Final Notes, Allan Block by Sarah Jane Nelson, with Jeff Todd Titon (from http://www.oldtimeherald.org):
Although fiddler Allan Block faded from view during the last decade of his life due to a lengthy illness, news of his death this past fall traveled quickly, and people shared stories and recollections (often humorous) of how Allan touched their lives both as an individual and as a mentor. One week after his passing I found myself at Fiddle Hell down in Concord, Massachusetts. During an afternoon jam session headed by Boston fiddler Alan Kaufman, longtime dance musicians such as George Fowler and Art Bryan volleyed “Allan tunes” amongst themselves—“Big Sciota,” “Georgia Railroad,” “Ebeneezer,” “Rochester Schottische,” and many more. I could think of no better tribute to his life and influence.
Allan started life as a classical violinist back in Oshkosh, Wisconsin. His great-uncle Nathan, a Jewish immigrant from Lithuania, was a violinist himself, and often came to the house and played music with Allan’s father, a pianist. Allan became a fairly accomplished violinist—he proudly recalled tackling the Mendelssohn Violin Concerto in E minor at age 11 or 12, and being one of the first youngsters to play live over the radio in Madison. In fact, the radio was a major factor in the development of Allan’s musical tastes: he loved hearing “Music Americana,” as he called it. He fondly recalled radio music hours on Saturdays and Sundays that were filled with the American pop music of the 1920s, by Al Jolson, Rudy Vallee, and Bing Crosby, or the lively concoction of music, story, and wit from performers like Eddie Cantor and Jack Benny.
As has been well documented elsewhere in recent months, Allan’s life as a fiddler really began in New York City. The first job he got after World War II was working for $38 a week at People’s Artists, an organization that brought folk artists to New York from all over the country. They also published the magazine People’s Songs, which was a precursor to the modern-day Sing Out. Allan did clerical work in the office while being exposed to the music of Pete Seeger, Leadbelly, Sonny Terry, Doc Watson, Clarence Ashley, and Dock Boggs, among many others. He felt a particular kinship with Ashley: “Whenever I open my mouth to sing, I am a partial replica of Clarence Ashley…with his wonderful high tenor voice in the early days.”
In 1950, when Allan was starting a family and needed some steady income, he opened the Allan Block Sandal Shop on West Fourth Street in Greenwich Village. The shop’s success grew out of a magical alchemy of Allan the leather craftsman and Allan the musician. This integration of work and art was a theme throughout Allan’s life. When professor emeritus and musician friend Jeff Titon remarked on this in their 1989 interview at Brown University, Allan replied, “My life is all of a piece…I don’t even think about it very much. But people look at me and say, ‘you’ve got it made.’” (more…)