Jall HOUSE BOUND
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Memphis Jug Baimi
94, Puller Road, B L U E S Barnet, Herts., EN5 4HD, ~ L I N K U.K. Subscriptions £1.50 for six ( 54 sea mail, 58 air mail). Overseas International Money Orders only please or if by personal cheque please add an extra 50p to cover bank clearance charges. Editorial staff: Mike Black, John Stiff. Frank Sidebottom and Alan Balfour. Issue 2 — October/November 1973. Particular thanks to Valerie Wilmer (photos) and Dave Godby (special artwork). National Giro— 32 733 4002 Cover Photo> Memphis Minnie ( ^ ) Blues-Link 1973 editorial In this short editorial all I have space to mention is that we now have a Giro account and overseas readers may find it easier and cheaper to subscribe this way. Apologies to Kees van Wijngaarden whose name we left off “ The Dutch Blues Scene” in No. 1—red faces all round! Those of you who are still waiting for replies to letters — bear with us as yours truly (Mike) has had a spell in hospital and it’s taking time to get the backlog down. Next issue will be a bumper one for Christmas. CONTENTS PAGE Memphis Shakedown — Chris Smith 4 Leicester Blues Em pire — John Stretton & Bob Fisher 20 Obscure LP’ s— Frank Sidebottom 41 Kokomo Arnold — Leon Terjanian 27 Ragtime In The British Museum — Roger Millington 33 Memphis Minnie Dies in Memphis — Steve LaVere 31 Talkabout — Bob Groom 19 Sidetrackin’ — Frank Sidebottom 26 Book Review 40 Record Reviews 39 Contact Ads 42 £ Memphis Shakedown- The Memphis Jug Band On Record by Chris Smith Much has been written about the members of the Memphis Jug Band, notably by Bengt Olsson in Memphis Blues (Studio Vista 1970); surprisingly little, however has got into print about the music that the band played, beyond general outline. -
Alan Lomax: Selected Writings 1934-1997
ALAN LOMAX ALAN LOMAX SELECTED WRITINGS 1934–1997 Edited by Ronald D.Cohen With Introductory Essays by Gage Averill, Matthew Barton, Ronald D.Cohen, Ed Kahn, and Andrew L.Kaye ROUTLEDGE NEW YORK • LONDON Published in 2003 by Routledge 29 West 35th Street New York, NY 10001 www.routledge-ny.com Published in Great Britain by Routledge 11 New Fetter Lane London EC4P 4EE www.routledge.co.uk Routledge is an imprint of the Taylor & Francis Group. This edition published in the Taylor & Francis e-Library, 2005. “To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.” All writings and photographs by Alan Lomax are copyright © 2003 by Alan Lomax estate. The material on “Sources and Permissions” on pp. 350–51 constitutes a continuation of this copyright page. All of the writings by Alan Lomax in this book are reprinted as they originally appeared, without emendation, except for small changes to regularize spelling. All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publisher. Library of Congress Cataloging-in-Publication Data Lomax, Alan, 1915–2002 [Selections] Alan Lomax : selected writings, 1934–1997 /edited by Ronald D.Cohen; with introductory essays by Gage Averill, Matthew Barton, Ronald D.Cohen, Ed Kahn, and Andrew Kaye. -
The Alan Lomax Photographs and the Music of Williamsburg (1959-1960)
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2010 The Alan Lomax Photographs and the Music of Williamsburg (1959-1960) Peggy Finley Aarlien College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the American Studies Commons, History of Art, Architecture, and Archaeology Commons, and the Music Commons Recommended Citation Aarlien, Peggy Finley, "The Alan Lomax Photographs and the Music of Williamsburg (1959-1960)" (2010). Dissertations, Theses, and Masters Projects. Paper 1539626612. https://dx.doi.org/doi:10.21220/s2-b3tk-nh55 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. THE ALAN LOMAX PHOTOGRAPHS AND THE MUSIC OF WILLIAMSBURG (1959-1960) Peggy Finley Aarlien Niirnberg, Germany Master of Arts, Norwegian University of Sciences and Technology, 2001 Bachelor of Arts, Norwegian University of Sciences and Technology, 1995 A Thesis presented to the Graduate Faculty of the College of William and Mary in Candidacy for the Degree of Masters of Arts The American Studies Program The College of William and Mary August 2010 APPROVAL PAGE This Thesis is submitted in partial fulfillment of the requirements for the degree of Masters o f Arts Approved by the Committee, June, 2010 Professor Grey Gundaker The American Studies Program / Dr^Gj/affle^MjbGovern he Anwiqfin SJMdies*4*f©gi2iiT^^ 'w / G' fgG Arthur Rrnignt j” The American Studies Program ABSTRACT PACE On July 19, 2002, folklorist Alan Lomax died at the age of 87. -
Folk Music, Internal Migration, and the Cultural Left
Internal Migration and the Left Futures That Internal Migration Place-Specifi c Introduction Never Were and the Left Material Resources THE SOUTH AND THE MAKING OF THE AMERICAN OTHER: FOLK MUSIC, INTERNAL MIGRATION, AND THE CULTURAL LEFT Risto Lenz In 1940, actor and activist Will Geer organized the “Grapes of Wraths Evening,” a benefi t concert for the John Steinbeck Committee for Agricultural Workers at Forrest Theater in New York City. The pro- gram served as a blueprint for what would later defi ne the American folk music revival: Urban Northerners sharing the stage with “authentic” rural Southerners, together celebrating America’s musical heritage in a politically charged framework (here: helping migrant farmwork- ers). Among the “real” folk were Aunt Molly Jackson, an organizer for the Kentucky coal mines and a singer of union songs, Huddie “Lead Belly” Ledbetter, an African American songster from Louisiana, and Woody Guthrie, a singer from Oklahoma. The three musicians, 1 He is sometimes also who would all spend their subsequent lives in New York as well as referred to as “Leadbelly.” in California, represent the three main migration fl ows of Southerners Both spellings are pos- sible. I will hereaft er use moving out of farms and towns of the American South in great “Lead Belly” since it was numbers and into cities and suburbs of the North and the West: The the preferred spelling of the singer himself as 1 Great Migration of black Southerners (Lead Belly ), the dust bowl well as of the Lead Belly migration (Guthrie), and the Appalachian migration (Jackson).2 The Foundation. -
Jelly Roll Morton Interviews Conducted by Alan Lomax (1938) Added to the National Registry: 2003 Essay by Ronald D
Jelly Roll Morton interviews conducted by Alan Lomax (1938) Added to the National Registry: 2003 Essay by Ronald D. Cohen (guest post)* Jelly Roll Morton Jelly Roll Morton (1885-1941), born Ferdinand Joseph Lamothe in New Orleans, had Creole parents. He began playing the piano at an early age in the New Orleans Storyville neighborhood during the birth pangs of jazz. For a decade, starting in 1907, he traveled the country as a vaudeville musician and singer; in 1915 his composition “The Jelly Roll Blues” became the first published jazz tune. From 1917 to 1923, he continued performing from his base in Los Angeles, then moved to Chicago where he met Walter and Lester Melrose, who had a music publishing company. Along with his sheet music, Morton began recording for Paramount Records in 1923 as well as for Gennett Records in Richmond, Indiana, and for the Autograph label. Backed by various session musicians, particularly the Red Hot Peppers, his most influential recordings came in 1926-30, first for Vocalion, then for RCA-Victor. With the onslaught of the Depression, Morton’s career languished, so he moved to New York, then Washington, D.C., in 1936. He now hosted show “The History of Jazz” on WOL and performed in a local club. Known in 1937 as the Music Box/Jungle Inn, there he met the young, creative, and energetic Alan Lomax. Born in Austin, Texas, the son of the folklorist John Lomax, Alan Lomax (1915-2002) had become assistant-in-charge of the Archive of American Folk Song at the Library of Congress (LC) in 1937. -
The Ballad Hunter: Lectures on American Folk Music: Parts 9 and 10
Record No. AFS L 53 THE BALLAD HUNTER Song Ti t l e and Singer PART IX THE BLO OD DONE SIGN MY NAME . Sung by Enoch Brown at Livingston, Alabama, 1940. Recor ded by J ohn A. and Ruby T. Lomax. SOON ONE MORNING. Sung by Dock Reed and Vera Hall at Li vi ngston, Al abama, 1940. Recorded by John A. and Ruby T. Lomax. GOING WALK AROUND IN JORDAN , TELL THE NEWS. Sung by Clabe and Mary Amerson, Matti e Belland Mardy Tartt at Boyd, Alabama, 1940. Recorded by John A. and Ruby T. Lomax. JUBILEE. Sung by Rev. B. D. Hall, J oe and Johnny Hall at Livingston, Alabama, 1940. Recorded by John A. and Ruby T. Lomax. STEAMBOAT LOAD ING. Explanation and holler by Richard Amerson at Livingston, Alabama, 1940. Recorded by J ohn A. and Ruby T. Lomax. DOG CAUGHT A HOG . Played on mouth har p by Richard Amerson at Livingst on, Al abama, 1940. Recorded by John A. and Ruby T. Lomax. SERMON ON J OB. Spoken by Richard Amerson, with moaning by Hettie Godfrey and Li l l ie Polk at Livingston, Alabama, 1940. Recorded by John A. and Ruby T. Lomax. J OB , J OB. Sung by Dock Reed and Vera Hall at Livingston, Alabama, 1940 . Recorded by John A. and Ruby T. Lomax. PART X PICK A BALE O'COTTON . Sung by James (Ir on Head) Baker, Will Crosby, R. D. Al len , and Mose (Clear Rock) Platt at Central State Farm, Sugarland, Texas , 193 3. Recorded by John A. -
1 the Roots of Rock.Pptx
5/27/12 Rock Music & Culture s Welcome! s Instructor: s Adam Roberts s Course Website: s www.AdamRobertsMusic.com s Course Policies s General information s Course outline s Project guides Not Adam! 1 5/27/12 The World Before Rock s Culture in the early 1900’s s Regional s Personal s Early popular music s In 4/4 (4 beats to a bar) s Folkloric lyrics s Simple forms s Rock comes from 3 styles s Rhythm & Blues s Mainstream Pop s Country & Western 2 5/27/12 Form in Rock Music s Form: a song’s structure s Common types: s Blues s Usually 12 repeated bars s Verse-Chorus (VC) s A verse, then a chorus, repeat… s Verse-Refrain (VR) s A VC variation common to Rap & Folk s Refrain: a short melody or lyric that ends a verse s Song Form (AABA or ABAC) s Letters label sections of a song The Radio s Radio…a brief history s 1920: local stations s 1928: national networks s Talk radio, variety shows s 1940s: shifts to music s To differentiate from TV s Radio programming pre-1955 s National shows targeted Upper Class Whites s Big Bands, Crooners s Local shows targeted Minorities, Lower Class Whites s R&B, Country & Western 3 5/27/12 The Blues Robert Johnson The Blues s Origins: s Work Songs s Gospel Music & Spirituals s Highly improvised music s Very emotional, soulful s About getting rid of “the blues” s 1900s to 1940s: popular mostly with minorities s Race Records: 40s Blues and R&B recordings 4 5/27/12 The Blues Form s Just a few chords: I, IV & V s 12 bars/measures long, repeated for each verse s Lyrics in an AAB form s Ex. -
Blind Lemon Jefferson from Wikipedia, the Free Encyclopedia
Blind Lemon Jefferson From Wikipedia, the free encyclopedia Background information Birth name Lemon Henry Jefferson Also known as Deacon L. J. Bates Born September 24, 1893[1] Coutchman, Texas, U.S. Origin Texas Died December 19, 1929 (aged 36) Chicago, Illinois, U.S. Genres Blues, gospel blues Occupation(s) Singer-songwriter, musician Instruments Guitar Years active 1900s–1929 Labels Paramount Records, Okeh Records Notable instruments Acoustic Guitar "Blind" Lemon Jefferson (born Lemon Henry Jefferson; September 24, 1893 – December 19, 1929) was an American blues and gospel blues singer and guitarist from Texas. He was one of the most popular blues singers of the 1920s, and has been called "Father of the Texas Blues". Jefferson's performances were distinctive as a result of his high-pitched voice and the originality on his guitar playing. Although his recordings sold well, he was not so influential on some younger blues singers of his generation, who could not imitate him as easily as they could other commercially successful artists. Later blues and rock and roll musicians, however, did attempt to imitate both his songs and his musical style. Biography Early life Jefferson was born blind, near Coutchman in Freestone County, near present-day Wortham, Texas. He was one of eight children born to sharecroppers Alex and Clarissa Jefferson. Disputes regarding his exact birth date derive from contradictory census records and draft registration records. By 1900, the family was farming southeast of Streetman, Texas, and Lemon Jefferson's birth date is indicated as September 1893 in the 1900 census. The 1910 census, taken in May before his birthday, further confirms his year of birth as 1893, and indicated the family was farming northwest of Wortham, near Lemon Jefferson's birthplace. -
“Just a Dream”: Community, Identity, and the Blues of Big Bill Broonzy. (2011) Directed by Dr
GREENE, KEVIN D., Ph.D. “Just a Dream”: Community, Identity, and the Blues of Big Bill Broonzy. (2011) Directed by Dr. Benjamin Filene. 332 pgs This dissertation investigates the development of African American identity and blues culture in the United States and Europe from the 1920s to the 1950s through an examination of the life of one of the blues’ greatest artists. Across his career, Big Bill Broonzy negotiated identities and formed communities through exchanges with and among his African American, white American, and European audiences. Each respective group held its own ideas about what the blues, its performers, and the communities they built meant to American and European culture. This study argues that Broonzy negotiated a successful and lengthy career by navigating each groups’ cultural expectations through a process that continually transformed his musical and professional identity. Chapter 1 traces Broonzy’s negotiation of black Chicago. It explores how he created his new identity and contributed to the flowering of Chicago’s blues community by navigating the emerging racial, social, and economic terrain of the city. Chapter 2 considers Broonzy’s music career from the early twentieth century to the early 1950s and argues that his evolution as a musician—his lifelong transition from country fiddler to solo male blues artist to black pop artist to American folk revivalist and European jazz hero—provides a fascinating lens through which to view how twentieth century African American artists faced opportunities—and pressures—to reshape their identities. Chapter 3 extends this examination of Broonzy’s career from 1951 until his death in 1957, a period in which he achieved newfound fame among folklorists in the United States and jazz and blues aficionados in Europe. -
Lead Belly and His Legacy of Southern Song a Smithsonian
Lead Belly and His Legacy of Southern Song A Smithsonian Folkways Unit of Lessons Designed by: Patricia Shehan Campbell and Bethany Grant-Rodriguez University of Washington Summary: This unit of four stand-alone or progressive lessons celebrates Lead Belly, a Louisiana-born songster who remembered, invented, and passed on a legacy of songs that opens ears and minds to the world of the American south in the late nineteenth century and first half of the twentieth century. The ballads, blues, work songs, and singing games in these lessons celebrate an African American sensibility that can be enjoyed in school settings by listening and participatory singing and playing. With such musical engagement can come a deeper understanding of the life, times, and place of Lead Belly and his early years on the plantation, his consciousness of the daily grind of manual labor, and his later experiences as a conveyor of southern song on radio and in on-stage concerts, clubs, and classrooms. For children and youth, the complexities of Lead Belly’s life and times are caught up in these songs. His troubled years landed him in prison, where he learned songs from his inmates in Louisiana and Texas, when he worked on a chain gang until his time was served. (The reasons for his incarceration may not make for classroom-appropriate discussion, although the songs he acquired there became standard repertoire for him.) They lead to an exploration of the U.S. South in the post-Civil War period and the Jim Crow years, in the rural and remote places where sharecropping was common and where racial inequities were continued long past official declarations of freedom. -
Coahoma County, Mississippi, Field Trips, 1941-1942: a Guide
American Folklife Center, Library of Congress Coahoma County, Mississippi, Field Trips, 1941-1942: A Guide Rob Cristarella, Todd Harvey, Nathan Salsburg, and Chris Smith (2016) 1 Contents Scope and Content .......................................................................................................................... 3 Chronology ...................................................................................................................................... 5 1941 ............................................................................................................................................. 5 1942 ............................................................................................................................................. 9 1943 ........................................................................................................................................... 15 Inventories .................................................................................................................................... 16 Series 1: Manuscripts ................................................................................................................ 16 Series 2: Sound Recordings ....................................................................................................... 22 Series 3: Graphic Images ........................................................................................................... 56 Series 4: Moving Images........................................................................................................... -
Southern Music and the Seamier Side of the Rural South Cecil Kirk Hutson Iowa State University
Iowa State University Capstones, Theses and Retrospective Theses and Dissertations Dissertations 1995 The ad rker side of Dixie: southern music and the seamier side of the rural South Cecil Kirk Hutson Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/rtd Part of the Folklore Commons, Music Commons, Social and Cultural Anthropology Commons, and the United States History Commons Recommended Citation Hutson, Cecil Kirk, "The ad rker side of Dixie: southern music and the seamier side of the rural South " (1995). Retrospective Theses and Dissertations. 10912. https://lib.dr.iastate.edu/rtd/10912 This Dissertation is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Retrospective Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthiough, substandard margins, and improper alignment can adversely affect reproductioiL In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion.