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Ill in I University of Illinois at Urbana-Champaign H ILL IN I UNIVERSITY OF ILLINOIS AT URBANA-CHAMPAIGN PRODUCTION NOTE University of Illinois at Urbana-Champaign Library Large-scale Digitization Project, 2007. 0UTHAPp Number 31 NMay 25, 1968 After a period of literary hibernation and organizational fermentation, Autoharp has returned. No one associated intimately with the Campus Folksong Club of the University of Illinois wanted to see Autoharp perish, and of course, the rule of thumb (as at other large universities) is Publish or Perish. Here we are. The CFC has new officers and a new program of great material coming up. We at Autoharp hope to put out more issues this year, and larger and better ones at that. However--we cannot write all the articles ourselves. So Andy and all, contributions are hereby heartily solicited. Send them to the editor. (Autoharp without contributors would be like a unicorn without a horn.) The CFC is still in the throes of a great upheaval. Five years ago we had about 500 members. Now we number in the low 100's. Yet the attrition seems to have leveled off. There are still a lot of people interested in something they each define as folk music. We still find, in our serried ranks, the usual "anonymous folkies," the ever-present "old- timey lovers," and the ubiquitous "popular antiquarians." All seem to find something they enjoy in the Club's activities. And yet, it is becoming increasingly difficult to get enough people involved in the real nitty-gritty of the Club's world. Consequently, we have come up with a modest proposal, to wit: The CFC should sponsor an annual three-day festival of traditional music. This would stimulate a great deal of interest in our Club, both on and off the campus. We propose this idea to the members and officers of the CFC with the hope that it will be seriously considered. Think about it and let your friends (and especially Autoharp) know. Campus Folksong Club K> 1 - workshoos - f "-,,, banjo guitar March 9,16,23,30 April 20,27 215, 217, 219 Gregory Hall 1:00 PM jeanne mita (information) 332- 4339 A TWO FOR THE PRICE OF ONE Just a few weeks ago, Sarah Ogan Gunning, the outstanding Kentucky tradi- tional singer, was presented by the joint efforts of the Campus Folksong Club, the English Department, and the Institute of Labor and Industrial Relations. Sarah gave three performances while she was on campus; she performed for the ILIR students, for Professor Archie Green's English class, and she gave a membership concert for the Club. All three- were superb. At the ILIR concert, Sarah presented material which pertained to her involvement in the strikes which rages around the strip-mining region of Kentucky from whence she came. In the folksong class, Sarah sang five or six songs. Her material here was varied, including childrens' songs ("Old Jack Frost") and religious songs ("Christ was a Way-worn Traveler"), as well as the stories and songs about her coal-mining labor dispute days. This perhaps was one of the best opportunities ever afforded any students of American song, since the atmosphere was informal and the possibilities for two-way communi- cation with the singer existed. Sarah's final concert was given in Bevier Hall, where she sang and talked to a crowed of about 60 for nearly 1 1/2 hours. Though the interplay between Sarah and her audience was not as close as it had been in the classroom situation, everybody present was entertained (at least), enlightened (certainly), and richer for the experience (absolutely). It would seem to be hard to surpass a performer like Sarah Gunning...and it is. But the CFC did manage to keep up its high standards of traditional performance and at the same time expose the campus to something which has probably not been heard in this part of Illinois for upwards of fifty years. On Nay 18, the CFC presented an open concert given by the Cook County Vocal Singing Convention. This group is composed of about 20 Chicagoans who grew up in various states (mostly in the South) and learned the shape-note method of notation. After having arrived in Chicago independently, they found each other and started the group, under the direction of the Rev. Huston Emerson and the Rev. Alonzo Day. (In the shape-note method of notation, the seven notes of the scale are assigned seven different shapes, e.g., square, diamond, triangle, etc. The notes are printed on a musical staff, exactly like the conventional "round notes", so that any person who is able to read conventional musical notation is capable of reading shape-notes. However, the reverse does not necessarily apply, as many shape-note singers are perplexed by "round" notes, which all look the same. In addition to the notational difference, many of the spirituals which were written in the shape-note system also are harmonically unusual. The musical intervals which are used are vary archaic sounding to modern ears, and the overall effect of a shape-note spiritual on the uninitiated listener is fantastic.) The audience was one of the most enthusiastic ever seen here, and the credit for its response goes entirely to the skill and artistry of the members of the Cook County Vocal Singing Convention. Many persons began to clap on the off-beats of the spirited numbers, and the Convention members threw themselves into their music with amazing abandon, yet with genuine and impressive control. Alonzo Day, as he was leading the group, blacked out and fell stiffly into the arms of his friends, who were not particularly shocked. One of the singers later explained thif as, "getting the Holy Spirit, which Brother Day does many times." In addition to the magnificent work of the choir as a whole, there were several outstanding indivi- dual performances given. Brother Gregory sang a spiritual as a solo, and Brother Seals, a Psalmist, fervently recited two of his favorites. The Campus Folksong Club was very lucky to have been able to present this marvelous group. The group will appear on July 4 at a Folk Life Festival sponsored by the Smithsonian Institute in Washington, D.C. G0 4) 0 0 UIm P4Q o a I ** C/^ 00 p14- A, Iff m mansm -4 plý-I 13 -4-4,. W-½ </r ~iu ft CD ( U U' U "I'M NO PIANO PLAYER, I'LL JUST PLAY UNTIL THE PIANO PLAYER GETS HERE" by Mary Teal Bukka White is a bluesman from Memphis. He came up and stayed the day with us, April 3. Bukka entertained Archie Green's (English 360) ballad class in the morning, and set up in the Union South Lounge for the afternoon. Beta Theta Pi housed a reception for him in the evening. He went on to Knox College the next day for another round of music and fun. "Please write my mother tell her the shape I'm in. On the next train south, look for my poor bones." But--while he was here, we got the biggest wad of the best blues Bukka, or anybody, can dish out. "Everybody running all over town trying to figure out where the blues came from. Know why those blues came from behind the mule? In them days they didn't know nothin' else to do." And--because Bukka says you gotta play what they want--we got old-time boogie and jive, mean, dirty songs. He's right. We liked them. And we liked him. (Next time I'm gonna get me two, three pretty girls, so when I lose my best girl, I got two more on the line.) We like him. Bukka's a big, round man with an enigmatic smile that gives him no trouble catching women. He told me about Callie May and Gertrude, Lucy, Miss Rhoda Lee, left out a few. He told us about Kansas City, the Delta (where the Blues come from), riding the freight trains, Aberdeen.... "Aberdeen Blues" is Bukka's Song. He does it on his secondhand steel guitar, which is his because the slapping it takes would make a wood guitar give up too soon. There's a lady's rhinestone necklace worked into the guitar strap (Gertrude or Lucy or Miss Rhoda Lee). Its face has worn shiny like gold where fingers hit it all the time; the case is covered with hotel stickers from Kansas City and farther on. "Sang this song for a girl in '43 She was going to Booker T." He'd start in on a song (I'll tell y'll like it is, cause I done been where y'll are trying to get.) He'd warm up for a chorus: "She said, Daddy, maybe you want to settle down I said, Lord ! You got to wait until I've made my rounds." He'd play a little guitar. (Now settle down, Bukka, play it.) He'd play some more words, he'd do some more guitar, maybe use the shell. (Take your time, Bukka, too much going on.) He'd end it with a couple lines: "Police put me in the house searchin' for the weed." He'd tell us stuff like when he won the contest in Kansas City, when his woman killed his cat and that was it for her, it's the devil everywhere you go.... He told us church music was good music to carry you safely, but he wouldn't play much for us. He played "Aberdeen Blues," "Gibson Hill," "Beale Street Blues" (the way they ought to be played), "Jumping Jive," "Black Bottom Blues"...
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