Annotated Tune List
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Uncle Earl's Homecoming
EVENTS NIGHTSPOTS RESTAURANTS Ann Arbor Weather: Mostly cloudy & 70°F SEND A TIP >> AnnArborObserver.com >> Articles >> Culture Uncle Earl's homecoming A2 to Colorado, and back by Whitley Hill From the March, 2007 issue Uncle Earl got himself born right here in Ann Arbor. He sprang fully formed and thoroughly functional from the fertile minds, nimble fingers, and soulful voices of singer-songwriters K. C. Groves and Jo Serrapere and fiddle player Tahmineh Gueramy. He tripped giddily about local venues, perplexed, at times, at his role as avatar and masthead of such plaintive, delicate music. He shuffled uncomfortably on the sidelines after gigs as fans asked, "So, which one of you has an uncle Earl?" In fact, Uncle Earl is an old-time string band that features neither uncles nor anyone remotely named Earl. Today, Groves, now based in Colorado, is the only original member of the group. She's joined now by three fine, seasoned women - Kristin Andreassen (guitar, clogging, ukulele, and vocals), Rayna Gellert (fiddle and vocals), and Abigail Washburn (banjo and vocals) - who love this music deeply and play it with passion. In this quartet's capable hands, everything old is scrubbed fresh. With rainwater. Heaven knows how they managed it, amid their increasingly international touring schedule, but a black crow on a clothesline tells me that Uncle Earl's newest album, Waterloo, Tennessee (Rounder Records), was made in about two weeks last fall at a luxurious live-in studio in the rolling hills outside of Nashville. Aside from the joy of unfettered, fully supported creativity (beautifully manifested in the four tracks I heard), the G'Earls got their first taste of actual obsequiousness: a crew of bowing, scraping interns who insisted on washing their white fluffy robes every day. -
1997Festivalofameric00festival.Pdf
,j iVJ I t n 3 o ri i a r \j ;J ^_ j. r\ r\ r \ 1 r r -1 L_ U > \J j_ Members of the Ethiopian Christian community participate in an annual candlelight ceremony called Maskal (cross finding) at Malcolm X Park in the District of Columbia. Photo by Harold Dorwin, © Smithsonian Institution 6 Smithsonian Institution Festival of American Folklife On the National Mall WASHINGTON, D.C. June25— 29&July2— Cosponsored by the National Park Service 1997 Festival of American Folklife Hazel Dailey from Columbia, Louisiana, works with the insert to the pressure cooker she uses in canning produce. Photo by Sylvia Frantom Tradition-based social occasions like this coffee ceremony at the Washing- On the Cover ton, D.C., home ofHermela Kebede reinforce ties between generations of At this baptism at Lake Providence, Louisiana, in the Delta region, the minister Ethiopian women living in the United repeats a prayer as each candidate, dressed in traditional robe and headgear, States. Photo by Harold Dorwin, is immersed. The baptized are then received by members of the church and ©Smithsonian Institution taken away to change. Photo © Susan Roach At a gathering of the lion Christian Church in South Africa's northern province ofMoria, the men of Site Map on the Back Cover Mokhukhu dance as an expression of faith. Photo © T. J. Lemon The Carolina Tar Heels (left to right, Clarence [Torn! Ashley, Doc Walsh, Owen Foster), ca. 1930. Photo courtesy CFPCS Archive Crop dusting cotton fields in the Mississippi Delta. L Photo © Maida Owens 27 1997 Festival of American Folklife -
Frank Buckley Walker
Frank Buckley Walker Columbia Records Old-Time Music Talent Scout Frank Buckley Walker (1889 – 1963) was the Artist and Repertoire (A & R) talent scout for Columbia Records’ Country Music Division during the 1920s and 1930s. Along with Ralph Peer of Victor Records, Walker mastered the technique of field recordings. Specializing in southern roots music, Walker set up remote recording studios in cities such as Atlanta, New Orleans, Memphis, Dallas, Little Rock and Johnson City searching for amateur musical talent. The fascinating interview below with Frank Buckley Walker was done by Mike Seeger on June 19, 1962. The interview provides insight into the early era of recorded music as well as the evolution of country music as a market segment. Frank Buckley Walker June 19, 1962 The Seeger-Walker Interview MS (Mike Seeger): I was noticing this Jaw’s Harp, or Jew’s Harp on your desk here…… FW (Frank Walker): Jew’s Harp is what they call it. It’s an old one. And you were telling me it dates back to your early days, where was it, Fly…? Fly Summit, New York on a farm. Fly Summit was a metropolis. It had about four or five houses, a church, a baling machine, and one little store. We lived on a farm about a mile away from there. And the Jew’s Harp - that played an important part because it was the only thing I could play other than the 1 harmonica. But it did get me a few pennies here and there for playing for some sorts of entertainment we had amongst the farmers. -
Can You Sing Or Play Old-Time Music?': the Johnson City Sessions Ted Olson East Tennessee State University, [email protected]
East Tennessee State University Digital Commons @ East Tennessee State University ETSU Faculty Works Faculty Works 2013 'Can You Sing Or Play Old-Time Music?': The Johnson City Sessions Ted Olson East Tennessee State University, [email protected] Follow this and additional works at: https://dc.etsu.edu/etsu-works Part of the Appalachian Studies Commons, and the Music Commons Citation Information Olson, Ted. 2013. 'Can You Sing Or Play Old-Time Music?': The oJ hnson City Sessions. The Old-Time Herald. Vol.13(6). 10-17. http://www.oldtimeherald.org/archive/back_issues/volume-13/13-6/johnsoncity.html ISSN: 1040-3582 This Article is brought to you for free and open access by the Faculty Works at Digital Commons @ East Tennessee State University. It has been accepted for inclusion in ETSU Faculty Works by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. 'Can You Sing Or Play Old-Time Music?': The ohnsonJ City Sessions Copyright Statement © Ted Olson This article is available at Digital Commons @ East Tennessee State University: https://dc.etsu.edu/etsu-works/1218 «'CAN YOU SING OR PLAY OLD-TIME MUSIC?" THE JOHNSON CITY SESSIONS By Ted Olson n a recent interview, musician Wynton Marsalis said, "I can't tell The idea of transporting recording you how many times I've suggested to musicians to get The Bristol equipment to Appalachia was, to record Sessions—Anglo-American folk music. It's a lot of different types of companies, a shift from their previous music: Appalachian, country, hillbilly. -
Music K-8 Marketplace 2021 Spring Update Catalog
A Brand New Resource For Your Music Classroom! GAMES & GROOVES FOR BUCKET BAND, RHYTHM STICKS, AND LOTS OF JOYOUS INSTRUMENTS by John Riggio and Paul Jennings Over the last few years, bucket bands have grown greatly in popularity. Percussion is an ideal way to teach rhythmic concepts and this low-cost percussion ensemble is a great way to feel the joy of group performance without breaking your budget. This unique new product by John Riggio and Paul Jennings is designed for players just beyond beginners, though some or all players can easily adapt the included parts. Unlike some bucket band music, this is written with just one bucket part, intended to be performed on a small to medium-size bucket. If your ensemble has large/bass buckets, they can either play the written part or devise a more bass-like part to add. Every selection features rhythm sticks, though the tracks are designed to work with just buckets, or any combination of the parts provided. These change from tune to tune and include Boomwhackers®, ukulele, cowbell, shaker, guiro, and more. There are two basic types of tunes here, games and game-like tunes, and grooves. The games each stand on their own, and the grooves are short, repetitive, and fun to play, with many repeats. Some songs have multiple tempos to ease learning. And, as you may have learned with other music from Plank Road Publishing and MUSIC K-8, we encourage and permit you to adapt all music to best serve your needs. This unique collection includes: • Grizzly Bear Groove • Buckets Are Forever (A Secret Agent Groove) • Grape Jelly Groove • Divide & Echo • Build-A-Beat • Rhythm Roundabout ...and more! These tracks were produced by John Riggio, who brings you many of Plank Road’s most popular works. -
Countdown to December 1, 2019 “On This Day in History” for Johnson City, Tennessee’S Sesquicentennial
Countdown to December 1, 2019 “On this Day in History” for Johnson City, Tennessee’s Sesquicentennial December On December 1, 1869, Johnson City “received its first charter from the state of Tennessee under the name of Johnson City.” (Source: Greater Johnson City A Pictorial History.) On December 1, 1966, Johnson City native Steve Spurrier won the Heisman Trophy. (Source: “Glimpses of Johnson City, Tennessee,” Community Relations Department, City of Johnson City, Tennessee.) On December 2, 1978, the Statler Brothers appeared with Barbara Mandrel at Freedom Hall. Tickets ranged in price from $5.50 to $7.50. (Source: www.vincestaten.blogspot.com) Between December 3, 4, and 5, 1886, three feet of snow fell in Johnson City. “Activity ground to a halt for days.” (Source: I’d Rather Have a Talking Frog.) On December 3, 1978, Dorothy Hamill reported in her column that the old Science Hill High School would soon be torn down. (Source: Johnson City Press-Chronicle.) On December 4, 1984, an article in the Johnson City Press-Chronicle reported that recently, a day’s tobacco sales at Big Burley, Grower’s Co-Op, and Young’s Warehouse brought tobacco growers more than $1 million. So far that season, more than 2.1 million pounds of tobacco was sold, bringing more than $9 million into the local economy. (Source: Johnson City Press-Chronicle.) On December 5, 1907, children’s letters to Santa Claus, as printed in The Comet, an early Johnson City weekly newspaper, reveals their wishes for such Christmas goodies as fruit, oranges, nuts and other foods. Dolls and books were also popular items. -
American Folk Music and Folklore Recordings 1985: a Selected List
DOCUMENT RESUME ED 277 618 SO 017 762 TITLE American Folk Music and Folklore Recordings 1985: A Selected List. INSTITUTION Library of Congress, Washington, D.C. American Folklife Center. PUB DATE 86 NOTE 17p.; For the recordings lists for 1984 and 1983, see ED 271 353-354. Photographs may not reproduce clearly. AVAILABLE FROM Selected List, American Folklife Center, Library of Congress, Washington, DC 20540. PUB TYPE Reference Materials - Bibliographies (131) EDRS PRICE MF01/PC01 Plus Postage. DESCRIPTORS Annotated Bibliographies; *Black Culture; *Folk Culture; *Jazz; *Modernism; *Music; Popular Culture ABSTRACT Thirty outstanding records and tapes of traditional music and folklore which were released in 1985 are described in this illustrated booklet. All of these recordings are annotated with liner notes or accompanying booklets relating the recordings to the performers, their communities, genres, styles, or other pertinent information. The items are conveniently available in the United States and emphasize "root traditions" over popular adaptations of traditional materials. Also included is information about sources for folk records and tapes, publications which list and review traditional music recordings, and relevant Library of Congress Catalog card numbers. (BZ) U.111. DEPARTMENT OF EDUCATION Office or Educao onal Research and Improvement EDUCATIONAL RESOURCES INFORMATION CENTER (ERIC) This document hes been reproduced u received from the person or o•panizahon originating it Minor changes nave been made to improve reproduction ought) Points of view or opinions stated in this docu mint do not necessarily represent Olhcrai OERI posrtio.r or policy AMERICAN FOLK MUSIC AND FOLKLORE RECORDINGS 1985 A SELECTED LIST Selection Panel Thomas A. Adler University of Kentucky; Record Review Editor, Western Folklore Ethel Raim Director, Ethnic Folk Arts Center Don L. -
{PDF EPUB} Blood in West Virginia Brumfield V. Mccoy by Brandon Kirk William Greenville “Green” Mccoy
Read Ebook {PDF EPUB} Blood in West Virginia Brumfield v. McCoy by Brandon Kirk William Greenville “Green” McCoy. Are you adding a grave photo that will fulfill this request? Yes, fulfill request No, this is not a grave photo. Oops, something didn't work. Close this window, and upload the photo(s) again. Make sure that the file is a photo. Photos larger than 8Mb will be reduced. Photos larger than 8.0 MB will be optimized and reduced. Each contributor can upload a maximum of 5 photos for a memorial. A memorial can have a maximum of 20 photos from all contributors. The sponsor of a memorial may add an additional 10 photos (for a total of 30 on the memorial). Include gps location with grave photos where possible. No animated GIFs, photos with additional graphics (borders, embellishments.) No post-mortem photos. File Name · Request Grave Photo. Photo request failed. Try again later. The note field is required. Leave a Flower. Your Scrapbook is currently empty. Add to your scrapbook. You are only allowed to leave one flower per day for any given memorial. View Flower. Share. Facebook Twitter Pinterest Email. Save To. Ancestry Virtual Cemetery Copy to clipboard Print. Your Virtual Cemeteries. Select to include on a virtual cemetery: Loading… Report Abuse. Are you sure that you want to report this flower to administrators as offensive or abusive? This flower has been reported and will not be visible while under review. Failed to report flower. Try again later. Remove Flower. Failed to remove flower. Try again later. Delete Memorial. -
Haley, James Edward (Ed) and Family 94-085 Collection
HALEY, JAMES EDWARD (ED) AND FAMILY 94-085 COLLECTION Physical description: .75 l.f. (copies) including 8 audio tapes ( TTA-187A/H) 1 volume (copy) 1 binder (copy) Dates: Ca. 1946-1947 Restriction: These materials may be used only with the permission of the donor. Provenance: These materials were loaned for copying by John Hartford of Madison Tennessee with the permission of the Haley family. Some of these discs were copied earlier by the Library of Congress and appear on the Rounder album Ed Haley, Parkersburg Landing (Rounder 1010) Biographical Sketch: James Edward (Ed) Haley was born on Hart’s Creek, Logan county, West Virginia, in 1885, the son of Andrew Jackson and Emma (Mullins) Haley. He lost his vision in early childhood and received no formal education. As an adult supported himself by his fiddle playing in West Virginia, Kentucky and Ohio. In 1914 he married (Martha) Ella of Morehead Kentucky, who was also blind, and moved to Ashland Kentucky. The Haleys, who had five children, divorced in 1935 but continued to play together. Ed Haley died in 1951, Ella in 1954. Scope and Content: This collection consists of a photocopied volume of John Hartford’s research notes concerning the Haley family and regional history and 8 reel to reel analog audio tapes of instantaneous discs made by West Virginia fiddler J.E. (Ed) Haley of West Virginia and his family, ca. 1946-1947. The volume includes detailed information on the family, including copies of photographs; song texts, sometimes with explanatory notes including an extensive discussion of “Lincoln Country Crew,” a murder ballad; Hartford’s transcriptions of Haley’s tunes and information on those and other tunes in Haley’s repertoire; drawings of Haley’s fiddle positions based on information from his son Lawrence and other information on his playing technique; and scattered information on other fiddlers, especially “Uncle Jack” McElwain from whom Haley learned a number of tunes. -
Jemf Quarterly
JEMF QUARTERLY JOHN EDWARDS MEMORIAL FOUNDATION VOL. XII SPRING 1976 No. 41 THE JEMF The John Edwards Memorial Foundation is an archive and research center located in the Folklore and Mythology Center of the University of California at Los Angeles. It is chartered as an educational non-profit corporation, supported by gifts and contributions. The purpose of the JEMF is to further the serious study and public recognition of those forms of American folk music disseminated by commercial media such as print, sound recordings, films, radio, and television. These forms include the music referred to as cowboy, western, country & western, old time, hillbilly, bluegrass, mountain, country ,cajun, sacred, gospel, race, blues, rhythm' and blues, soul, and folk rock. The Foundation works toward this goal by: gathering and cataloguing phonograph records, sheet music, song books, photographs, biographical and discographical information, and scholarly works, as well as related artifacts; compiling, publishing, and distributing bibliographical, biographical, discographical, and historical data; reprinting, with permission, pertinent articles originally appearing in books and journals; and reissuing historically significant out-of-print sound recordings. The Friends of the JEMF was organized as a voluntary non-profit association to enable persons to support the Foundation's work. Membership in the Friends is $8.50 (or more) per calendar year; this fee qualifies as a tax deduction. Gifts and contributions to the Foundation qualify as tax deductions. DIRECTORS ADVISORS Eugene W. Earle, President Archie Green, 1st Vice President Ry Cooder Fred Hoeptner, 2nd Vice President David Crisp Ken Griffis, Secretary Harlan Dani'el D. K. Wilgus, Treasurer David Evans John Hammond Wayland D. -
Festival of American Folklife : July 1-4, 1967
Smithsonian Institution Festival of American Folklife 1 1 % 1 1 1 SMITHSONIAN INSTITUTION FESTIVAL OF AMERICAN FOLKLIFE JULY 1-4, 1967 SMITHSONIAN INSTITUTION FESTIVAL OF AMERICAN FOLKLIFE July 1-4, 1967 America's grass roots culture provides abundant material for the four-day Festival of American Folklife presented by the Smithsonian Institution on the National Mall over the July 4th weekend. More than doubling previous peak attendance at the Smithsonian for this holiday weekend, the first program in July, 1967 attracted 431,000 spectators, according to National Park Service figures. The exceptional public response to this first event has lead the Smithsonian to establish the Festival as an annual Independence Day tribute to our folk heritage. Fifty-eight traditional craftsmen and thirty-two musical and dance groups from throughout the United States demonstrated and performed at the first open-air event. Mountain banjo-pickers and ballad singers, Chinese lion fighters, Indian sand painters, basket and rug weavers, New Orleans jazz bands and a Bohemian hammer-dulcimer band from east Texas combined with the host of participants from many rural and urban areas of our country to weave the colorful fabric of American traditional culture. The entire event was free to the public, the expense of the production having been borne by the Smithsonian aided by numerous civic and cultural organizations, business enterprises and State Arts Councils. It marks the inception of a fresh attempt at the evaluation, documentation and celebration of this heretofore unrecognized area of vigorous American expression. Most of the traditions have survived from the era of pre-industrial society whose ways have all but disappeared from the American scene with the advent of mass media and rapid transportation. -
September / October
CONCERT & DANCE LISTINGS • CD REVIEWS • FREE EVENTS FREE BI-MONTHLY Volume 5 Number 5 September-October 2005 THESOURCE FOR FOLK/TRADITIONAL MUSIC, DANCE, STORYTELLING & OTHER RELATED FOLK ARTS IN THE GREATER LOS ANGELES AREA “Don’t you know that Folk Music is illegal in Los Angeles?” — WARREN C ASEY of the Wicked Tinkers THE TILT OF THE KILT Wicked Tinkers Photo by Chris Keeney BY RON YOUNG inside this issue: he wail of the bagpipes…the twirl of the dancers…the tilt of the kilts—the surge of the FADO: The Soul waves? Then it must be the Seaside Highland Games, which are held right along the coast at of Portugal T Seaside Park in Ventura. Highly regarded for its emphasis on traditional music and dance, this festival is only in its third year but is already one Interview: of the largest Scottish events in the state. Games chief John Lowry and his wife Nellie are the force Liz Carroll behind the rapid success of the Seaside games. Lowry says that the festival was created partly because there was an absence of Scottish events in the region and partly to fill the void that was created when another long-standing festival PLUS: was forced to move from the fall to the spring. With its spacious grounds and variety of activities, the LookAround Seaside festival provides a great opportunity for first-time Highland games visitors who want to experience it all. This How Can I Keep From Talking year’s games will be held on October 7, 8 and 9, with most of the activity taking place on the Saturday and Sunday.