Volume 32, No. 1 Copyright © Central Texas Bluegrass Association January, 2010 Stephen Foster: America’s First Bluegrass Songwriter? ’m sometimes surprised that so many parking lot pickers seem to be unaware of the origins I of the jam standards they’re picking. Most folks seem to be aware that Ashokan Farewell was composed by Jay Ungar in 1982, and that it’s not really a Civil War tune, but how many pickers know that Farewell Blues (made famous as a banjo instrumental standard by Earl Scruggs) is a 1922 jazz standard written by Paul Mares, Leon Roppolo, and Elmer Schoebel? How many know it has words? How many know that Elmer Schoebel (along with Billy Meyers and Jack Pettis) also published Bugle Call Rag, another Earl Scruggs signature piece, in 1922? It was a wartime standard for big bands like Benny Goodman and Glenn Miller. A travelling salesman had sold Earl’s family a windup gramophone and some records, including an early recording of Farewell Blues. He later recorded it as a banjo instrumental with Lester Flatt and the Foggy Mountain Boys in October, 1950, in a session for Mercury Records in Tampa, Flor- ida. How many fiddlers know that Ook Pik Waltz (sometimes called Canadian Waltz, and at- tributed as ―traditional‖) was actually composed by a fiddler from British Columbia named Frankie Rodgers? How many of you jammers know that Nellie Kane was composed by Tim O’Brien (BMI Work #1053324) and recorded by Hot Rize on its eponymous debut album re- leased in 1979? Stephen Collins Foster (1826-1864), born on July 4 in what is now Pittsburgh, Pennsylvania to a large Irish family, is often thought to be America’s first great songwriter. He began writing (about the time of the Mexican War) during an antebellum age when minstrel songs, traveling minstrel shows, and fascination with plantation culture dominated much of popular music. Al- though he never lived in the south, many of his songs were sentimental or romantic ballads with southern or ―plantation‖ themes. In 1849, he signed a contract with the New York music pub- lishing firm of Firth, Pond & Co., becoming a professional songwriter, and later, writing instru- mental ―parlor music‖ as well. During the Civil War, he wrote some songs with military themes. He died, impoverished, in New York at the age of 37, with only 38 cents in his pocket. Hardly any of Foster’s songs have made their way into the bluegrass (continued on page 3) From the historical photo archive: Sharon and Cheryl White at the Kerrville Bluegrass Festival, September, 1980. The song is a cap- pella, which is Italian for ―we forgot how to play our breaks.‖ Photo by Ken Brown. The Central Texas Bluegrass Bulletin is published by the Central Texas Bluegrass Association, a 501(c)(3) tax- exempt Texas nonprofit corporation. Contributions are deductible as charitable and educational donations. Work published in this Bulletin is used by permission of the writers, artists, and photographers, who retain all copy- rights. Jami Hampton, President Central Texas Bluegrass Association Billy Bright, board member Box 9816 Eddie Collins, board member Austin, Texas 78766 Sam Dunn, board member/Treasurer (512) 261-9440 Mike Hurlbut, board member www.centraltexasbluegrass.org/ Clay Levit, board member Tracy Sloan, board member Janice Rogers, board member Carrie Thielemann, board member Rixi Rosenberg, board member Ken Brown, Bulletin editor 2 (continued from page 1) canon, perhaps only two or three at most, but they include some fairly well-known songs. My Old Kentucky Home, Good-Night (Stephen Foster, 1853): Don Reno, World’s Best Five- String Banjo (with Red Smiley, King KLP-861, 1963). Hard Times Come Again No More (Stephen Foster, 1854): The best known bluegrass version is probably the one by the Nashville Bluegrass Band, The Boys Are Back in Town (Sugar Hill SH-3778, 1990). Also done by Yo Yo Ma, Edgar Meyer, Mark O’Connor, and Alison Krauss on Appalachian Journey. Gentle Annie (Stephen Foster, 1856): I don’t think any bluegrass artists have actually done this one, but the chorus goes: Shall we never more behold thee; Never hear thy winning voice again − When the Spring time comes, gentle Annie, When the wild flowers are scattered o’er the plain? And to me, that sounds suspiciously reminiscent of the chorus of Little Annie, as done by Vern Williams and Ray Park: When the springtime comes o'er the mountains, And the wild flowers scatter o'er the plains, I will watch for the leaves to return to the trees, And I'll be waiting when the springtime comes again. I’m just sayin’, you know? Angelina Baker (Stephen Foster, 1850): This was published in Foster’s Plantation Melodies, No. 4, and the lyrics are available at www.pdmusic.org. There are four verses, and the chorus goes: Angelina Baker! Angelina Baker’s gone − She left me here to weep a tear And beat on de old jawbone. If you listen to the MIDI file at www.pdmusic.org/foster.html (scroll down to 1850, then click on Angelina Baker on the left) the relationship between the original melody and the fiddle tune known to bluegrassers is not immediately apparent, but if you listen carefully, it appears that the fiddle tune we know is in fact derivative from the original melody as written by Foster. You can find some more discus- sion of its etymology here: www.banjohangout.org/archive/148082 We’ll probably never know exactly how the melody metamorphosed from what Foster wrote to the fiddle tune as it is played today, but what may be a transitional version can be in this 78 RPM recording: (continued on page 4) 3 (continued from page 3) www.juneberry78s.com/otmsampler/otmsampta.html Scroll down to ―Angeline the Baker‖ and click on ―Uncle Eck Dunford.‖ In this version, the melody corresponds neither to the original nor the standard fiddle tune, but is somewhere in between. Some of the lyrics in the Dunford version are probably related to those in the Foster composition. A good recording in MP3 format of the standard bluegrass version can be found here: www.cumberlandmusic.com/appalachian-bluegrass/appalachian_mt_fiddler.php In any case, if you examine the original lyrics on the pdmusic.org web site, it becomes clear that Foster’s Angelina Baker has nothing to do with bakery goods, bakery assistants, flour, bread, ovens, or anything else of the sort. Foster’s Angelina is a plantation hand, and the object of the singer’s affection. ―Angeline the Baker‖ is simply an erroneous rendition of the original title of the Stephen Foster work. There is also some interesting discussion on the Mudcat web site (see especially the message by Richie Guest, October 20, 2002, with an extensive discogra- phy). It has been recorded as ―Angeline the Baker‖ by lots of bluegrass artists, including but not limited to: Art Stamper, ―Pineywoods,‖ (OH-90167) David Grier, ―Freewheelin’‖ (Rounder ROU-0250) Linda Lay and Sammy Shelor, ―Taking the Crooked Road Home‖ (VFH-107) Robert Shafer and Robin Kessinger, ―R & R‖ (JMP-204) AcuTab, ―Knee Deep in Bluegrass: The AcuTab Sessions‖ (Rebel REB-1759) Rob Ickes, ―Contemporary Dobro Artistry‖ (DVD 21785) Kruger Brothers, ―Choices‖ (DTM-CD015) Butch Baldassari, ―A Day in the Country‖ (SAR-CD2253) Nashville Bluegrass Band, ―Idle Time‖ (Rounder ROU-0232) Recordings with the correct title, Angelina Baker, are somewhat harder to find, but include: Kenny Smith, ―Tunes and Techniques‖ (guitar instructional DVD, 405-DVD1) Ginger Boatwright, ―Sipsey‖ (GFA-99012) Dry Branch Fire Squad, ―Hand Hewn‖ (Rounder ROU-0466) Grillbillies, ―Album Band, Vol. 1‖ (Yeehaw-101) Blaine Sprouse, ―Appalachian Mountain Fiddler‖ (CR-5149-2) Mike Witcher, ―Resonator Guitar: 20 Bluegrass Jam Favorites‖ (instructional book with CD) Anyway, that’s the gist of it. That’s my story, and I’m stickin’ to it. Now all we have to do is figure out what a wellumscope is. Oh, and by the way, I always thought that Home Sweet Home was also composed by Stephen Foster as well. But according to Wikipedia, the music is by Henry Bishop and the lyrics by John Howard Payne, and it predates Foster by a couple of dec- ades. More on Stephen Foster: www.pbs.org/wgbh/amex/foster/timeline/index.html 4 Annual Membership Meeting About 30 people attended the annual CTBA membership meeting at ArtZ Rib House on Sun- day, December 13. Outgoing president Tom Duplissey delivered a ―state of the association‖ summary, the new board members were announced, last month’s meeting minutes and the monthly financial report were presented, some new business was discussed, and then we all ad- joined to pick. As accomplishments in 2009, Tom specifically highlighted membership growth, increased scholarship opportunities, a successful July band scramble and fundraiser, continuing sponsorship for Strictly Bluegrass on KOOP-FM, the continuing ArtZ jam, and planning for the first RiceGrass festival. More detailed information on this festival, scheduled for March 27-28 at Fischer, Texas (with Alan Munde, Byron Berline, Laurie Lewis and Tom Rozum, Danny Barnes, and Sarah Jarosz) is available at www.cabin10.com/riceGrass.htm In addition to the new board members (Eddie Collins, Clay Levit, Mike Hurlbut, Rixi Rosenberg, and Tracy Sloan) listed on the ballots previously mailed out, Janice Rogers (of Ranch Road 12) was also elected at the meeting as an additional board member. New officers will be elected at the next board meeting on January 20. We’re also still looking for a new Bul- letin editor. That’s a volunteer position, not an elected one, and you don’t have to be a board member, just a member with a willingness to help.