2011 San Francisco Free Folk Festival

Total Page:16

File Type:pdf, Size:1020Kb

2011 San Francisco Free Folk Festival Saturday Daytime 2011 SAN FRANCISCO FREE FOLK FESTIVAL Saturday Daytime Music Workshops Music & Dance Performances Family Jammin’ Dance Workshops Music 1 Music 2 Music 3 Music 4 Lead Belly Pete Seeger Woody Faith Petric M. Reynolds Jam Dance 1 Dance 2 Dance 3 TIME Workshop Workshop Workshop Workshop Room Stage Guthrie Stage Stage Family Room Room Workshop Workshop Workshop TIME Room 102 Room 106 Room 315 Room 317 Room 333 Room 107 Cafeteria Auditorium Room 324 Room 117 Room 226 Girls’ Gym Boys’ Gym 12:00 Early TaKeTiNa: Journey Into Songs from Irish Mark Levy Kingnik Beginning Vintage English 12:00 Stage Collective Cajun & California’s Songs Judaic singer Jug Tap Dacing Viennese Country Pennywhistle Poly-Rhythm Creole Music History Band Waltz Dance instruments Waxwing Singing old-time Natasha Open Mic Jam (doors may close) A new book! welcome John & the band from Haugnes Dick James Word & Blair Kilpatrick Karen Arlen & Amelia Crocker Sack Portland with The Quake Cathleen Myers Ric Bagwell Natalie Johl & Steve Tabak Nancie Kester Hogan Boys Fun and City Jug Band & Alex Lerman Goldman sign up irreverent. Bring 1:00 Hello, This is Works In Gypsy Jazz Sad Performing The near Cello Musical anything you got. Guedra: Bohemian Latin 1:00 a Guitar Progress Guitar – Songs As A Harkenbacks the stage! Joe Storytelling Moroccan National Dance Introduction Duo Dance Polka Beginners’ How to complete Real Appalachian, Colorful & calm California (Salsa Emphasis) workshop a song (see also 5 PM) from the Marlene McCall Have bike, have Circle Time Jug Band Jay Howlett & Don & Sadie Jeanie & Chuck Harkenback cello, will travel. Association Janine Cathleen Myers Ken Juli Moscowitz Rolfe Wyer Price Damascus Poling Family puppets & songs Ryle & Alex Lerman Chin 2:00 Beginning Russian DADGAD Expanding Performance Ragtime The Faith Toys Like Pre-Beatles Introduction Jane The 2:00 Slack Key & Folk Songs Chords & Your Song Improvement Skedaddlers Courtney Petric Music, Too! Rock’n’Roll to Blues Austen’s Charleston Talk Story and Beyond Songs Repertoire & Evaluation Janes sing with your toy Jam Dancing Dances Hawaiian-style. (for guitar) Irish, &c, from Bring a song String Band! “new time The one-and-only. Kids’ Open Alan Winston (for guitar) Jonnie Megan a pro Jay Howlett & old-timey duo” Performing live Mic Mugg Christophe and Persephone & Patrick Landeza Pekelny McLaughlin Shay Black Rolfe Wyer and in person! Just show up! Muggles Taylor Transit of Earth Charles 3:00 Beginning Songs How To Songs of Quake City Amber Imperial / Grupo Storytelling Irish Mazurkas Modern 3:00 Guitar in Build & Play Lee Jug Band Cross Jones Experimental Beatles Ceili Dance, Nago Ed Silberman Lively, passionate Theory Ladino A Washtub Goland Jam Pub dancing, Polish dance. Part 1 The Jewish/ Bass “Early American “Old time... and and Friends Bellydance Bev & Jerry A “structured Irish Style All welcome. includes Isadora Don Sephardic tradition Marcus blues and swing” straightforward” Zyphire, Shureen, Praver jam”, with Beatles John Duncan Technique Murdoch Mark Levy Mugg Muggles Duskin and Liviah chords, stylings, Bob Carragher Garden John Faiello and history 4:00 Traditional Plick, Pluck, Acoustic In The Lighthouse Curt Yagi & Patrick Chicken & Cross-Step Scottish Jug Band 4:00 Neapolitan Muffle & Guitar: Harmony’s Juncos String Band the People Landeza ABC’s Joe Cadora Waltz Country Swing Song Strum Beginning Way Standing fun & educational & Kevin Munro & (for ukulele) Lead Playing “Acoustic charged Raymond & Helen, Behind Me Hawaiian-style Lori DeLeon Kingnik Jeannine Achille & Nicola Dan A Capella roots music” Dave, Mary, and “One excellent passionate Menger Tom Hill & The Dunsmuir with The Fog City Bocus Scanlan Mac McCurdy Singing Robin of the SFFMC singer-songwriter” slack-key guitar Zany duo Morgan Scottish Dancers Jug Band Session 5:00 Mandolin Under- Gypsy Jazz Hot Steel & Thick Blah Blah Absynth Rounds Cajun Irish Set Redowa Cotswold 5:00 Left-Hand standing the Guitar – Cold Ukulele Soup Woof Woof Quintet for All Jam Dancing Waltz Morris Amelia Hogan Technique Circle of 5th’s Intermediate Fresh from their Maybe a two-step, Pub dancing! Vintage Bells, sticks, noise, & Advanced & Deborah Sandler Jumping uke & Five performing CD release at the a waltz, a shuffle Reels, jigs, Bohemian waltz rowdiness. Achille & Nicola Dan (see also 1 PM) nifty slide guitar songwriters; a Freight Friday Lani Blair Kilpatrick slides, etc Tom Hill & The Berkeley Bocus Scanlan Don Price “folk supergroup” night Herrmann & Steve Tabak John Slaymaker Morgan Morris Team Sunday Daytime 2011 SAN FRANCISCO FREE FOLK FESTIVAL Sunday Daytime Music Workshops Music & Dance Performances Family Jammin’ Dance Workshops Music 1 Music 2 Music 3 Music 4 Lead Belly Pete Seeger Woody Faith Petric M. Reynolds Jam Dance 1 Dance 2 Dance 3 TIME Workshop Workshop Workshop Workshop Room Stage Guthrie Stage Stage Family Room Room Workshop Workshop Workshop TIME Room 102 Room 106 Room 315 Room 317 Room 333 Room 107 Cafeteria Auditorium Room 324 Room 117 Room 226 Girls’ Gym Boys’ Gym 12:00 Ukulele Making Gospel Ray Bierl Ka-Chi Scandinavian Modern Gyspy/Rom Argentine 12:00 Chord Music with Singalong Sea Shanties Music Jam Dance, Dance Folkloric Concertina Studies Found Circle song- & Ballads, fiddle “Eclectic blend Waltzes, Part 2 Circle dancing Dance 1st hour: Objects sharing Forebitters tunes, vintage rock, Open Mic of pop-folk and polkas, hambos, includes Isadora Men tap, women demos, Q&A Ira Marlowe Tin Pan Alley, reggae music” schottisches, &c Duncan Technique swish. Flirtatious. Erich Sadie Faith Marina of “Brainy Tunes” Sylvester Damascus 2nd hour: Petric maybe more Bob Palasek John Faiello Bear Pampa Cortes sign up More advanced; 1:00 Folk Into Phun with Shape-Note The San Francisco Kids Junk Argentine Dances of East Coast 1:00 + tune-sharing near Rock Frasing Singing Richard Sam the stage! Sound Wave Band Irish Tango Old Swing Adrianowicz & History and Pushing & pulling Chase Chorus Instrument making, Slow California Daniel Hersh, Peter Kasin Session songs the words Carol Denney, Gary Breitbard, “Dynamic chorus of playing & singing Rose & Jim Ray & Jack Gilder Peter Ross & fabulous women” Slow speed, then Carol Alan Persephone Hudson Bierl Terry Moore Miss Juli moderate speed Horn Winston Ann 2:00 Beginning Barbershop Fun With Parodies Harp Alan Jeanie & Mamadou & Bob Reid McChesney- Belly Flamenco Cajun & 2:00 Button Harmony French Tunes Showcase Smithline Chuck Vanessa “Today Show Young Dance The Basics Zydeco Accordion on Mountain Show & Tell A “master musician” & White House” & Open to all Beginners Dulcimer (Accordion Classic and modern with their Country from Mali & an Music & The Jolly . welcome. included) Charles Peter Bev & Jerry Patricia Haan & Blues guitar Roundup accomplished Afro- Movement Clamdiggers Rasa Nemesio Dana Paul Kostka Feltman Teommerup Praver Jacqueline Lynaugh Cuban percussionist Gayle Schmitt Vitalia Paredes de Simone 3:00 Mandolin Songs Bhi Liz The Nordahl Grieg The French Egyptian Dances of Israeli 3:00 Lick Folk-Rock Contra Dance of Bhiman Ryder Shut-Ins Leikarring Henriettas Jam Belly Universal Dancing Exchange on Band -Cide “the aesthetic of “Nothing really “Providing Norwegian Dancing! 1930s Yodeling Hurdy-gurdy, etc, Dance Peace Share your “short Film Workshop Bob Dylan & the wry beats a cozy gig rhythmic & melodic performed & Tango & More Sing & See musical phrases” Arlene eye of Randy in a Sheffield pub!” solutions” taught Amina Yaquin Sufi & Yale Steve Scott Showing rare Come here to join Immerman Newman” Argentine Dancing! Jeremiah & Laurie Gary Breitbard Goodyear Perry Pike Rosenblatt clips of folk-rock the big open band 4:00 Harmonica performances for tonight’s Richard Bob Frank Dirt Floor Don Burnham Music Games Barbershop Merengue Gender-Free French 4:00 & Guitar from the 60’s. dance Traditional Adrianowicz From Memphis Band & the Bolos from Near&Far Wood- Domincan/Haitian Contra Country Ideas Art Peterson & Scottish & in the 60’s comes a folk-country From the Western Bonnie Lockhart shedding couple dance Easy/fun Bourrée, polka, and English Peter Kasin Jam Myron Ann “counterculture gypsy punk rock, Swing Hall Of Fame Princess and New England valse, & more Richie Ballads Grossman & Unterberger McChesney- Songs of the sea confederate with a from Mendocino to you the Pirate Learn barbershop! Dana folk dance Gary Breitbard Tom Murray Young capital C” Suska and Mordecai Charles Feltman de Simone Dean Allemang & Jena Rauti 5:00 Flash Mob I Think I’ll Blues Guitar Sharyn Celia The Easy Nell Robinson Leftover Music for the Strictly Norwegian Contra Gender-Free 5:00 Choir Put Out A Accompani- Dimmick & Ramsay Leaves & Jim Nunally Dreams Whole Family Bluegrass Dancing Dancing Scottish "Exhilarating" CD ment Sadie Scottish Bluegrass stomps Nell has sung for Patricia Haan and Gayle Schmitt Jam Dance it tonight. Dance "How did we DO “How-To” Chords and folk music to personal Garrison Keillor; Jim Tony Marcus, w/ structure & Damascus Family Favorite that?" pulsing rhythm and ballads spirituals plays w/ David singing “like velvet etiquette intro Songs Meg Mavis Bruce Grisman. Combo = ? on velvet”. Tony Elman Wendy DeWitt Joe Cadora Jeremiah & Laurie Jeanie & Chuck Laycock McGaugh Herboldt .
Recommended publications
  • Memphis Jug Baimi
    94, Puller Road, B L U E S Barnet, Herts., EN5 4HD, ~ L I N K U.K. Subscriptions £1.50 for six ( 54 sea mail, 58 air mail). Overseas International Money Orders only please or if by personal cheque please add an extra 50p to cover bank clearance charges. Editorial staff: Mike Black, John Stiff. Frank Sidebottom and Alan Balfour. Issue 2 — October/November 1973. Particular thanks to Valerie Wilmer (photos) and Dave Godby (special artwork). National Giro— 32 733 4002 Cover Photo> Memphis Minnie ( ^ ) Blues-Link 1973 editorial In this short editorial all I have space to mention is that we now have a Giro account and overseas readers may find it easier and cheaper to subscribe this way. Apologies to Kees van Wijngaarden whose name we left off “ The Dutch Blues Scene” in No. 1—red faces all round! Those of you who are still waiting for replies to letters — bear with us as yours truly (Mike) has had a spell in hospital and it’s taking time to get the backlog down. Next issue will be a bumper one for Christmas. CONTENTS PAGE Memphis Shakedown — Chris Smith 4 Leicester Blues Em pire — John Stretton & Bob Fisher 20 Obscure LP’ s— Frank Sidebottom 41 Kokomo Arnold — Leon Terjanian 27 Ragtime In The British Museum — Roger Millington 33 Memphis Minnie Dies in Memphis — Steve LaVere 31 Talkabout — Bob Groom 19 Sidetrackin’ — Frank Sidebottom 26 Book Review 40 Record Reviews 39 Contact Ads 42 £ Memphis Shakedown- The Memphis Jug Band On Record by Chris Smith Much has been written about the members of the Memphis Jug Band, notably by Bengt Olsson in Memphis Blues (Studio Vista 1970); surprisingly little, however has got into print about the music that the band played, beyond general outline.
    [Show full text]
  • Wavelength (December 1981)
    University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 12-1981 Wavelength (December 1981) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (December 1981) 14 https://scholarworks.uno.edu/wavelength/14 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. ML I .~jq Lc. Coli. Easy Christmas Shopping Send a year's worth of New Orleans music. to your friends. Send $10 for each subscription to Wavelength, P.O. Box 15667, New Orleans, LA 10115 ·--------------------------------------------------r-----------------------------------------------------· Name ___ Name Address Address City, State, Zip ___ City, State, Zip ----­ Gift From Gift From ISSUE NO. 14 • DECEMBER 1981 SONYA JBL "I'm not sure, but I'm almost positive, that all music came from New Orleans. " meets West to bring you the Ernie K-Doe, 1979 East best in high-fideUty reproduction. Features What's Old? What's New ..... 12 Vinyl Junkie . ............... 13 Inflation In Music Business ..... 14 Reggae .............. .. ...... 15 New New Orleans Releases ..... 17 Jed Palmer .................. 2 3 A Night At Jed's ............. 25 Mr. Google Eyes . ............. 26 Toots . ..................... 35 AFO ....................... 37 Wavelength Band Guide . ...... 39 Columns Letters ............. ....... .. 7 Top20 ....................... 9 December ................ ... 11 Books ...................... 47 Rare Record ........... ...... 48 Jazz ....... .... ............. 49 Reviews ..................... 51 Classifieds ................... 61 Last Page ................... 62 Cover illustration by Skip Bolen. Publlsller, Patrick Berry. Editor, Connie Atkinson.
    [Show full text]
  • Pascack Press
    Emerson • Hillsdale • Montvale • Park Ridge • River Vale • Township of Washington • Westwood • Woodcliff Lake VOLUME 14 ISSUE 18 P ASCACK VALLEY’S HOMETOWN NEWSPAPER JULY 26, 2010 HELPING KIDS CauseCausePet therapy project forfor earns pawspaws Gold Award This Girl Scout earned the Gold Award by starting a mentoring program for children in Park Ridge. See page 29 MONTVALE Washtub rock Local band has vibrant history BY THOMAS CLANCEY OF PASCACK PRESS What if we told you the first Amanda Russo of Montvale earned the Girl Scout Gold Award by training her golden retriever, Beckett, to be a therapy dog. ever music video was filmed in Pascack Valley? Specifically, at the MONTVALE Park Ridge Burger King in 1972 friend - her dog, Beckett - was benefit her community. golden retriever to be a therapy by a couple of kids from Pascack by her side. Russo says she has always dog. Hills High School. When Pascack Hills High The member of Montvale been a passionate animal lover Therapy dogs are trained to Then known only as Son of School graduate Amanda Russo Girl Scout Troop 1050 earned and wanted to incorporate that provide comfort and support to the Original Synthetic Hickey earned the highest award in the Gold Award by completing into her Girl Scout Gold Award. people in hospitals, schools, Good Time Rinky-Dink Jug Band, Girl Scouting, manʼs best a 65-hour leadership project to She trained and certified her Inc., and in conjunction with a PHOTO COURTESY JAMIE WATKINS See THERAPY page 94 friendʼs father who was in posses- sion of a 16-millimeter camera, the boys filmed that milestone TIGERS POUNCE B ck in time..
    [Show full text]
  • Folk Music, Internal Migration, and the Cultural Left
    Internal Migration and the Left Futures That Internal Migration Place-Specifi c Introduction Never Were and the Left Material Resources THE SOUTH AND THE MAKING OF THE AMERICAN OTHER: FOLK MUSIC, INTERNAL MIGRATION, AND THE CULTURAL LEFT Risto Lenz In 1940, actor and activist Will Geer organized the “Grapes of Wraths Evening,” a benefi t concert for the John Steinbeck Committee for Agricultural Workers at Forrest Theater in New York City. The pro- gram served as a blueprint for what would later defi ne the American folk music revival: Urban Northerners sharing the stage with “authentic” rural Southerners, together celebrating America’s musical heritage in a politically charged framework (here: helping migrant farmwork- ers). Among the “real” folk were Aunt Molly Jackson, an organizer for the Kentucky coal mines and a singer of union songs, Huddie “Lead Belly” Ledbetter, an African American songster from Louisiana, and Woody Guthrie, a singer from Oklahoma. The three musicians, 1 He is sometimes also who would all spend their subsequent lives in New York as well as referred to as “Leadbelly.” in California, represent the three main migration fl ows of Southerners Both spellings are pos- sible. I will hereaft er use moving out of farms and towns of the American South in great “Lead Belly” since it was numbers and into cities and suburbs of the North and the West: The the preferred spelling of the singer himself as 1 Great Migration of black Southerners (Lead Belly ), the dust bowl well as of the Lead Belly migration (Guthrie), and the Appalachian migration (Jackson).2 The Foundation.
    [Show full text]
  • Download This Press Release As
    NEWS FROM: National Jug Band Jubilee www.jugbandjubilee.org For Immediate Relief * Contact: * Jug band music relieves tension Heather Leoncini (502) 417-1107 [email protected] New programs and more great bands are coming to 14th National Jug Band Jubilee LOUISVILLE, KY, (July 25, 2018) – It is hard to believe in the midst of the summer heat, but fall is fast approaching and with it the 2018 National Jug Band Jubilee. The free, all-day festival will take place on Saturday, September 15, 2018 at the Brown-Forman Amphitheater in Waterfront Park. The 14th year of the Jubilee will feature a few additions, among them a panel discussion on Friday, September 14 dealing with racial issues within the history of jug band music. What will never change at the Jubilee is the quality of the music. This year the festival will offer another top-notch lineup of early jazz, jug band, and string band performers. The duo of Chris Rodriguez and Abby the Spoon Lady is the act that has drawn the most attention thus far. The Asheville, N.C.-based musicians are Youtube sensations thanks to their videos showcasing Abby’s percussion skills and Rodriguez’s unique blues- Appalachian style guitar and vocals. Another highlight of this year’s festival is Hubby Jenkins, a talented multi- instrumentalist from Brooklyn who is also a member of the Grammy-award winning Carolina Chocolate Drops. Academics and Seattle songsters Ben Hunter and Joe Seamons will take part in the Friday night panel discussion. The Jubilee will release more details on that at a later date, but we can tell you that Hunter and Seamons will dazzle the audience at the festival with their combination of banjo and fiddle breakdowns, a cappella field hollers, and gospel tunes.
    [Show full text]
  • 1 the Roots of Rock.Pptx
    5/27/12 Rock Music & Culture s Welcome! s Instructor: s Adam Roberts s Course Website: s www.AdamRobertsMusic.com s Course Policies s General information s Course outline s Project guides Not Adam! 1 5/27/12 The World Before Rock s Culture in the early 1900’s s Regional s Personal s Early popular music s In 4/4 (4 beats to a bar) s Folkloric lyrics s Simple forms s Rock comes from 3 styles s Rhythm & Blues s Mainstream Pop s Country & Western 2 5/27/12 Form in Rock Music s Form: a song’s structure s Common types: s Blues s Usually 12 repeated bars s Verse-Chorus (VC) s A verse, then a chorus, repeat… s Verse-Refrain (VR) s A VC variation common to Rap & Folk s Refrain: a short melody or lyric that ends a verse s Song Form (AABA or ABAC) s Letters label sections of a song The Radio s Radio…a brief history s 1920: local stations s 1928: national networks s Talk radio, variety shows s 1940s: shifts to music s To differentiate from TV s Radio programming pre-1955 s National shows targeted Upper Class Whites s Big Bands, Crooners s Local shows targeted Minorities, Lower Class Whites s R&B, Country & Western 3 5/27/12 The Blues Robert Johnson The Blues s Origins: s Work Songs s Gospel Music & Spirituals s Highly improvised music s Very emotional, soulful s About getting rid of “the blues” s 1900s to 1940s: popular mostly with minorities s Race Records: 40s Blues and R&B recordings 4 5/27/12 The Blues Form s Just a few chords: I, IV & V s 12 bars/measures long, repeated for each verse s Lyrics in an AAB form s Ex.
    [Show full text]
  • Blind Lemon Jefferson from Wikipedia, the Free Encyclopedia
    Blind Lemon Jefferson From Wikipedia, the free encyclopedia Background information Birth name Lemon Henry Jefferson Also known as Deacon L. J. Bates Born September 24, 1893[1] Coutchman, Texas, U.S. Origin Texas Died December 19, 1929 (aged 36) Chicago, Illinois, U.S. Genres Blues, gospel blues Occupation(s) Singer-songwriter, musician Instruments Guitar Years active 1900s–1929 Labels Paramount Records, Okeh Records Notable instruments Acoustic Guitar "Blind" Lemon Jefferson (born Lemon Henry Jefferson; September 24, 1893 – December 19, 1929) was an American blues and gospel blues singer and guitarist from Texas. He was one of the most popular blues singers of the 1920s, and has been called "Father of the Texas Blues". Jefferson's performances were distinctive as a result of his high-pitched voice and the originality on his guitar playing. Although his recordings sold well, he was not so influential on some younger blues singers of his generation, who could not imitate him as easily as they could other commercially successful artists. Later blues and rock and roll musicians, however, did attempt to imitate both his songs and his musical style. Biography Early life Jefferson was born blind, near Coutchman in Freestone County, near present-day Wortham, Texas. He was one of eight children born to sharecroppers Alex and Clarissa Jefferson. Disputes regarding his exact birth date derive from contradictory census records and draft registration records. By 1900, the family was farming southeast of Streetman, Texas, and Lemon Jefferson's birth date is indicated as September 1893 in the 1900 census. The 1910 census, taken in May before his birthday, further confirms his year of birth as 1893, and indicated the family was farming northwest of Wortham, near Lemon Jefferson's birthplace.
    [Show full text]
  • “Just a Dream”: Community, Identity, and the Blues of Big Bill Broonzy. (2011) Directed by Dr
    GREENE, KEVIN D., Ph.D. “Just a Dream”: Community, Identity, and the Blues of Big Bill Broonzy. (2011) Directed by Dr. Benjamin Filene. 332 pgs This dissertation investigates the development of African American identity and blues culture in the United States and Europe from the 1920s to the 1950s through an examination of the life of one of the blues’ greatest artists. Across his career, Big Bill Broonzy negotiated identities and formed communities through exchanges with and among his African American, white American, and European audiences. Each respective group held its own ideas about what the blues, its performers, and the communities they built meant to American and European culture. This study argues that Broonzy negotiated a successful and lengthy career by navigating each groups’ cultural expectations through a process that continually transformed his musical and professional identity. Chapter 1 traces Broonzy’s negotiation of black Chicago. It explores how he created his new identity and contributed to the flowering of Chicago’s blues community by navigating the emerging racial, social, and economic terrain of the city. Chapter 2 considers Broonzy’s music career from the early twentieth century to the early 1950s and argues that his evolution as a musician—his lifelong transition from country fiddler to solo male blues artist to black pop artist to American folk revivalist and European jazz hero—provides a fascinating lens through which to view how twentieth century African American artists faced opportunities—and pressures—to reshape their identities. Chapter 3 extends this examination of Broonzy’s career from 1951 until his death in 1957, a period in which he achieved newfound fame among folklorists in the United States and jazz and blues aficionados in Europe.
    [Show full text]
  • Lead Belly and His Legacy of Southern Song a Smithsonian
    Lead Belly and His Legacy of Southern Song A Smithsonian Folkways Unit of Lessons Designed by: Patricia Shehan Campbell and Bethany Grant-Rodriguez University of Washington Summary: This unit of four stand-alone or progressive lessons celebrates Lead Belly, a Louisiana-born songster who remembered, invented, and passed on a legacy of songs that opens ears and minds to the world of the American south in the late nineteenth century and first half of the twentieth century. The ballads, blues, work songs, and singing games in these lessons celebrate an African American sensibility that can be enjoyed in school settings by listening and participatory singing and playing. With such musical engagement can come a deeper understanding of the life, times, and place of Lead Belly and his early years on the plantation, his consciousness of the daily grind of manual labor, and his later experiences as a conveyor of southern song on radio and in on-stage concerts, clubs, and classrooms. For children and youth, the complexities of Lead Belly’s life and times are caught up in these songs. His troubled years landed him in prison, where he learned songs from his inmates in Louisiana and Texas, when he worked on a chain gang until his time was served. (The reasons for his incarceration may not make for classroom-appropriate discussion, although the songs he acquired there became standard repertoire for him.) They lead to an exploration of the U.S. South in the post-Civil War period and the Jim Crow years, in the rural and remote places where sharecropping was common and where racial inequities were continued long past official declarations of freedom.
    [Show full text]
  • “Take a Whiff on Me”: Leadbelly‟S Library of Congress Recordings 1933-1942 — an Assessment
    CORE Metadata, citation and similar papers at core.ac.uk Provided by SAS-SPACE Blues & Rhythm, No. 59, March-April 1991, pp. 16-20; No. 60, May 1991, pp. 18-21 revised with factual corrections, annotations and additions, with details regarding relevant ancillary CDs, and tables identifying germane CD and LP releases of Leadbelly‘s recordings for the Library of Congress; and those for the American Record Corporation in 1935 “Take A Whiff On Me”: Leadbelly‟s Library of Congress Recordings 1933-1942 — An Assessment John Cowley From the mid-1960s, a small trickle of long-playing records appeared featuring black music from the holdings of the Archive of Folk Culture (formerly Archive of Folk Song) at the Library of Congress, in Washington, D.C. A few were produced by the Archive itself but, more often than not, arrangement with record companies was the principal method by which this material became available. One of the earliest collections of this type was a three-album boxed set drawn from the recordings made for the Archive by Huddie Ledbetter — Leadbelly — issued by Elektra in 1966. Edited by Lawrence Cohn, this compilation included a very useful booklet, with transcriptions of the songs and monologues contained in the albums, a résumé of Leadbelly‘s career, and a selection of important historical photographs. The remainder of Leadbelly‘s considerable body of recordings for the Archive, however, was generally unavailable, unless auditioned in Washington, D.C. In the history of vernacular black music in the U.S., Leadbelly‘s controversial role as a leading performer in white ‗folk‘ music circles has, for some, set him aside from other similar performers of his generation.
    [Show full text]
  • CLASSIC AFRICAN AMERICAN SONGSTERS from SMITHSONIAN FOLKWAYS CLASSIC AFRICAN AMERICAN SONGSTERS from SMITHSONIAN FOLKWAYS
    CLASSIC AFRICAN AMERICAN SONGSTERS from SMITHSONIAN FOLKWAYS CLASSIC AFRICAN AMERICAN SONGSTERS from SMITHSONIAN FOLKWAYS 1. Warner Williams with Jay Summerour—BRING IT ON DOWN TO MY HOUSE 2:02 (Bob Wills / Unichappell Music, ASCAP) 2. Pink Anderson—TALKING BLUES 2:26 (Chris Bouchillon/Jaymore Music, BMI) 3. John Jackson—NOBODY’S BUSINESS (IF I DO) 3:15 (Porter Grainger–Everett Robbins; arr. John Jackson) 4. Little Brother Montgomery—ALABAMA BOUND 2:17 (Little Brother Montgomery/Jet Music Publishers, BMI) 5. Brownie McGhee—PALLET ON THE FLOOR 3:09 6. Bill Williams—CHICKEN, YOU CAN’T ROOST TOO HIGH FOR ME 3:16 (Bob Cole-J. Rosamond Johnson) 7. Lead Belly—MY HULA LOVE 2:16 (Edward Madden-Percy Wenrich, arr. Huddie Ledbetter/TRO-Folkways Music Publishers, BMI) 8. Reverend Gary Davis—CANDY MAN 2:32 (Gary Davis / Chandos Music, ASCAP) 9. John Cephas and Phil Wiggins—GOING DOWN THE ROAD FEELING BAD 3:32 10. Peg Leg Sam—FROGGY WENT A-COURTING 4:10 11. Mississippi John Hurt—MONDAY MORNING BLUES 5:52 (John Hurt/Wynwood Music Inc., BMI) Compiled and Annotated by Barry Lee Pearson and Jeff Place SFW 40211 © 2014 Smithsonian Folkways Recordings 12. Pink Anderson—THE BOYS OF YOUR UNCLE SAM 2:03 13. Brownie McGhee—RAISE A RUCKUS TONIGHT 2:49 14. Marvin Foddrell—RENO FACTORY 2:09 (arr. Marvin Foddrell) 15. John Jackson—DON’T LET YOUR DEAL GO DOWN 3:07 (arr. John Jackson / Tradition Music Co., BMI) 16. Warner Williams with Jay Summerour—HONEYSUCKLE ROSE 2:05 (Fats Waller-Andy Razaf / Chappell & Co., ASCAP-Razaf Music, ASCAP) 17.
    [Show full text]
  • A Sampler of Blues Musicians and Styles, 1903 - 1964
    Teacher’s Guide: THE BLUES - A SAMPLER OF BLUES MUSICIANS AND STYLES, 1903 - 1964 WITH ROBERT JONES B-5; 21:17 MIN At the end of the video, “The Blues - A Sampler of Significant Blues Musicians, 1903-1964” the students will be able to: Identify who is considered the Father of the Blues and explain why. Name two female blues artist important in the 1920s and explain why. Identify the world-known blues/ jazz musician from Davenport, Iowa who recorded the song “Davenport Blues. Explain what kind of blues music was considered City Blues. Identify great musicians who played City Blues and explain what they were known for. 2 THE BLUES – A SAMPLER OF BLUES MUSICIANS AND STYLES, 1903 – 1964 Video: Video: W.C. Handy because he discovered blues music being played Mamie Smith was the first female to record blues music in in the South, rather than inventing it. 1920. Bessie Smith dominated the blues music scene in the 1920s. 3 THE BLUES – A SAMPLER OF BLUES MUSICIANS AND STYLES, 1903 – 1964 Video: Blues music commonly played by a band that included an electric guitar. Video: Bix Beiderbecke who had a band that recorded under the name “Bix & His Rhythm Jugglers.” Video: T-Bone Walker was known as one of the greatest blues gui- tarists and singers. Muddy Waters was known equally well for Answers to Multiple Choice Quiz: his singing and playing and for his expertise at playing slide 1. C 2. D 3. A 4. B 5. D guitar. Big Mama Thornton, known for, among other things, an early recording of “Hound Dog.” 4 THE BLUES – A SAMPLER OF BLUES MUSICIANS AND STYLES, 1903 – 1964 Additional Learning, from Robert Jones Women in the Blues: Gertrude “Ma” Rainey (1886-1939) was the first blues singer to tour, which is why she is called the “Mother of the Blues.” Mamie Smith, by being the first blues artist to record, opened the door for the many artists that W.C.
    [Show full text]