Houstonfest 2015 “A Celebration of Song & Service” Felts Park; Galax, VA May 1-2, 2015 (Always the 1St Weekend in May)

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HoustonFest 2015 “A Celebration of Song & Service” Felts Park; Galax, VA May 1-2, 2015 (Always the 1st weekend in May) In the spirit of Ralph Peer's original call to artists, please join us as HoustonFest proudly presents: _______________ “The 1927 Bristol Sessions Revisited” hosted by Carl Jackson & featuring an incredible lineup of performers from the upcoming “ORTHOPHONIC JOY: THE 1927 BRISTOL SESSIONS REVISITED” recording project including: Marty Stuart - Steep Canyon Rangers Doyle Lawson - The Chuck Wagon Gang Shotgun Rubies - Ashley & Shannon Campbell The Church Sisters - The Virginia Luthier Band Corbin Hayslett - Larry Cordle Jesse McReynolds “The Bristol Sessions is the single most important event in the history of country music.” JOHNNY CASH Camp Houston Unique stage & area dedicated to youth In 1927, there was a magical recording Music & activities session in Bristol that would shape the Jam Sessions future of country music. Known as the “Big Bang of Country Music”, the Bristol Sessions took country music to a new level & produced pioneers of the FEATURING: genre including: The Stoneman Family, Blue Highway - Jeff Little Trio Jimmy Rodgers, and The Carter Family. Sierra Hull – Sigmon Strings Terry Baucom & The Dukes of Drive GalaX's Ernest “Pop” Stoneman played Clay Hess Band – Ash Breeze an integral role in helping Ralph Peer Fiddling Carson Peters Band Amber Collins &Branch House Pavilion comb the Appalachian Region for rural Mountain Park Old Time Band talent. Other musicians from the GalaX ShadowGrass – Changing Lanes area included Eck Dunford, Henry Kitty & The Stray Cats Whitter,The Shelor Family, Norman White Top Mountain Band Edmonds, and J.P. Nestor. Zephyr Lightning Bolts Galax JAM Students Workshops Houston Drive Camping Tents & RVs th (Reserve Now!) ““CelebratingCelebrating HoustonFest'sHoustonFest's 55 Anniversary”Anniversary” This very special event is brought to you through a collaborative effort of HoustonFest 2015, The Galax Volunteer Fire Department; The Birthplace of Country Music Bristol, TN/VA; Virginia Tourism Corporation; and Tennessee Dept of Tourist Development Ron & Nancy McFarlane TICKET PRICES: Advanced 2 Day Ticket $30.00 HoustonFestGalax.Com Advanced 1 Day Ticket $20.00 Tickets & Info: Phone: 276-236-9908 [email protected] At the Gate: $25.00 Per Day Children 12 & under FREE.

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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.
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BEAR FAMILY RECORDS TEL +49(0)4748 - 82 16 16 • FAX +49(0)4748 - 82 16 20 • E-MAIL [email protected]
BEAR FAMILY RECORDS TEL +49(0)4748 - 82 16 16 • FAX +49(0)4748 - 82 16 20 • E-MAIL [email protected] ARTIST Various TITLE The Knoxville Sessions 1929-1930 Knox County Stomp LABEL Bear Family Productions CATALOG # BCD 16097 PRICE-CODE DL EAN-CODE ÇxDTRBAMy160974z FORMAT 4-CD Box-Set (LP-size) with 156-page hardcover book GENRE Country / Historical TRACKS 99 PLAYING TIME 303:58 G With this set, BEAR FAMILY RECORDS completes the map of commercial recording in East Tennessee in the late 1920s and early 1930s. G 'The Bristol Sessions, 1927-928: The Big Bang Of Country Music' documented epoch-making sessions by VICTOR RECORDS that launched the careers of Jimmie Rodgers and The Carter Family, while G 'The Johnson City Sessions, 1928-1929: Can You Sing Or Play Old-Time Music?' focused on COLUMBIA RECORDS' similar search for early country music talent in Appalachia, sessions that yielded many other seminal recordings. INFORMATION 'The Knoxville Sessions, 1929-1930: Knox County Stomp' features the music made at two sessions conducted by BRUNSWICK RECORDS at downtown St. James Hotel – music remarkable both for its variety and for the rarity of the records that preserved it. Whereas the recordings made in Bristol and Johnson City were almost exclusively of old-time country and gospel music, the Knoxville sessions captured a more diverse gathering of Appalachian voices and sounds. Amidst old-time stringbands like the Ten- nessee Ramblers, the Southern Moonlight Entertainers, and the Smoky Mountain Ramblers, we also hear the majestic African American blues and gospel singer Leola Manning, the hot dance music of Maynard Baird & His Southern Serenaders, the virtuoso string ragtime of Howard Armstrong and the Tennessee Chocolate Drops, sacred songs by white and African American quartet- tes, songsters such as Will Bennett and Haskell Wolfenbarger, a unique recorded playlet about the Hatfield-McCoy feud – and even an address by the businessman whose enterprise brought BRUNSWICK RECORDS to Knoxville, Colonel J.G.
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Today a Commercially Successful, Internationally Appreciated Genre Of
18 had appeared on "hillbilty" records were from this region. On July 22, 1927, Peer and his two engineers set up a temporary studio on the Tennessee side of State Street in downtown Bristol; and on Monday, July 25, the now-famous "Bristol .. hillbilly music," a catch-all term for Sessions" began, showcasing a well much of the white folk and popular known local musician, Ernest music composed and performed in Stoneman (from the nearby Virginia the Southern United States during Blue Ridge, Stoneman had already Today a commercially successful, that era. Musicians from across the enjoyed several "hillbilly" hit internationally appreciated genre of South-including many from recordings). By their completion on American music, country music was Appalachia-traveled to those cities, Friday, August 5, the Bristol Sessions first commercially recorded in the for the experience of making records yielded 76 recorded performances by early 1920s. Since then, it has been and the possibility of financial 19 separate musical acts. Utilizing strongly influenced by traditional reward. The music recorded at these what was then state-of-the-art and popular music genres from studios, incorporating essentially the equipment, Peer and his engineers several regions of the United same repertoire then being performed ensured that the recordings exceeded States-by gospel and blues from on front porches and at other com all previous .. hillbilly" recordings in the South, cowboy music from the munity events in the South, sold far sound quality. Equally significant was West, and Tin Pan Alley music from more copies than record companies the high quality of the performances the North.
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The Rise and Fall of the Hillbilly Music Genre, a History, 1922-1939. Ryan Carlson Bernard East Tennessee State University
East Tennessee State University Digital Commons @ East Tennessee State University Electronic Theses and Dissertations Student Works 12-2007 The Rise and Fall of the Hillbilly Music Genre, A History, 1922-1939. Ryan Carlson Bernard East Tennessee State University Follow this and additional works at: https://dc.etsu.edu/etd Part of the Musicology Commons Recommended Citation Bernard, Ryan Carlson, "The Rise and Fall of the Hillbilly Music Genre, A History, 1922-1939." (2007). Electronic Theses and Dissertations. Paper 2059. https://dc.etsu.edu/etd/2059 This Thesis - Open Access is brought to you for free and open access by the Student Works at Digital Commons @ East Tennessee State University. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. The Rise and Fall of the Hillbilly Music Genre: A History, 1922-1939. ___________________ A thesis presented to the faculty of the Department of Liberal Studies East Tennessee State University In partial fulfillment of the requirements for the degree Masters of Arts in Liberal Studies ___________________ by Ryan Carlson Bernard December, 2006 ___________________ Dr. Richard Blaustein, Chair Dr. Ted Olson Dr. Kevin O’Donnell Keywords: Hillbilly, Music, Stereotype, Genre, Phonograph, Radio ABSTRACT The Rise and Fall of the Hillbilly Music Genre: A History, 1922-1939 by Ryan Carlson Bernard This research will examine the rise in popularity of the hillbilly music genre as it relates to the early part of the twentieth century as well as its decline with the arrival of the western hero, the cowboy.
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Tennessee Pressedienst
TENNESSEE TOURISM State of Tennessee Pressedienst: 29. Juni 2017 Birthplace of Country Music Museum feiert die Bristol Sessions 90 Jahre seit dem Urknall der Country Music Das Birthplace of Country Music Museum feiert den 90. Geburtstag der frühesten erfolgreichen Schallplatten-Einspielungen in der Country Music. Rund um die „Bristol Sessions“ gibt es ab Mitte Juli Konzerte, Filmvorführungen und Info- Veranstaltungen. Der Eintritt ins Museum kostet zeitweise nur 90 Cent. Vor 90 Jahren vom 25. Juli bis 5. August 1927 nahm Ralph Peer für das Label Victor die ersten Country-Musik-Platten auf, die kommerziellen Erfolg finden sollten. Schauplatz des Urknalls der Country Music war die Kleinstadt Bristol im Osten von Tennessee auf der Grenze zu Virginia. Mit dabei: die Carter Family. Der spätere Ehemann von June Carter, Johnny Cash, nannte die Bristol Sessions „das wichtigste Ereignis in der Geschichte der Country Music.“ Bereits im Oktober 1925, war in Nashville die Grand Ole Opry auf Sendung gegangen. Diese Live-Radioshow, die bis heute fast unverändert jeden Freitag und Samstag Tausende von Zuschauern anlockt, begründete zusammen mit den Bristol Recordings den Ruf Tennessees als das Mekka der Country-Musik. Die Festivitäten in Bristol beginnen am 15. Juli mit einem Geburtstags-Symposium, auf dem die Produzenten der einschlägigen Fernseh-Dokumentation Epic des Senders PBS, Allison McGourty und Bernhard MacMahon, und der Musikjournalist Barry Mazor die Hintergründe erklären und auch Teile des Films vorführen. Ralph Peer II, der Unternehmenschef von Peer Music, wird den Eröffnungsvortrag halten. Eintrittskarten für 27,25 Dollar gibt es online beim Birthplace of Country Music Museum. Am 29. Juli folgt ein „Friends of 1927 Concert“ im kleinen Rahmen mit dem Musiker, Musikproduzenten und GRAMMY-Gewinner Carl Jackson und dem Country- Songwriter Jerry Salley.
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Dissertation Introduction
Copyright by Kyle Stewart Barnett 2006 The Dissertation Committee for Kyle Stewart Barnett certifies that this is the approved version of the following dissertation: Cultural Production and Genre Formation in the U.S. Recording Industry, 1920-1935 Committee: Thomas Schatz, Supervisor James Buhler John D.H. Downing James Hay Mary Celeste Kearney S. Craig Watkins ii Cultural Production and Genre Formation in the U.S. Recording Industry, 1920-1935 by Kyle Stewart Barnett, B.A., M.A. Dissertation Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August, 2006 iii To Lisa Most of the recordings issued throughout the twentieth century were never simply marketed to or purchased by a huge undifferentiated ‘mass’ audience. Instead, the industry has, since its formation, sold music to the fans of particular styles, through a variety of changing labels…. In addition the recording industry has employed various legal and illegal, small-scale and team-based, marketing and promotional activities as a way of approaching consumers – practices which might well be labeled as ‘flexible.’ – Keith Negus, “Music Divisions: The Recording Industry and the Social Mediation of Cultural Production,” When the music business gets involved in promoting a style of music, it typically adopts colloquial terms that are verbs or adjectives and turns them into nouns – that is, into things, marketable objects that can be promoted, sold, and bought by a mass audience. – Larry Starr and Christopher Waterman, American Popular Music from Minstrelsy to MTV iv Acknowledgements I have relied on the help of many friends and colleagues in completing this project.
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MOMH Program Guide
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<Billno> <Sponsor>
<BillNo> <Sponsor> SENATE JOINT RESOLUTION 145 By Lundberg A RESOLUTION to honor and commemorate the ninetieth anniversary of the 1927 Bristol Sessions. WHEREAS, the 1927 Bristol Sessions, a series of recording sessions that yielded dozens of songs by artists from Tennessee and throughout the American South, brought the mountain music of southern Appalachia to a national audience, revolutionized the music industry, and laid the foundation for modern country music; and WHEREAS, seeking true profitable Southern music, Ralph Peer, a producer for the Victor Talking Machine Company, toured the American South and held auditions in Bristol in a portable recording studio in the Taylor-Christian Hat Company building in 1927; and WHEREAS, the 1927 Bristol Sessions yielded seventy-six songs by nineteen different artists, including songs by Ernest V. Stoneman of Galax and the commercial debuts of the Carter Family of Scott County, the “First Family of Country Music,” and Jimmie Rodgers, the “Father of Country Music”; and WHEREAS, the 1927 Bristol Sessions met with commercial success, and both the artists’ work and Ralph Peer’s innovative recording techniques influenced the music industry for years to come; in 2002, the Library of Congress ranked the 1927 Bristol Sessions as one of the most significant sound recording events of all time; and WHEREAS, the history and heritage of the 1927 Bristol Sessions are preserved and promoted by the Birthplace of Country Music, a nonprofit organization that organizes the Bristol Rhythm & Roots Reunion, operates
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Scotland ^ 37Th Annual Smithsonian
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