Mississippi Visual and Performing Arts Framework
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Early Blues Bibliography
EARLY BLUES BIBLIOGRAPHY In any selection of books the choice must inevitably be subjective as to what to include or exclude. This selection has ommitted some choices that other might have included. Also there are many articles, periodicals and magazines that provide information for the researcher that cannot be included here but are, perhaps, in Robert Ford's 'Blues Bibliography' or Edward Komara's '100 Books Every Blues Fan Should Have'. This selection is based very much on my own collection of books found in markets, second hand book shops but more recently through Amazon and the web site 'Abe Books' Many books are out of print, have reached the third, fourth or later edition but details are included here that will allow the collector to locate and purchase their own choice. I have not sought to comment on the accuracy, usefulness or expertise of each publication and care should be taken on choice of purchase as many are price inflated when a little more research will lead to better value for money. Where possible I have tended to provide details of hard cover books but many are also available in soft cover at a much reduced price. It should also be remembered that any list such as this is out of date the moment that it is produced. New books are regularly published. The University Presses of America provide a sound source of academic work under the general priciple of 'Publish or Perish' which reflects the wide range of books from the very simple history to the in depth difficult to read study of an aspect of my favourite genre of music - The Blues. -
Taj Mahal Andyt & Nick Nixon Nikki Hill Selwyn Birchwood
Taj Mahal Andy T & Nick Nixon Nikki Hill Selwyn Birchwood JOE BONAMASSA & DAVE & PHIL ALVIN NUMBER FIVE www.bluesmusicmagazine.com US $7.99 Canada $9.99 UK £6.99 Australia A$15.95 COVER PHOTOGRAPHY © ART TIPALDI NUMBER FIVE 6 KEB’ MO’ Keeping It Simple 5 RIFFS & GROOVES by Art Tipaldi From The Editor-In-Chief 24 DELTA JOURNEYS 11 TAJ MAHAL “Jukin’” American Maestro by Phil Reser 26 AROUND THE WORLD “ALife In The Music” 14 NIKKI HILL 28 Q&A with Joe Bonamassa A Knockout Performer 30 Q&A with Dave Alvin & Phil Alvin by Tom Hyslop 32 BLUES ALIVE! Sonny Landreth / Tommy Castro 17 ANDY T & NICK NIXON Dennis Gruenling with Doug Deming Unlikely Partners Thorbjørn Risager / Lazy Lester by Michael Kinsman 37 SAMPLER 5 20 SELWYN BIRCHWOOD 38 REVIEWS StuffOfGreatness New Releases / Novel Reads by Tim Parsons 64 IN THE NEWS ANDREA LUCERO courtesy of courtesy LUCERO ANDREA FIRE MEDIA SHORE © PHOTOGRAPHY PHONE TOLL-FREE 866-702-7778 E-MAIL [email protected] WEB bluesmusicmagazine.com PUBLISHER: MojoWax Media, Inc. “Leave your ego, play the music, PRESIDENT: Jack Sullivan love the people.” – Luther Allison EDITOR-IN-CHIEF: Art Tipaldi CUSTOMER SERVICE: Kyle Morris Last May, I attended the Blues Music Awards for the twentieth time. I began attending the GRAPHIC DESIGN: Andrew Miller W.C.Handy Awards in 1994 and attended through 2003. I missed 2004 to celebrate my dad’s 80th birthday and have now attended 2005 through 2014. I’ve seen it grow from its CONTRIBUTING EDITORS David Barrett / Michael Cote / Thomas J. Cullen III days in the Orpheum Theater to its present location which turns the Convention Center Bill Dahl / Hal Horowitz / Tom Hyslop into a dazzling juke joint setting. -
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. -
Time Enough at Last
the The Newsletter of the Center for the Study of Southern Culture • Spring 2014 The University of Mississippi Time Enough at Last Charles Reagan Wilson Retires from Teaching to Focus on Writing Projects David Wharton Charles Reagan Wilson brought together everything from Hank Aaron to Zydeco as coeditor of the Encyclopedia of Southern Culture, and now his final chapter at the University of Mississippi is complete. After 33 years as a history and Southern Studies professor, Wilson retires in May. During his three decades at UM, Wilson has watched both the Center and the university grow. “When I came here the undergraduate program had just been established, so we had less than ten majors, and we were constantly having to justi- fy the program with administrators,” Wilson says. “We didn’t have a master’s program until 1987, and we never anticipated the master’s program would grow that much. That has been one of the most dramatic changes since I’ve been here.” In 1981 the university grounds were mostly dirt, gravel, and open space, with buildings in need of renovation. “Barnard Observatory was particularly fascinating because it was such an old building and it had such character, but it was in a Tennessee Williams state of decline,” Wilson says. “So you had that sense of a wonderful physical setting to study the South, and that was kind of the campus, too.” Ann Abadie, associate director emeritus, says that Wilson made quite a name for himself during his time at UM. “He came to the University of Mississippi for an interview in ear- ly 1981 and, after visiting with him and hearing his lecture on religion in the South, Bill Ferris, Sue Hart, and I, along with many others affiliated with the Center for the Study of Southern Culture, knew that he would be the perfect director for our encyclopedia project,” Abadie says. -
Vanguard Label Discography Was Compiled Using Our Record Collections, Schwann Catalogs from 1953 to 1982, a Phono-Log from 1963, and Various Other Sources
Discography Of The Vanguard Label Vanguard Records was established in New York City in 1947. It was owned by Maynard and Seymour Solomon. The label released classical, folk, international, jazz, pop, spoken word, rhythm and blues and blues. Vanguard had a subsidiary called Bach Guild that released classical music. The Solomon brothers started the company with a loan of $10,000 from their family and rented a small office on 80 East 11th Street. The label was started just as the 33 1/3 RPM LP was just gaining popularity and Vanguard concentrated on LP’s. Vanguard commissioned recordings of five Bach Cantatas and those were the first releases on the label. As the long play market expanded Vanguard moved into other fields of music besides classical. The famed producer John Hammond (Discoverer of Robert Johnson, Bruce Springsteen Billie Holiday, Bob Dylan and Aretha Franklin) came in to supervise a jazz series called Jazz Showcase. The Solomon brothers’ politics was left leaning and many of the artists on Vanguard were black-listed by the House Un-American Activities Committive. Vanguard ignored the black-list of performers and had success with Cisco Houston, Paul Robeson and the Weavers. The Weavers were so successful that Vanguard moved more and more into the popular field. Folk music became the main focus of the label and the home of Joan Baez, Ian and Sylvia, Rooftop Singers, Ramblin’ Jack Elliott, Doc Watson, Country Joe and the Fish and many others. During the 1950’s and early 1960’s, a folk festival was held each year in Newport Rhode Island and Vanguard recorded and issued albums from the those events. -
Vasti Jackson Bio Vasteye Enterprises, LLC P O BOX 144 Hattiesburg, MS 39403 Phone: 601-329-6876 Fax: 601-582-9599 [email protected] Vastijackson.Com
Vasti Jackson Bio Vasteye Enterprises, LLC P O BOX 144 Hattiesburg, MS 39403 Phone: 601-329-6876 Fax: 601-582-9599 [email protected] vastijackson.com What does BB King, The Grammys, Harry Connick, jr., Martin Scorsese, Wynton Marsalis, Cassandra Wilson, and Irma Thomas have in common? Vasti Jackson! Vasti Jackson is a soulful world renown guitarist, and vocalist whose presence captures an audience the moment he takes the stage. Vasti (pronounced Vast-Eye) Jackson is a consummate performer, songwriter, arranger, and producer. From his early beginnings playing in church, and juke joints in McComb, Mississippi, to festivals, Concerts, and theatres around the world. Vasti move effortlessly from Blues to Soul to Jazz to Funk to gospel, and beyond. As an artist, Vasti is known for sweat-drenched, soul-ripping performances marked by some of the most stunning and innovative guitar playing in Blues today. Vasti's talent has been enlarged by an amazing array of musical experiences over 35 years of his vibrant career. Jackson's Recordings "No Borders to the Blues", "Live In Nashville" and "Mississippi Burner" present audio buffet of Vasti´s limitless energy and boundless imagination. It spotlights his talents as singer, and composer, and his utterly thrilling guitar mastery. Rooted in the music of Mississippi, and Louisiana Vasti Jackson recorded on B.B. King's Grammy award winning Blues Summit in 1994. In the 1980s and early 1990s Vasti was session guitarist for Malaco Records (Mississippi) and Alligator Records (Chicago). Musical director, and guitarist ZZ Hill, Johnnie Taylor, Denise LaSalle, Little Milton, Bobby Bland, and Swamp queen Katie Webster. -
Mississippi Curriculum Structure: Social Studies. INSTITUTION Mississippi State Dept
DOCUMENT RESUME ED 355 151 SO 022 974 TITLE Mississippi Curriculum Structure: Social Studies. INSTITUTION Mississippi State Dept. of Education, Jackson. PUB DATE Jun 92 NOTE 115p. PUB TYPE G:des Non-Classroom Use (055) EDRS PRICE MF01/PC05 Plus Postage. DESCRIPTORS Citizenship Education; Educational Objectives; Elementary Secondary Education; *Outcomes of Education; *Social Studies; State Curriculum Guides; *Student Educational Objectives; Teaching Methods IDENTIFIERS *Mississippi ABSTRACT This curriculum guide sets forth what the Mississippi State Board of Education believes should be the outcomes of social studies education in the public schools. For each of the grades K-8, and for each of the courses taught at the 9-12 grade levels,an overarching goal statement is listed. For example, for kindergarten, the goal statement is: the child will develop greater self-awareness, learn to work with others, explore past and present, and acquire communication skills. Each grade or course also is composed of several strands--the areas of learning in the social studies-suchas history, geography, political science, and economics. Within each of the strands listed for a particular grade or course,more specific goals are stated. For example, under the geography strand for kindergarten, the strand goal is: the stvdent will understand geographic concepts of location, human interaction, environment, and movement. After each strand goal core objectives are listed. Core objectives describe the body of material that must be taught. For example, under the kindergarten geography strand goal, thecore objectives include: recognize a globe asa model of the earth, identify different types of waste (paper, plastic, glass), and describe geographical features of one's community. -
ED461586.Pdf
DOCUMENT RESUME ED 461 586 SO 030 618 TITLE Mississippi Fine Arts Framework. INSTITUTION Mississippi State Dept. of Education, Jackson. PUB DATE 1996-00-00 NOTE 214p.; Introductory pages contain light type. PUB TYPE Guides Non-Classroom (055) EDRS PRICE MF01/PC09 Plus Postage. DESCRIPTORS *Academic Standards; *Art Education; *Dance Education; Elementary Secondary Education; *Fine Arts; Learning Strategies; *Music Education; Public Schools; State Curriculum Guides; *State Standards; Student Educational Objectives IDENTIFIERS *Mississippi ABSTRACT The Mississippi Fine Arts Framework is designed to develop K-12 students' interest and expertise in dance, music, theater arts, and visual arts. The introductory fine arts course, for secondary level students, explores the relationship and the function of the arts in both historical and contemporary culture through creative projects, performance, oral presentation, cooperative learning activities, and research projects. Courses in dance, music, theater arts, and visual arts are to be implemented beginning with kindergarten and continuing through each elementary grade, middle school grade, and through high school. Each subject area is divided into strands with specific competencies and suggested objectives presented. Each subject (dance, music, theater arts, and visual arts) contains a glossary of terms and a suggested resource list. (BT) Reproductions supplied by EDRS are the best that can be made from the original document. Mississip Fine Arts Framework 1_ 96 1--- U.S. DEPARTMENT OF EDUCATION Office of Educational Research and Improvement PERMISSION TO REPRODUCE AND EDUCATIONAL RESOURCES INFORMATION DISSEMINATE THIS MATERIAL HAS CENTER (ERIC) BEEN GRANTED BY 12<sdocument has been reproduced as received from the person or organization originating it. CI Minor changes have been made to improve reproduction quality. -
Old Time Music in Central Pennsylvania By
4 Old Time Music in Central Pennsylvania By Carl R. Catherman Old time music is generally thought of as music played on acoustic stringed instruments, particularly fiddle1, banjo and guitar, which were most often used by string bands in the Appalachian region. In addition to those three Jim and Jane and the Western Vagabonds. Rawhide (seated) and Tumbleweed (standing) 2nd from the left, 1938. (author's collection) main instruments various bands used the mandolin, upright bass, washtub bass, ukulele, harmonica, autoharp, mountain dulcimer (an American invention), jug, pump organ and anything else that might contribute useful sounds. The Old- Time Herald, a quality magazine published in Durham, North Carolina since 1988, focuses on music with roots in Appalachia, including Afro-American and 1 The word fiddle is used universally to refer to the violin by old time and bluegrass musicians and also by some musicians in all genres. 5 Cherokee musicians, but also expands its coverage to include regional styles such as Cajun, Norteño, Norwegian-American Hardanger fiddle players from the Upper Midwest, early cowboy singers and others. The concertina or accordion are used in at least two of these regional styles. The fiddle has been in America almost from the time of the earliest European settlements, brought here mostly by Irish or Scottish immigrants to the United States and by the French to Canada. Often called the devil’s box, it was used primarily to provide music for dancing. The modern banjo is an American adaptation of gourd instruments played by African slaves. It first became popular among Whites in the 1830s. -
“Today!”--Mississippi John Hurt (1966)
“Today!”--Mississippi John Hurt (1966) Added to the National Registry: 2009 Essay by Mary Frances Hurt and Ed Levine, with special thanks to Ethan Levin (guest post)* Original album Original label Mississippi John Hurt Hearing the music of Mississippi John Hurt feels like sitting on a porch in the old south listening to a warm, caring grandfather tell stories. And John’s stories go way back. John’s mother, Mary Jane McCain, was a slave and it is no accident that she, along with several of John’s extended family, had McCain as their last name. When Mary Jane McCain was a slave, her owners were the McCain family, the same McCains from which Senator John McCain is descended. Despite those humble beginnings, Mississippi John Hurt eventually emerged as one of the most beloved and most admired of American musical treasures. John’s first recordings date back to 1928, when he did some sessions for Okeh records in Memphis and New York. These records sold well but, soon after their release, the Depression hit and sales plummeted. John’s musical career was cut short and he returned to Avalon, Mississippi. For the next 35 years, John played at small clubs, at parties, and on the porch of The Valley Store but there was not a living to be earned in it. In order to make a living, John, like so many southern black men of the era, did hard manual labor, working as a sharecropper, doing odd jobs and, later, tending cows for the owner of the land on which he lived. -
Vasti Jackson
VASTI JACKSON Mississippi living blues legend, Cultural ambassador, and 2012 Mississippi Musicians Hall of Fame inductee, Vasti Jackson is a powerful force in the world of the music! As an artist, Vasti is known for sweat-drenched, soul-ripping live performances marked by some of the most stunning and innovative guitar playing today. Vasti's stellar vocals and firey guitar leave a lasting impression on all that are lucky enough to experience his music. Question: What does BB King, The Grammys, Harry Connick, jr., Martin Scorsese, Wynton Marsalis, and Cassandra Wilson, have in common? Vasti Jackson! The 2015 release of his sixth CD “Down Home Woman” celebrates beauty, power, and passion in a soulful homage to the down home essence in all women. Vasti Jackson is a soulful world renowned guitarist, and vocalist whose presence captures an audience the moment he takes the stage. Vasti (pronounced Vast-Eye) Jackson is a consummate performer, songwriter, arranger, and producer. From his early beginnings playing in churches, and juke joints in McComb, Mississippi, to festivals, Concerts, and theatres around the world. Vasti move effortlessly from Blues to Soul to Jazz to Funk to gospel to pop, and beyond. Below is a small overview of Vasti's incredible musical journey. February 2015 on the cover of Living Blues Magazine. September 2015 performs European Blues Cruise, and featured in Sharon McConnell's Life-Cast of Legendary blues face at the Grammy Museum, in Cleveland, MS permanent exhibition. May 2015 performs Best Of The Mississippi Blues, Natchez, Mississippi. April 2015 performs at Byron Bay Blues festival, Australia, Conference on World Affairs at Boulder, Colorado, and Suncoast Blues Festival, Sarasota, Florida. -
The Cultural Politics of the North American Folk Music Revival in Washington, D.C
Cosmopolitan Folk: The Cultural Politics of the North American Folk Music Revival in Washington, D.C. by Stephen Fox Lorenz B.A. in English, May 1990, Washington College M.A. in American Studies, May 2003, The George Washington University A Dissertation submitted to The Faculty of The Columbian College of Arts and Sciences of The George Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 18th, 2014 Dissertation directed by Joseph Kip Kosek Associate Professor of American Studies and John Vlach Professor Emeritus of American Studies and of Anthropology The Columbian College of Arts and Sciences of The George Washington University certifies that Stephen Fox Lorenz has passed the Final Examination for the degree of Doctor of Philosophy as of March 20th, 2014. This is the final approved form of the dissertation. Cosmopolitan Folk: The Cultural Politics of the North American Folk Music Revival in Washington, D.C. Stephen Fox Lorenz Dissertation Research Committee: Joseph Kip Kosek, Associate Professor of American Studies, Dissertation Co-Director John Vlach, Professor Emeritus of American Studies and of Anthropology, Dissertation Co-Director Michael Taft, Head of the Archive of Folk Culture at The American Folklife Center (Retired), Committee Member Suleiman Osman, Associate Professor of American Studies, Department Reader ii © Copyright 2014 by Stephen Fox Lorenz All rights reserved iii Dedication The author wishes to dedicate this work to his father Jack Lorenz. Who knew all those trips as a kid to hear bluegrass at the Birchmere would lead here? iv Acknowledgements The author wishes to acknowledge and thank the individuals who gave interviews, special advice, and support for this dissertation.