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1 a Conversation with Abigail Washburn by Frank
A Conversation with Abigail Washburn by Frank Goodman (9/2005, Puremusic.com) It’s curious in the arts, especially music, that success or notoriety can sometimes come more easily to those who started late, or never even planned to be an artist in the first place. But perhaps, by the time that music seriously enters their life, people they’ve met or other things that they’ve done or been interact with that late-breaking musical urge and catalytically convert it into something that works, takes shape or even wings. And so many who may have played the same instrument or sung or composed the same style of music all their lives may never have been rewarded, or at least noticed, for a life’s work. Timing, including the totality of what one brings to the table at that particular time, seems to be what matters. Or destiny, perhaps, if one believes in such a thing. By the time that musical destiny came knocking at Abigail Washburn’s door, her young life was already paved with diverse experiences. She’d gone abroad to China in her freshman year at college, and it changed her fundamentally. She became so interested in that culture and that tradition that it blossomed into a similar interest in her own culture when she returned, and she went deeply into the music of Doc Watson and other mountain music figures, into old time and clawhammer banjo music in particular. She’d sung extensively in choral groups already, so that came naturally. She was working as a lobbyist and living in Vermont, and had close friends who were a string band. -
2018 Fall Issue of the Scenic
the scenic Blue Ridge Parkway Foundation - Fall 2018 Painting “Moses H. Cone Memorial Park” by John Mac Kah John Cone Memorial Park” by “Moses H. Painting The benefit art show Of Valley & Ridge: A Scenic Journey Through the Blue Ridge Parkway will feature works created outdoors by more than 20 fine artists of Western North Carolina on October 26-28 in Asheville. Nature’s Palette Open air painters find inspiration on the Parkway for benefit art show s we travel the Blue Ridge Parkway, most of us capture the Aawe-inspiring scenes with a camera. But if you’ve been exploring the park recently, you just might have encountered one of the many artists working en plein air, a French expression meaning “in the open air,” to capture the wonders of the mountains on canvas. Painter John Mac Kah at work on the Parkway Continued on page 2 Continued from page 1 Sitting in front of small easels with brushes and paint-smeared palettes in hand, these artists leave the walls of the studio behind to experience painting amid the landscape and fresh air. The Saints of Paint and Blue Ridge Parkway Foundation are inviting guests on a visual adventure with the benefit art show, Of Valley & Ridge: A Scenic Journey Through the Blue Ridge Parkway, showcasing the works of Western North Carolina fine artists from October 26 to 28 at Zealandia castle in Asheville, North Carolina. The show opens with a ticketed gala from 5 to 8 p.m., Friday, October 26, at the historical Tudor mansion, Zealandia, atop Beaucatcher Mountain. -
Old Time Banjo
|--Compilations | |--Banjer Days | | |--01 Rippling Waters | | |--02 Johnny Don't Get Drunk | | |--03 Hand Me down My Old Suitcase | | |--04 Moonshiner | | |--05 Pass Around the Bottle | | |--06 Florida Blues | | |--07 Cuckoo | | |--08 Dixie Darling | | |--09 I Need a Prayer of Those I Love | | |--10 Waiting for the Robert E Lee | | |--11 Dead March | | |--12 Shady Grove | | |--13 Stay Out of Town | | |--14 I've Been Here a Long Long Time | | |--15 Rolling in My Sweet Baby's Arms | | |--16 Walking in the Parlour | | |--17 Rye Whiskey | | |--18 Little Stream of Whiskey (the dying Hobo) | | |--19 Old Joe Clark | | |--20 Sourwood Mountain | | |--21 Bonnie Blue Eyes | | |--22 Bonnie Prince Charlie | | |--23 Snake Chapman's Tune | | |--24 Rock Andy | | |--25 I'll go Home to My Honey | | `--banjer days | |--Banjo Babes | | |--Banjo Babes 1 | | | |--01 Little Orchid | | | |--02 When I Go To West Virginia | | | |--03 Precious Days | | | |--04 Georgia Buck | | | |--05 Boatman | | | |--06 Rappin Shady Grove | | | |--07 See That My Grave Is Kept Clean | | | |--08 Willie Moore | | | |--09 Greasy Coat | | | |--10 I Love My Honey | | | |--11 High On A Mountain | | | |--12 Maggie May | | | `--13 Banjo Jokes Over Pickin Chicken | | |--Banjo Babes 2 | | | |--01 Hammer Down Girlfriend | | | |--02 Goin' 'Round This World | | | |--03 Down to the Door:Lost Girl | | | |--04 Time to Swim | | | |--05 Chilly Winds | | | |--06 My Drug | | | |--07 Ill Get It Myself | | | |--08 Birdie on the Wire | | | |--09 Trouble on My Mind | | | |--10 Memories of Rain | | | |--12 -
American Old-Time Musics, Heritage, Place A
THE UNIVERSITY OF CHICAGO SOUNDS OF THE MODERN BACKWOODS: AMERICAN OLD-TIME MUSICS, HERITAGE, PLACE A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF MUSIC BY LAURA C.O. SHEARING CHICAGO, ILLINOIS JUNE 2020 ã Copyright 2020 Laura C.O. Shearing All rights reserved. ––For Henrietta Adeline, my wildwood flower Table of Contents List of Figures .............................................................................................................................. v List of Tables .............................................................................................................................. vi Acknowledgements .................................................................................................................... vii Abstract ...................................................................................................................................... ix Introduction ................................................................................................................................ 1 1. Contextualizing Old-Time ..................................................................................................... 22 2. The Making of an Old-Time Heritage Epicenter in Surry County, North Carolina ................... 66 3. Musical Trail-Making in Southern Appalachia ....................................................................... 119 4. American Old-Time in the British Isles ................................................................................ -
MY SATURDAY NIGHT at the GRAND OLE OPRY by Wayne Hogan Herald•Citizen, Cookeville, TN Sunday, 9 December 2012, Pg
MY SATURDAY NIGHT AT THE GRAND OLE OPRY By Wayne Hogan Herald•Citizen, Cookeville, TN Sunday, 9 December 2012, pg. C•4 ‘Writer’s Corner’ Editor’s note: This was originally written by Hogan in 1993. They call it the “Grand Ole Opry.” That’s what former newspaper reporter George D. Hay, its inventor, named it not long after the first group of performers had stood before their open mikes that first Saturday night and had their down•home music and vaudeville•comic routines beamed out over Nashville’s WSM•650 “clear•channel” radio to nearly all of America, way back in 1925. Nineteen hundred and twenty five. The year Nashville’s venerable Grand Ole Opry was born. It’s hardly missed a heartbeat since. Almost since its first moments, the Grand Ole Opry has been Mecca to the millions who’ve, over the years, come to Nashville to savor the finest in “country” music. It was not till a few short years ago, through, that I became one of those “savorers.” For a long time, I hated “country music” (which, as I’m sure you know, has been called “hillbilly music” much of its life and mine). Could barely stand to think of it, much less listen to it. Well, to make what could easily be a longer story shorter, Susan and I’d often talked about getting a couple of tickets and driving the 80 miles to Nashville some Saturday night to experience this “Grand Ole Opry” thing in person. See if it was all that our mind’s eye image had it cracked up to be. -
Uncle Dave Macon Biography
Uncle Dave Macon Biography http://www.cmt.com/artists/az/macon_uncle_dave/bio.jhtml Uncle Dave Macon, beginning his professional musical career after the age of 50, brought musical and performance traditions of the 19th-century South to the radio shows and the recording catalogues of the early country music industry. In 1925, he became one of two charter members of the Grand Ole Opry, then called the WSM Barn Dance. A consummate showman on the banjo and a one-man repository of countless old songs and comic routines, Macon remained a well-loved icon of country music until and beyond his death in 1952. Born David Harrison Macon in Smartt Station in middle Tennessee's Warren County, he was the son of a Confederate officer who owned a large farm. Macon heard the folk music of the area when he was young, but he was also a product of the urban South: after the family moved to Nashville and began operating a hotel, Macon hobnobbed with traveling vaudeville musicians who performed there. After his father was stabbed near the hotel, Macon left Nashville with the rest of his family. He worked on a farm and later operated a wagon freight line, performing music only at local parties and dances. Macon's turn toward a musical second career was due partly to the advent of motorized trucks, for his wagon line fell on hard times in the early '20s after a competitor invested in the horseless novelties. In 1923, he struck up a few tunes in a Nashville barbershop with fiddler Sid Harkreader, and an agent from the Loew's theater chain happened to stop in. -
April Verch Bio (2011)
April Verch, doesn’t just perform music, she exudes it. The internationally renowned Canadian fiddler, singer, songwriter and stepdancer has a passion for performing and her goal is to touch the lives of those who are listening at any given moment. “The world is this amazing puzzle that we can’t fully understand and music is the joy that pulls it all together and helps us make sense of it,” says Verch, with a dynamic excitement and confidence that makes you believe her in a heartbeat. !Dirk Powell, a multi-instrumentalist, who’s worked with Jack White, Joan Baez, Riverdance and the film Cold Mountain, is awed by April’s ability to play any kind of roots music as though it was her native tongue. “She’s so fluent in the language of music that she never needs to imitate,” Powell says. “She hears the heart of it and lets that become part of her core. April’s just got that, man; she’s always speaking the language for real. She is a rare mix of all the technique and super-flashy things, along with the deep soul and tradition that comes from having grown up with the music." !On her eighth CD, That’s How We Run, April explores the Southern mountain traditions known as old time music, but always brings her Northern roots with her. Plucky, straight-backed Canadian tunes fit so snugly beside ancient Appalachian airs that you’d think they’d been neighbors for centuries. When she sings her own songs, you feel sultry Southern air blowing through every wet, bluesy slide of “That’s How We Run,” just as you feel the tight-shouldered Northern chill in her heartbroken “Still Trying.” Through sinewy old time American reels or crisp Canadian hops, singing the happy Ontario chestnut “Moonshine Mac,” or swapping hot licks with the cream of old time’s new breed, like Dirk Powell, Riley Baugus, and Rayna Gellert, April is always being April. -
Magazine Still Lacking a Clever Title
8 This Magazine Column Still Lacks a Clever Title Old Time Country: The Magazine of Traditional can get someof that international attention. CountryMusic is publishedquarterly by the Center for the Study of SouthernCulture, The University "Old time music" is a tricky term. In western of Mississippi, University, Mississippi, USA 38677, Canada(and possibly in parts of the U.S., notably the sameuniversity that publishesliving Blues. To the northern Midwest, as well) it refers to European get Old Time Country in Canada,send them $14.00 flavored dancemusic, waltzes, polkas, kolomaykas a year, which sounds like a bargain to me. The (if you're in that neck of the prairies), played by journal has some connectionto the Jimmie Rogers ensemblesthat are often heavy on piano accordion Memorial Association,but generallythe focus is on and saxes. In the southeasternU.S., that music is the music of the era that began with Rogers, not foreign, in at least a provincial sense;there, "old with the music of the era at which he was centered. time" refers to banjo/fiddle music, the genre that I mean, it's about old time Country Music, more developedinto bluegrass,though, of course,as time than it is about Old Time Music. You're more passesand memories become shortenedby sound likely to encounter Bashful Brother Oswald than bites & MTV, it's difficult for some folks not to Dock Boggs here, though, to be fair, the most think of bluegrass as "old time." That's one of recent issueincluded a feature on Riley Puckett, as many controversiesthat surface regularly in The well as reviews of discsby Uncle Dave Macon and Old Time Herald: A Magazine Dedicated To Old- Mike Auldridge. -
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. -
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. -
MIO ANN SAVOY PLAYLIST Dans La Louisiane Savoy
MIO ANN SAVOY PLAYLIST Getting Some Fun Out of Life Ann Savoy & Her Sleepless Knights CD: If Dreams Come True Si J’aurais Des Ailes Ann Savoy & Joel Savoy CD: Allons Boire un Coup: A collection of Cajun and Creole Drinking Songs Dans La Louisiane Savoy-Doucet Cajun Band CD: Live! At the Dance It's Like Reaching for the Moon Ann Savoy & Her Sleepless Knights CD: If Dreams Come True I Can’t Get Over You Ann Savoy (Live) At the Jazz Band Ball Pete Fountain and Al Hirt CD: New Orleans Jazz A Foggy Day Frank Sinatra CD: Songs for Young Lovers If You Were Mine Billie Holiday CD: The Essential Billie Holiday If I Had My Way Peter Paul and Mary CD: Peter Paul and Mary in Japan Fantasie D'Amour Loudovic Bource CD: The Artist (Original Motion Picture Soundtrack) Cathy’s Theme Wuthering Heights Original Trailer, 1959 YouTube I Made a Big Mistake Ann & Marc Savoy CD: J’ai ete au bal Happy One Step Savoy-Doucet Cajun Band CD: The Best of the Savoy-Doucet Cajun Band Happy One Step Dennis McGee CD: The Complete Early Recordings of Dennis McGee Devillier Two Step Dennis McGee and Sady Courville La Vieille Musique Acadienne Lafayette Cleoma Breaux & Joe Falcon CD: Cajun Music Mon Coeur T’appelle Cleoma Breaux CD: Cajun Dance Party: Fais Do-Do Valse de Opelousas Amede Ardoin CD: Mama I’ll Be Long Gone: The Complete Recordings of Amede Ardoin 1929-1934 Muskrat Ramble Lawrence Welk Show, 1955 YouTube Aux Illinois Ann Savoy CD: I Wanna Sing Right: Rediscovering Lomax in the Evangeline Country Nuages Ann Savoy and Her Sleepless Knights CD: Black Coffee Embraceable You Ann Savoy and Her Sleepless Knights, feat. -
The-Grand-Ole-Opry-K
céCountry Music Library INTRODUCING COUNTRY MUSIC THE CARTER FAMILY COMEDIANS OF COUNTRY MUSIC THE GRAND OLE OPRY HANK WILLIAMS JIMMIE RODGERS LORETTA LYNN THE NEW BREED WESTERN STARS OF COUNTRY MUSIC MORE NEW BREED STARS DOLLY PARTON COUNTRY MUSIC IS HERE TO STAY. Its roots are in the past, but today this honest, fun-loving, and often moving form of music has earned its place in the world of modern musical entertainment. The Country IVIusic Library takes a look at some of the varied aspects of country music—its greatest hits and top stars. its rich past and promising future. Prepared under the supervision of Robert K. Krishef. former editor and publisher of Country & Western News-Scene, the series provides a fasci- nating introduction to the world of country music. "A kind of junior encyclopedia of country music.... Offers straightforward accounts of the entertainers' lives without fictionalization or adulation (and) gives a ground level familiarity with important names, places. and events..., for new fans of a longstanding, ever more popular art form that's t - gaining historical stature." —Booklist .n o z 1405-2 d4Country Music Library ROBERT K. KRISHEF Lerner Publications Company a Minneapolis ACKNOWLEDGMENTS: The illustrations are reproduced through the courtesy of: pp. 4. 6, 19, 20, 22, 24, 27, 34, 37. 46, 66, Country Music Association Library and Media Center: p. 8, WSB Radio; pp. 11, 32, 51, 54, 56, 58, 61, Opryland Public Relations: pp. 12, 60, Department of Tourist Development, State of Tennessee: P. 17. Les Leverett; p. 29, National Life and Accident Insurance Company; p.