biblical texts in gospel, jubilee and choral styles. The Southern Journey Series is a voyage of the road and the mind, pioneering the use of stereo recording in the field, Alan Lomax's Southern Journey is a 13-volume series of original recordings evoking the musical world of the rural South and an era before radio, movies and television. The Alan Lomax Collection gathers together the American, European and Caribbean field recordings, world music compilations, and ballad operas of writer, folklorist and ethnomusicologist Alan Lomax.

Remastered to 20-bit digital from the original field recordings. Contains one previously unreleased recording.

Review by Eugene Chadbourne:
That a perceived expert such as Alan Lomax would call this group a "folk choir" while other equally established experts would wind up questioning the inclusion of the choir's material in a so-called folk catalog is yet more fodder for the hungry cattle ready to gnaw on such issues. Taken one by one, the volumes in Lomax's Southern Journey collection on Rounder present a remarkable series of contrasts, something that is thankfully natural to the folk music experience no matter how one chooses to draw the lines of definition. Shock might be a more accurate description than simply contrast when the listener arrives at Southern Journey, Vol. 11: Honor the Lamb after experiencing the previous two volumes in the series.Southern Journey, Vol. 9: Harp of 1,000 Strings and Southern Journey, Vol. 10: And Glory Shone Around are collections of shape note singing, a traditional approach to choral music that is so unique it has evoked comparisons to avant-garde music as well as civil disturbances. The 11th volume in this collection-collapsing series of Lomax productions is also devoted to religious choral singing, in this case the singing of the Belleville A Cappella Choir. This time the listener will be abruptly forced to change focus, reminded of nothing else but gospel music, albeit some of the most beautiful in existence.

The philosophy of the church that this choir is associated with might be considered a bit unusual, but the sounds really represent mainstream gospel musical thought at its most expanded. Of course it could also be argued that the lack of a Baptist "born-again" Christian aesthetic works to the advantage of the performances, seeing as the Church of God and Saints of Christ believes African-Americans descend from the lost tribes of Israel, the congregation practicing a variety of aspects similar to Judaism. If, on the next page of the prayer book, the discussion is to center around purely musical distinctions, it is more important to mention that the choir masters its material totally by ear, at the same time not limiting itself to the simpler arrangements or harmonic structures that such approach might favor. Much like brilliant composer and bandleader Charles Mingus and his bandmembers, the Belleville A Cappella Choir creates performances of intense complexity, storing the game plan in their hearts and souls rather than on the printed page. "What a Time," one of many numbers in which the superb soloist Caleb Garris is featured, is a choice for one track to listen to in order to convince skeptics of the value of this particular volume. Such a person might only be holding out due to the sheer volume of material being released in this arrangement between Lomax and Rounder, thus also the tendency to brand certain stock as less "real folk" and thus less necessary. Choral music in particular may not be to everyone's choice, whether the performers sound like they wandered in from a tobacco field or as polished as an ensemble on the stage at Carnegie Hall. But for those who enjoy the range of possibilities always explicit in church singing, this program presents a particularly fine collection of hymns, another highlight of which is the divine "Keep Me as the Apple of Thine Eye."


Tracks:

01 The Gospel Train - Caleb Garris
02 Keep Me as the Apple of Thine Eye
03 David was a Shepherd Boy - Caleb Garris
04 What a Time - Caleb Garris
05 The Lord is My Strength and Song
06 None But the Righteous - Caleb Garris
07 Come On, Israel
08 Medley Of Spirituals: Great Camp Meeting in the Wilderness / Swing Low, Sweet Chariot / Steal Away / What Kind of Shoes You Gonna Wear / Oh them Golden Slippers / I'm A Soldier in the Heavenly Choir / - Rhoda Parrish
09 The House of the Lord
10 Honor, Honor - Rhoda Parrish
11 On the Battlefield for My Lord - Caleb Garris
12 The Creation
13 Honor the Lamb - Caleb Garris

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Ozark Frontier - Ballads and Old-Timey Music from Arkansas


Recorded 1959. Released 01/01/1997

From the land that produced Jesse James, Jimmy Driftwood and Bill Clinton, and where settlers enjoyed the freedom of the West, the rich traditions of the South, and the songs of their ancestors, comes this collection of great Arkansas performers of ballads and old-timey music, including ballad singers Almeda Riddle and Ollie Gilbert, singer/guitarist Neil Morris, five-string banjo player Bookmiller Shannon, and fiddler Absie Morrison. The Southern Journey Series: A voyage of the road and the mind, pioneering the use of stereo recording in the field, Alan Lomax's Southern Journey is a 13-volume series of original recordings evoking the musical world of the rural South and an era before radio, movies and television. Remastered to 20-bit digital from the original field recordings. Contains previously unreleased recordings.

Review by Richie Unterberger
Ballads and old-time music from the Arkansas hills, recorded in 1959. Includes tunes on fiddle, guitar, and banjo, as well as a cappella selections by Ollie Gilbert and Almeda Riddle. Some of the songs have roots in the English ballad repertoire, while others are relatively topical and modern ("The Titanic"); "Buffalo Gals" (performed on banjo by Bookmiller Shannon) is a tune not solely known to folklorists. As is the case with all Alan Lomax productions, the music is of considerable ethnomusicological interest, with performances that illustrate diverse aspects of the region's tradition. For general-listening purposes, however, it's of more limited value than some of the other titles in the Southern Journey series, due to its stark, almost dry presentation (particularly on the unaccompanied vocal numbers) and material that is somewhat further removed from the popular consciousness than many other Lomax projects. Five of the 25 tracks are previously unreleased.


Tracks:

01 Bury Me Beneath the Willow - Almeda Riddle
02 Anything, with commentary - Neil Morris
03 Willow Green - Ollie Gilbert
04 Sally Goodin - Charlie Everidge
05 Merry Golden Tree - Almeda Riddle
06 Buffalo Gals - Bookmiller Shannon
07 Once I Courted a Lady Beauty Bright - Ollie Gilbert
08 Down in the Arkansas Among the Sticks - Bookmiller Shannon
09 The Titanic - Almeda Riddle
10 The Scotch Musick - Absie Morrison
11 Music Has No End, with commentary - Neil Morris
12 The Irish Solider and the English Lady - Neil Morris
13 Turnip Greens - Neil Morris
14 My Prettiest Girl is Gone - Absie Morrison
15 It Rained a Mist - Ollie Gilbert
16 Lord Batesman - Ollie Gilbert
17 Alan Bain - Almeda Riddle
18 Eighth of January - Bookmiller Shannon
19 Pretty Polly Oliver - Ollie Gilbert
20 Rainbow "Mid Life's Willows - Almeda Riddle
21 Cotton-Eyed Joe - Bookmiller Shannon
22 Lonesome Dove - Almeda Riddle
23 Nancy's Got a Pretty Dress On - Absie Morrison
24 Rock All the Babies to Sleep - Neil Morris
25 Down in Arkansas - Almeda Riddle

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Southern Journey, Vol. 5: Bad Man Ballads: Songs Of Outlaws And Desperadoes


Release Date: Apr 22, 1997
Recording Date: Aug 24, 1959,Apr 28, 1960
Label: Rounder

A voyage of the road and the mind, pioneering the use of stereo recording in the field, Alan Lomax's Southern Journey is a 13-volume series of original recordings evoking the musical world of the rural South and an era before radio, movies and television. In 1959 and 1960 Alan Lomax returned to the South to rediscover the still-vibrant traditions of our country. This album is a document of violence, protest and rebellion in American folk music. Mountain balladeers, Virginia quartets and Mississippi prisoners sing of outlaws, murderers, hellstrutters and tragic heroes. With Almeda Riddle, E.C. Ball, J.E. Mainer and many others.


Review by Richie Unterberger:
Seventeen "songs of outlaws and desperadoes," recorded by Lomax with a wide variety of Southern performers, Black and White. The themes of murder, violence, and running from the law have been perennial themes in the folk music of all cultures. This collection has versions of a few fairly well-known songs in this vein ("John Henry," "Pretty Polly," "Po' Lazarus"), though most are more obscure. The artists range from Black Mississippi prisoners and a cappella mountain singers to string bands and harmonizing quartets. As is often the way in this sub-branch of folk music, the music isn't nearly as upsetting or depressing as the lyrics; indeed, it's often uplifting, if not downright celebratory.


Tracks

01 Jesse James - Almeda Riddle - 1:00
02 Po' Lazarus - Bright Light Quartet - 3:05
03 Railroad Bill - Hobart Smith - 2:43
04 John Henry - Ed Lewis - 4:32
05 Willie Brennan - Neil Morris - 6:25
06 Hangman Tree - Almeda Riddle - 5:29
07 Columbus Stockade - J.E. Mainer - 2:28
08 Early in the Mornin' - Moore, Johnny Lee - 2:57
09 Pretty Polly - Ball, Estil C. - 2:32
10 Lazarus - Henry Morrison - 1:41
11 Claude Allen - Hobart Smith - 3:31
12 Cole Younger - Oscar Gilbert - 1:33
13 The Lawson Murder - Spencer Moore ... - 3:26
Performed by: Spencer Moore, Everett Blevins
14 Tom Devil - Lewis, Ed & Prisoners - 5:20
15 Hawkins County Jail - Hobart Smith - 2:40
16 Dangerous Blues - Floyd Batts - 1:07
17 Po' Lazarus - James Carter - 4:30

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Jack Owens & Bud Spires - It Must Have Been The Devil
Testament Records 5016


TrackList :

01 - Can't See Baby
02 - Jack Ain't Had No Water
03 - Cherry Ball
04 - Nothin' But Notes
05 - Good Morning Little Schoolgirl
06 - I Love My Baby
07 - Catfish Blues
08 - It Must Have Been The Devil
09 - Hard Times
10 - Ain't No Lovin' Ain't No Gettin' Along
11 - I Won't Be Bad No More

Jack Owens : vocals, guitar
Benjamin 'Bud' Spires : harmonica

Rec. September 7th, 1970 in Bentonia, Mississippi

File Size : 80 + 57 Mb
bitrate : 320 kbps
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Jack Owens & Eugene Powell - The Last Giants Of Mississippi Blues


Wolf Records 120931

TrackList:

Jack Owens (vocals, guitar)
01 - Cherry Ball
02 - Hard Times
03 - Devil
04 - You Leavin'
05 - No Lovin'
06 - Please Give Me Your Money

Eugene Powell (vocals, guitar) (aka Sonny Boy Nelson)
07 - 44 Blues
08 - Suitcase Full Of Troubles
09 - Police In Mississippi
10 - Born In Texas
11 - Good Morning Little Schoolgirl
12 - Blues In Texas
13 - Goin' Up The Country
14 - When I Leave Town
15 - Mississippi River
16 - Mean Mistreating Mama

Jack Owens (vcl, gt) & Bud Spires (harp)
17 - Hard Times
18 - My Baby's Gone
19 - Keep On Ramblin'
20 - Cool Water
21 - Devil

Recorded in Bentonia and Greenville 1981/1991

File Size : 100 + 21 Mb
bitrate : 320 kbps
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New England Contra Dance Music


Year: 1977
Label: Kicking Mule (KM 216)


Tracks:

01. Strathspey - Hull's Victory
02. Arm & Hammer String Band - Medley: Kitty McGee/A Hundred Pipers
03. Alan Block - Double File
04. Strathspey - Medley: Ross's Reel/Batchelder's Reel
05. George Wilson - Swing Away
06. Strathspey - My Home Waltz
07. Arm & Hammer String Band - Medley: Salamanca Reel/The Hunter's Purse/Tarbolten
08. Strathspey - Medley: Turnpike Side/Tobin's Fancy
09. Arm & Hammer String Band - Medley: Goin' Uptown/Avalon Quickstep
10. Strathspey - Medley: Farewell To Whiskey/Mara's Wedding
11. Arm & Hammer String Band - Medley: Apples In Winter/Hitler's Downfall
12. Arm & Hammer String Band - Westphalia Waltz
13. Strathspey - Mountain Ranger

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Son House - At Home: The Legendary Rochester 1969 Sessions



Year: 1992
Label: Document

Review by Bruce Eder
Recorded at his home in September of 1969 by blues enthusiast Steve Lobb, Son House turns in one of the most vital and compelling performances available from his late career comeback. While the 1965 Columbia Records sessions require explanations about his age and extended retirement, there is no excuse necessary for the contents of this CD. Opening with the 20-minute long "Son's Blues," he radiates explosive power, his voice surging and his guitar strings snapping against the fretboard in a slow, fiery performance. The tension and sustained strength of this one piece makes this CD far more valuable as a specimen of Son's best work than any of the CBS material -- this is the perfect companion to his inimitable Alan Lomax and Paramount recordings of the 1930s and early 1940s. Nothing else here quite matches the opening track, although Son still seems in far better form than he did on some of his better-known comeback recordings.


Tracks:

01 - Son's blues
02 - Yonder comes my mother
03 - Shetland pony blues
04 - I'm so sorry, baby
05 - Plantation song
06 - Mister Suzie-Q
07 - Evening train
08 - Sundown
09 - Preachin' the blues
10 - Empire State express
11 - Never mind people grinnin' in your face
12 - Sun goin' down
13 - A spoken message

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Skip James - Live: Boston, 1964 & Philadelphia 1966


Year: 1994
Label: Document

Review by Tim Sheridan
These recordings, made in coffee houses during the folk boom and James' comeback after 30 years of obscurity, find him still in remarkable control of his talents. His guitar and piano playing are agile and sensitive and his high tenor still sends a shiver down the spine. The sound is very good (save for the occasional drop out), but more importantly the performances are first rate, and with a little imagination you can put yourself right there in the room with this enormous talent.


Tracks

01 Illinois Blues - James - 3:36
02 How Long Blues - Carr, Williams - 3:12
03 Drunken Spree - James - 3:31
04 4 O'Clock Blues - Durham - 3:13
05 Hard Luck Child - James - :59
06 I Don't Want a Woman to Stay Out All Night Long - James - 4:40
07 Lorenzo Blues - James - 4:26
08 Special Rider Blues - James - 2:58
09 Cherry Ball Blues - James - 4:50
10 Washington D.C. Hospital Center Blues - James - 5:34
11 Hard Luck Child [No. 2] - James - 4:45
12 Look at the People Standing at the Judgement - James - 5:06
13 Mary Don't You Weep - 2:22
14 Someday You Gotta Die - Traditional - 2:23
15 I'm So Glad - James - :36

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WORRIED BLUES - Frank Hutchinson & Kelly Harrell (4CD JSP BOXSET)

CD A: The Complete Commercial Output of Frank Hutchinson


year - 2005
label - JSP Records

Frank Hutchinson was born 1897 in Raleigh County, West Virginia; some sources quote 20th March 1897 as his date of birth. Soon after 1897 the HUtchinson family moved to Logan County, West Virginia, a location commemorated bu Hutchinson's classic guitar solo Logan County Blues. Prior to his musical and recording career Frank Hutchinson had worked as a miner and according to a fellow Logan County musician, had a limp - one assumes this may have been due to an accident while working in the mines? He also worked at times as a cook, carpenter and general handyman. Photos show a serious looking man but by all accounts he was very friendly and an outgoing character. According to Ernest Stoneman, Hutchinson was ''a big red-headed Irishman'', one who evidently had plenty of fun in him.

With regard to Hutchinson's contributions to the field of early country music (or if you prefer the term otm), it has to be said he was not only an innovative while country blues man but also someone who had a few 'extra cards up his sleeve' as compared to some of his contemporaries. Apart from his distinctive voice, albeit a trifle rough one, Frank Hutchinson's guitar playing was innovative, particularly in his use of the slide guitar on some of his recordings.

In September 1926 he travelled to New York to make his first recordings for the Okeh company with whom he would remain for his three-year recording career. The two sides he cut were made using the acoustic method of recording, as distinct from the elecrtical process that would eventually consign the earlier method to the history books. In fact it appears that when Hutchinson re-recorded these two numbers they may have been the first Okeh issues to use the then new electrical recording system.
It seems obvious that the label must have been satisfied with the sales of his initial recordings because Frank Hutchinson was called back for a 1927 date that provided nine fine performances. A two-day session in April produced five numbers, including the re-makes of Hutchinson's first two sides. Apart from them, two items are worthy of mention; The Last Scene of The Titanic is, as a song, a unique version about the Titanic disaster; an event that had occured fifteen years earlier but was still very much in the mind of the general public and record buyers. Hutchinson's version difters from all the many other 'Titanic' songs recorded by both black and white performers. The other piece of interest is Logan County Blues, a variation on the tune Spanish Fandango; it is played in open tuning and is a HUtchinson 'piece-de-resistance'. His picking makes the listener think it is a simple guitar solo - any would-be guitar player will tell you otherwise!

Having cut so many sides in 1927 it is perhaps not surprising that nearly eighteen months would elapse before he returned to the Okeh studios, once again for a two-day stint. On the first day Hutchinson was in the company of fiddler Sherman Lawson; according to Lawson, Okeh had asked Hutchinson to bring along a fiddler player as they thought he was running low on material. The presence of Lawson is unusual as normally Frank HUtchinson was a solo performer and reportedly not very good as an accompanist. While the sides cut on the first day, with fiddle player Sherman Lawson are excellent, the results of the second day's work produced three superb Hutchinson vocal /guitar solos plus the instrumental Hutchinson's Rag. This last-named number being very akin to Riley Puckett's 1927 recording, Fuzzy Rag.
-- by Pat Harrison.


Tracks

01. worried blues
02. train that carried the girl from town
03. stackalee (instrumental version)
04. the wild horse
05. long way to tipperary
06. the west virginia rag
07. c & o excursion
08. coney isle
09. old rachel
10. lightning express
11. stackalee (vocal version)
12. logan county blues
13. worried blues
14. train that carried the girl from town
15. the last scene of the titanic
16. all night long
17. alabama girl, ain't you comin' out tonight?
18. hell bound train
19. wild hogs in the red brush
20. the burglar man
21. back in my home town
22. the miner's blues
23. hutchinson's rag
24. the boston burglar
25. the chevrolet six




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CD B: The Complete Commercial Output of Frank HUtchinson and Kelly Harrell



CD:B commences with the conclusion of Frank Hutchinson's final solo recording session for Okeh. (He did record for the label again, in September 1929, as a part of the Okeh Medicine Show, a six-sided set that was a showcase for a selection of Okeh's otm artists). Once again everything made at the July date can be described as either first-rate or outstanding. Some pundits consider these last recordings to be less original than earlier performances; even if this is true to an extent one cannot dismiss Hutchinson's 'parting shots' in the commercial recording world. Debatably, his final session proved he had more to offer. Cannonball Blues and K.C. Blues may well be re-works of earlier recordings but what a stunning exit for the end of a solo career. Hutchinson may not have had a particularly attractive voice (some have even described it, perhaps unfairly, as 'leather-throated'), but there can be no doubt as to its rough charm. Additionally, his grand guitar playing overrides any doubts about his vocal abillities. But, it may well have been simply, as mentioned in the notes to disc A, that Okeh had been correct and Hutchinson had just run out of new material.

After the Okeh Medicine Show recordings, not included here, Hutchinson and his family moved briefly to Chesapeake, Ohio but soon ended up back in West Virginia. Here they ran a store from 1934 until 1942 when the premises burnt down, forcing the family to move to first Columbia, Ohio and then to Dayton. Frank Hutchinson died on 9th November 1945, leaving behind a fine music legacy, a bequest that might have been enhanced with new material to give an extension to his recording career.

It was while working in the Fries mill that Kelly Harrell met harmonica player, guitarist and singer, Henry Whitter. Whitter was due to record for Columbia in New York in 1923 and invited Harrell to accompany him, and ofter he declined. Evidently when Harrell heard some of Whitter's records he felt he might do better - and decided to try his luck with an audition for Victor. It seems possible that Whitter had a hand in Kelly Harrell's Victor audition, one that must have impressed the company as they allowed him to cut four songs. Un-named studio musicians backed his vocal work on these numbers; the only probable name put forward is that of the ubiquitous Carson Robinson, who may be playing harmonica on New River Train.

For the Okeh session in Asheville, Henry Whitter was on hand for backing duties; while his musical abilities were adequate it might be said they were not outstanding - something that comes over on some of the records issued under his own name. It is probably fair to say that Whitter was at his best on record when in the company of the wonderful fiddle player G. B Grayson; the duo cut thirty-six sides between 1927 and 1929. As mentioned earlier, Whitter, having been one of the earliest 'rural' artists to get on record, probably acted as a talent scout for recording companies and was therefore able to promote an artist like Kelly Harrell.

One of Kelly Harrell's claims to fame lies in one of the songs he wrote; he penned Away Out on The Mountain, a song now readily associated with Jimmie Rodgers and a number that Harrell himself did not record. Harrell's Asheville date produced more splendid ballads; the chilling song Wild Bill Jones was a number also recorded by such diverse talents as Wade Mainer, Ernest Stoneman and Eva Davis. (Davis's version pre-dated Harrell's by well over a year). I Was Born About 10.000 Years Ago was recorded by other otm performers and received by a number of UK skiffle groups during the skiffle craze of the 1950s. Peg and Awl concerns the introduction of new technology in the shoe making industry: the Carolina Tar Heels recorded the song later, in 1928.

It was a return to the Victor studios for Harrell's next set of recordings; he would stay with the company until his final session in 1929. The first two numbers at this three-day session were re-recordings of the numbers he had made on his initial Victor recording date; they had been made by the acoustic process, whereas these 1926 remakes were made by the then new electrical system. As with the 1925 session for the label, Harrell had the assistance of studio session musicians, an entourage that again included Carson Robison. While the studio of rural ballads, Kelly Harrell seem unfazed by this and manages to turn in some superb work.


Tracks

1. cumberland gap
2. the deal
3. railroad bill
4.johnny and jane part. 1
5.johnny and jane part. 2
6. cannonball blues
7.k.c. blues
8.new river train
9.rovin' gambler
10.i wish i was a single girl again
11.butcher's boy
12.i was born about 10.000 years ago
13.wild bill jones
14.peg and awl
15.i was born in pennsylvania
16.i'm going back to north carolina
17.be at home soon tonight, my dear boy
18.the wreck on the southern old 97
19.blue eyed ella
20.new river train
21.rovin' gambler
22.i wish i was a single girl again
23.butcher's baby
24.o! molly dear go ask your mother
25.broken engagement



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CD C: The Complete Commercial Output of Kelly Harrell




We continue with the final seven tracks from Kerry Harrell's three-days of recording in June 1926. Once again Harrell's fine vocal work makes for excellent listening, even though at times the accompaniment is decidedly stilted: the reason for this is partly due to the fiddle playing which is more 'violin' than fiddle. As with the earlier session that had him backed by a studio group, these June recordings still find Harrell's quality singing rising above the contributions of the rather pedestrian musicians behind him.
Camden, New Jersey was the venue for his next recording dates, a change from New York, the location of the earlier Victor sessions. There was another change as well, instead of a studio group to back him Kelly Harrell had recruited his own band of musicians to take on the duties. There is some speculation as to why, in the space of less than a year, the company had changed its policy of using New York studio musicians to back a Southern singer. One reason may be that recording director Ralph Peer, who had only recently been doing field recordings in the South suddenly realised that performers like Kelly Harrell needed a sympathetic group to back them. Whatever the case, Harrell arrived with three string-band musicians whose credentials were of the best. Fiddle player Posy Rorer was a member of Charlie Poole's band the North Carolina Ramblers and recorded with Poole from 1925 to 1927. The other two, Raymond Hundley, banjo and Alfred Steagall guitar, were both fellow mill workers, they were also very proficient musicians. Along with Rorer's fiddle work the group combines to make a very engaging string band backing to complement Kelly Harrell's distinctive voice. Perhaps the reason they are so effective is that the accompaniment is in a way almost gentle in fashion, thus allowing Harrell's vocal work ample space. In some respects there is a Charlie Poole 'feel' about the musical backings, albeit that Kelly Harrell's vocals are more sombre than Poole's. For example it is interesting to compare Harrell's recording of My Wife She Has Gone And Left Me with Charlie Poole's slightly different 1928 version, My Wife Went Away and Left Me. There can be no doubt that on both the March and August 1927 sessions Kelly Harrell is on top form but perhaps the peak is reached on the five sides cut on 23rd March. The music varies from the lively to the chilling but manages to provide some of the finest sides in the otm canon; it was hardly surprising that Harry Smith chose two of items Harrell cut in March, to be included on the groundbreaking Anthology Of American Folk Music collection. One was Charles Giteau, a song about the assassination of President James A. Garfield in 1881; the others was My Name is John Johanna, detaililng some rum agricultural employment dealings in Arkansas. On this last-named title Raymond Hundley provides a rather delighfully understated banjo solo.

For the August 1927 session, Posey Rorer had been replaced by Lonnie Austin, the man who would also take over the fiddle work on Charlie Poole's recordings -- Poole and Rorer had had a serious falling out. There was also another change of venue, this time Charlotte, North Carolina. On the four numbers cut on this date, Austin, Hundley and Steagall became the Virginia String Band and on the first two songs Harrell found himself having to duet with vocalist Henry Norton. By all accounts Norton and Harrell had only met shortly before the session, following it they would go their separate ways and never meet again.

It seems that by February 1929, when Kelly Harrell made his last records, the Victor label were attempting to cut costs, which may account for Harrell only bringing Alfred Steagall to the sessions. Steagall acquits himself admirably with some deft guitar work on The Henpecked Man; he is still on good form for the four sides made the following day. It has to be said that Steagall apart the line-up on Kelly Harrell's last sides is a trifle curious and in many respects takes us back to his very first recordings; certainly Sam Freed's violin playing smacks more of the town than the country. The other curiosity is the presence of Roy Smeck; known as 'The Wizard Of the Strings, Smeck was a popular choice as a session man and appeared on records of among others, King Oliver, Clarence Williams and Vernon Dalhart. On these final recordings of Kelly Harrell he can be heard playing not only his harmonica but also a jew's harp; Harrell was evidently taken enough with Smeck's performance to get him to jot down some of the musical details.

After this session Victor suggested that in future, in order to cut their costs, Harrell should either pay for his own musicians or learn to play an instrument himself, Harrell would do neither, thus ending his recording career. In some ways it is perhaps surprising that another record company wouldn't take him on but then with the Depression looming most companies were, like Victor, looking to make savings.


Tracks

01.the dying hobo
02.beneath the weeping willow tree
03.my horses ain't hungry
04.bright sherman valley
05.the cuckoo she's a fine bird
06.hand me down my walking cane
07.bye and bye you will soon forget me
08.oh, my pretty monkey
09.i love my sweetheart the best
10.henry clay beattie
11.i want a nice little fellow
12.my name is john jo hannah
13.in the shadow of the pine
14.charles giteau
15.i'm nobody's darling on earth
16.my wife, she has gone and left me
17.row us over the tide
18.i have no loving mother now
19.for seven long years i've been married
20.charley, he's a good old man
21.the henpecked man
22.she just kept kissing on
23.all my sins are taken away
24.cave love has gained the day
25.i heard somebody call my name




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CD D: The Tenneva Ramblers & The Blue Ridge Highballers



In 1927, while playing a date in Johnson City Tennessee, the Ramblers were seen by Jimmie Rodgers. Rodgers liked their music and invited them to become his backing group. At this point they turned down the offer but some weeks later they changed their minds and agreed to join him and be called The Jimmie Rodgers Entertainers. (Possibly the thing that swayed them was Rodgers having boasted of success on radio; the then new medium was a magnet for musicians playing in differing styles as it was a way of gaining exposure, thus there was no shortage of those wishing to get on the airwaves). By the middle of the year Rodgers and co. were working a well-paid residency at North Fork Mountain Resort. Rodgers, hearing that Victor Records' talent scout Ralph Peer was looking for new artists for the company, somehow persuaded his band members to leave their steady job and head off to the auditions and recording sessions being undertaken by Peer in Bristol, Tennessee. At some point in proceedings there was a falling out between Rodgers and the group, which meant Jimmie Rodgers recording as a solo artist and the band reverting back to their name Tenneva Ramblers and recording as a group. Thus on Thursday 4th August 1927 Rodgers recorded two titles in the afternoon and the Ramblers three in the evening of the same day. However, while Rodgers would carve out a successful career on record cutting over one hundred sides and sellling millions of records, the Tenneva Ramblers success would be limited to just thirteen issued titles made at three sessions.

By the time of their first recording date the Tenneva Ramblers had been augmented to a four-piece group by the addition of banjo player Claude Slagle. The three numbers they recorde were lively enough pieces and presumably sold reasonably well as Victor had the group back just under six months later for a session that produced seven sides, one of which, If I Die A Railroad Man was recorded twice. (The unissued side of this title remained that way until RCA re-issued it on an album of railroad songs of recordings by otm performers from the 20s and 30s). A final session by the group was made for Columbia in October 1929; all four sides made at this date are included here. These final offerings from the band were issued as by the Grant Brothers & Their Music but in fact the personnel was as for the Tenneva Ramblers recordings.

BLUE RIDGE HIGHBALLERS
Leader of the Blue Ridge Highballers was Charley La Prade who was born Charley Washington La Prade, 17th November 1888, in Franklin County, Virginia. In his teens, La Prade -- already able to play other musical instruments -- found that the fiddle was his real forte. He took lessons at a local college from a Swedish violinist; the fact that he learnt from a violinist as distinct from a country fiddler could account for La Prade's clean-cut playing -- a style markedly in contrast to that of some of his contemporaries. The Blue Ridge Highballers were formed in the mid 1920s, ostensibly to play square dances, make local appearances and play fiddlers conventions (usually competitions). Charley La Prade played at over 200 conventions, often walking off with the first prize. In early 1926 La Prade, assisted by Danville music storeowner, Luther B. Clarke. had a Columbia record salesman listen to the group. Following this 'audition' a two-day recording date was arranged for New York in March 1926. Columbia must have been impressed. The date produced thirteen sides under the band's name, two being unissued. All were mountain dance tunes -- and livelier music you'd be hard-pressed to find. There is no denying the quality; La Prade's fiddle soars over proceedings, and is ideally complemented by the forceful banjo playing of Arthur Wells and Lonnie Griffith's nifty guitar work. These recordings must rank as some of the finest examples of Virginia String Band music ever put on disc. The group also backed the aforementioned Luther B. Clarke's vocals. Clarke, who was blind, sang two mountain ballads. The third title included here was the self-penned Wish To The Lord I Had Never Been Born.
The Highballers made a final visit to the studio for Paramount (these items are not included here); by now La Prade had changed the personnel and added a second fiddle. Construction work was being done at the studios, causing the recordings to be of poor quality; because of this sales were low which ended the Blue Ridge Highballers' recording career. The original members of the group, Wells and Griffiths retired from the music scene but Charley La Prade continued to play on radio and for dances, something he continued to do until his death on 24th April 1958.


Tracks

01.the longest train i ever saw
02.sweet heaven when i die
03.miss lisa, poor girl
04.darling where have you been so long
05.if i die a railroad man
06.i'm goin' to georgia
07.the curtains of night
08.seven long years in prison
09.when a man is married
10.goodbye my honey i'm gone
11.tell it to me
12.johnson boy
13.green mountain polka
14.skidd more
15.flop eared mule
16.darneo
17.soldier's joy
18.darling child
19.under the double eagle
20.fourteen days in georgia
21.sandy river belle
22.round town girls
23.wish to the lord i had never been born
24.going down to lynchburg town/intro: don't let your deal go down.




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VA - Minstrel Banjo Style

[IMG]http://i52.*******.com/2w5vbck.jpg[/IMG]
Year: 1994
Label: Rounder

Product Description
This is the first recorded anthology to present the sound of the banjo as heard in ante-bellum times. This compilation may very well provide listeners with initial exposure to this tradition-steeped music.

Review by Steve Leggett
This intriguing album, which features contemporary banjo players Joe Ayers, Clarke Buehling, Bobby Winans, Bob Flesher, Bob Carlin, and Tony Trischka employing drop-thumb frailing techniques on gourd and hoop banjos in replication of the ante bellum minstrel style, somehow seems to fall short of what it might have been. Some of these performances are surprisingly lifeless and perhaps a bit too studied to really catch fire. Then there's the content problem of the minstrel canon itself, which was built on whites in blackface trying to mimic black life and attitudes, and in that context, songs like "Oh, I'se So Wicked," as performed here by Bob Flesher, are layered with subliminal cultural baggage and cruel ironies that are difficult to set aside even all these years later. Still, the minstrel era marks a period in the south when African approaches to rhythm and arrangement collided and eventually merged with European ones, and in what might be the largest irony, black musicians appropriated many of the minstrel tunes, which were in themselves parodies of black culture, into their own milieu, giving these songs another layer of the onion. All of this is more weight than this set is really intended to bear. The tunes are pleasant enough sounding on the surface, the banjo tones are round and gentle, and if one can set aside the ugly racial problems in America that really drove the minstrel phenomenon, then this set is a partial step toward cultural realignment.

Elderly Review:
We all know the good old 5-string banjo was popular way back in the previous century -- but who knows what the old playing styles were like, or the tunes? Here, miraculously, is a chance to find out. It's an anthology of 19th century banjo music, performed by many people who have been re-creating the old styles from printed tunebooks and methods of the era. A must for any banjophile, and if you're new to the banjo, why not start at the beginning?


Tracks:

01. Whoop Jamboree - Ayers - 2:54
02. Essence of Old Virginny - Ayers - 2:00
03. Sylphides Mazurka - Ayers - 1:40
04. Peeping Through de Cellar Door - Ayers - 3:25
05. Medley: Bully for All/St. Patrick's Day - Ayers - 2:35
06. Whoop Jamboree Reprise - Ayers - 1:45
07. Medley: Hobson's Jig/Briggs'Corn Shucking Jig - Buehling - 2:20
08. White Cat, Black Cat - Buehling - 1:34
09. Medley: Green Corn/Oh, What's de Matter, Suse Ann? - Buehling - 2:00
10. Anthony Street Reel - Buehling - 1:08
11. Clare de Kitchen - Buehling - 2:25
12. Medley: Whelpley's Jig/Buckley's Jig - Winans - 4:32
13. Medley: Johnny Boker/Matt Peel's Walk Around - Winans - 3:25
14. Medley: Phil Issac's Jig/Raccoon Jig - Winans - 3:00
15. Medley: Briggs' Jig/Brigg's Reel - Winans - 2:30
16. Medley: Harper's Jig/Kentucky Juba - Flesher - 2:30
17. Jim Along Josie - Flesher - 2:15
18. Medley: Rumsey's Jig/Modoc Reel - Flesher - 2:35
19. Oh, I'se So Wicked - Flesher - 2:40
20. Medley: Alabama Joe/Alabama Walk Around - Flesher - 1:45
21. Medley: Phil Rice's Excelsior Jig/John Diamond Walk Around - Carlin - 2:44
22. Richmond Am a Hard Road to Travel - Carlin - 3:47
23. Medley: Devil's Dream/DarkeyMoney Musk/Mrs. McLeod's Reel - Carlin - 3:02
24. Slave Narrative/Juba - Trischka - 1:49
25. Medley: Operatic Jig/Roast Beef - Trischka - 1:34
26. Yankee Doodle - Trischka - 1:40
27. New York March - Trischka - 0:47
28. Medley: Git up in de Mornin'/Sebastopol Breakdown - Trischka - 1:26

mp3 >256kbps vbr | w/ scans



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