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Notes to Flyright LP 506 'Orange County Special'

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Notes to Flyright LP 506 'Orange County Special' ORANGE COUNTY SPECIAL country dance tunes and blues LP506 from orange county north Carolina John Snipes vcl/bjo OLD RATTLER RUN THE FOX Wilburt Atwater vcl/gtr SHINE O N Jamie Alston gtr M cKIN LEY John Snipes vcl/bjo HELLO MY DARLING, HELLO M Y BABE Wilburt Atwater vcl/gtr M Y BABY'S L EA V IN G W illie Trice vcl/gtr WILD BILL Wilburt Atwater vcl/gtr G O IN ' AW AY BABY A N D 1 SURE D O N 'T W ANT TO G O Wilburt Atwater gtr G O UP O N THE M O U N T A IN W illie Trice vcl/gtr SWEET SUGAR M A M A Jamie Alston gtr STEP IT UP A N D G O John Snipes vcl/bjo LAURA LEE Willie Trice vcl/gtr I A IN 'T G O T N O B O D Y TO HELP ME Willie Trice vc l/gtr MAM IE Wilburt Atwater vcl/gtr L O N G TAILED BLUE John Snipes bjo, M O LLY HARE Jamie Alston gtr Wilburt Atwater hca M O LLY HARE Jamie Alston gtr, D O N 'T LET THE DEAL G O D O W N Tom Carter fiddle Orange County lies in Central North Carolina, a black recording artists* In 1934 he took Mitch­ rural county in the arc of urban industrial ell’s Christian Singers, a black gospel group, towns like Raleigh, Durham, and Greensboro. It to New York to record for the American Record­ is bisected east-west by Highway 70, the main ing Company. In 1935, his business ability was communications link between these towns until such that he was transferred to the larger the postwar building of Interstate Highway 85* United Dollar Store at 2501 West Club Boulevard The small town of Chapel Hill, in the southeast in north Durham. One day someone brought a corner of the county, exercises an imbalance in blind street singer, Blind Boy Fuller, into that since the late eighteenth century it has Long's store and very soon, together with Blind housed the highly regarded University of North Gary Davis and a guitarist-washboard player, Carolina* injecting* nowadays, some 20, 000 George Washington, they too were off to New students into a n otherwise typical southern York during one of Long’s vacations, to record rural setting* nevertheless, its twin town of for ARC. Fuller became the most-recorded of Carrboro, despite having many of these stud­ Carolina bluesmen and easily the bestknown and ents, exhibits more of the southern small-town most influential, giving rise to a whole gener­ flavour than does the university town. Small ation of younger men who found it hard not to black bars are there and this is where blacks reflect Fuller’s marked style. As a side effect congregate of Friday and Saturday when they it was to mean that some of Puller's Orange come into town* Two miles out in the country County friends were recorded, and the university might never have been there. Floyd Council, who then lived in Sunset, the To nil intents and purposes, it has had no eff­ black section of Carrboro, was a fine guitarist ect upon the black population, other than -pro­ and through Fuller, became known to Long, who viding jobs for some. Socially the old schism not only employed Floyd and his wife for a between black and white is as marked as ever. while, but twice took Floyd to New York to rec­ In the 1920*0 the university held two of the ord on his own and with Fuller. Six of Floyd’s more remarkable scholars in a remarkable inst­ songs were released and he played second guitar itution! a liberal oasis in a recalcitrant behind Fuller on many others; the only other South* Howard W. Odum had collected blues in known man, beside Gary Davis during Puller's the field as early as 1904 in Mississippi, and first recording trip, to back him. In one song, was the first active field-collector in the "I don't want no hungry woman" (Flyright LP106, southeastern states, collecting in Newton Bull City Blues), Floyd sings of the ’black bot­ County, Georgia between 1906 and 1908. Heading tom f district in Sunset: the sociology faculty at Chapel Hill,, he col­ "Now I’m go in’ down in Tin Can Alley, laborated with Guy Benton Johnson on collecting and get as drunk as I can be, negro folk music, and published such studies as Yes, get drunk as I can be. early as 1925. Johnson, by 1927, had shrewdly Now, don’t want no hungry woman analysed the double-entendre nature of blues to lay her hands on me. " lyrics... interestingly, in the "Journal Of Abnormal and Social Psychology"! Sadly by 1930 Richard and Willie Trice knew Puller very well both these men were so actively engaged in after he recorded in 1935. Mayo Williams had other interests that their earlier, pioneer come to Durham in order to get Fuller to record efforts were no longer extended. Both men col­ for Decca, as Fuller had someone write to the lected from local musicians, and were primarily company suggesting he would record for them. interested in current material, not the XlXth Fuller had told both the Trices to be at his Century ’hangoversr that had interested most house when Williams came. folklorists until that time. They collected "Fuller moved off Pryor to Colfax, right on from Robert Mason, the fine 12-string guitarist the corner of Carfax. I sat down and played remembered by moat musicians in the county, who two. Fuller played him one. Then Fuller if still around Morrisville, near Raleigh where went inside and Mr. Williams went in there he probably moved to, must be over 80 today. with him. So Fuller called us in there and Intriguingly, Mason's is the only musician’s told us he was going to carry us with him. " name mentioned by either collector. Not only does this say something for the regard in which (Willie Trice) they held his ability but also makes us wonder, They all recorded in New York in July 1937 but tantalisingly, just who else they heard and saw! it transpired that Fuller was still under con­ tract to ARC and J. B. Long. Long put pressure If the academics were no longer able to follow on Decca, who had released one record of Fuller up their early interest in black folk music in and one by Willie Trice. They held off all Orange County, the accidents of commercial re­ cording meant that three Orange County bluesmen other releases, including Richard Trice's, un­ were to be recorded. James Baxter Long, a white til Fuller’s death. Richard first heard of the release of his record in 1969! store manager in Kinston, in eastern North Caro­ lina, had begun to realise the potential of Perhaps the best-known Orange County performer 2 is Elizabeth Cotton, carried to fame on the wave afternoon. Sure, he still had the guitar. Sure, of folk consciousness that struck the U. S. A. in he still played it* With disbelief he listened the 1960s, thanks to the publicity given by Mike to cassette recordings of Blind Boy Fuller and Seeger. In July 1972 she received the Burl Ives Floyd Council and invited me to his home a few award at the Wolftrap Theatre in Washington B. C. days later. When I arrived Wilbert Atwater was in commemoration of her unique contribution to also there. Wilbert’s daughter had married folk music. In no way wishing to detract from Jamie’s son, so they were close. It soon be­ that award, made no doubt, in all good faith, came obvious that both were good musicians but and to a delightful folk artist, her style is no were out of practise. Wilbert was very quiet more than that of pre-blues Orange County and and seldom played. Jamie never does sing, and can be heard in other Orange County musicians on Wilbur was reluctant to do so at first. As this album.... Wilbur Atwater is a distant cousin meetings continued, they began to realise that but just how distant, musically, are "McKinley" I was serious and they became used to the dif­ and "Wild Bill” on this album? This gentle fin­ ferent people who called by. In January 1973, ger-picking style was doubtless part of a wider Joan Fenton and Michael Levine came down from fabric of black secular pre-blues music in the New York to videorecord Carolina bluesmen on a State, for Elester Anderson’s "Farther Down The grant from Columbia University, made possible Road" (Flyright LP 505 "Carolina Country Blues") by Michael's father. We videotaped Wilbert and is from the northeastern section of the state. Jamie as well as Willie Trice, and the former Certainly Elisabeth Cotton’s material is of two were beginning to get as much confidence folk, pre-blues origins and is the only recorded as Willie Trice* whom I frequently visited and material in any depth of secular black music of who had been heavily recorded by Pete Lowry the turn~of-the-century years in North Carolina. for Trix Records. By the time Cecilia Conway That this music remained with her in her employ­ of the English Department at U. N. C. and I were ment as domestic in a white house, where folk videotaping Wilbur, they were both now quite music was of supreme importance is less surpris­ used to seeing tape recorders and equipment.
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