Born Ramona Riggins in Van Buren, Indiana in 1924, she was part of the first generation of Grand Ole Opry performers beginning shortly after she met and married “Grandpa Jones” (Louis Marshall Jones) in 1946. The two were performing together on a radio show in Cincinnati when they met, and continued working together professionally with Grandpa often taking the top billing.
In 1969, they signed on to be featured artists on the new Hee Haw television program for CBS. Though it only ran for three years on the network, Hee Haw was hugely popular in syndication for the next 20 years, bringing down home humor and traditional country music to homes across the nation.
Ramona played fiddle, guitar, and mandolin on shows with her husband, and they often sang duets. In skits, Grandpa would joke and play the fool while Ramona maintained a dignified presence on stage.
She is remembered as a fine old-time fiddler and proponent of the mountain and hillbilly music that characterized early commercial country radio.
In this below 2013 video, embedded on the Tennessean.com (click to access), Ramona recalls her husband, Grandpa Jones, who was in the Country Music Hall of Fame, and how she learned fiddling from her dad, since she was 5 (i.e., long before she met Grandpa)
An Atlanta minister and musician known as “The Hurricane” has died.
Rev. Johnny L . Jones preached to small congregations in the latter part of his life, but his charismatic style and prodigious musical talents earned him wider recognition.
When people talk about Rev. Jones, often, they talk about the music. See this tribute made in 2009 by Dust to Digital’s Lance Ledbetter:
Fannie Wair, who listened to Rev. Jones’ music and preaching at Second Mount Olive Baptist Church in Atlanta for nearly six decades, explains it: “He don’t only sing. He plays the guitar, he plays the organ, and can’t nobody play no piano like him.”
Wair first met Jones in 1956, when she hired the gospel group he was singing with at the time to perform at the church she then attended. A little while later, she heard him preaching on a local radio program.
For her, that was it.
She went to see him at Second Mount Olive Baptist Church, and never looked back. “You go hear him preach or sing one time, you want to go back again,” she says.
Rev. Johnny L. Jones drew upon the influence of the gospel groups he sang with before becoming a minister, including The Jolly Four Gospel Singers and The Sensational Five.
Credit Dust to Digital Records
The Birth of “The Hurricane” and Musical Fame
Through the years, Jones had gospel programs on WAOK and WYZE in Atlanta. According to Walter Russell, a deacon at Second Mount Olive, it was WAOK’s Esmond Patterson who gave Jones the nickname he’d carry throughout his career.
“He named him ‘The Mighty Hurricane.’ Because when he preached, a lot of times he’d go into a spin like a hurricane. The Mighty Hurricane, Johnny L Jones,” Patterson says. “[A] lot of times, he’d stop playing and just start singing old time hymns that most people never did use music by. But he could sing those also.”
Rev. Jones recorded his services, and in the 1960s, Jewel Records released some 45s of his work. In 2010, Dust-to-Digital Records released several remastered CDs of his music and preaching. In a review, The New York Times called the sound of one of those sets “electrifying from start to finish.”
Rural Beginnings…and a Piano Not Meant for Boogie-Woogie
Jones grew up in a farming family in Howell Crossroad, Alabama. He sang in the choir of his Baptist church, and when he was 17 or 18, more than anything else, he wanted a piano. But, as his wife, Dorothy Jones tells it, his family was poor. So his mother devised a plan, around the family’s cotton harvest. “She said, ‘John? We’re gonna all pick this cotton. And if we have any extra money… we’re gonna buy you a piano.’”
The plan worked. They got the piano, and Jones taught himself to play by ear. But one day, his wife Dorothy Jones says, he was messing around, and played a few bars of boogie-woogie music.
His mother heard it. She was not amused. The family had not bought their son a piano on which to play boogie-woogie.
Dorothy Jones laughingly tells the story: “And she came in there with a stick, and hit him across his hands and said, ‘Don’t you ever try to play no blues!’ So from that day on, he started playing gospel. He was a pianist and he sang.”
He sang with several gospel groups before moving to Georgia in the mid-1950s where he became a minister at Second Mount Olive Baptist, drawing crowds with his captivating style.
The Fire that Burned the Sanctuary, but Not the Church
Rev. Johnny Jones would frequently tell people, “The fire burned the building, but not the church.”
Credit Dust to Digital Records
One Sunday in 1973 while Jones was preaching, a fire broke out. No one was hurt, but the West End church was completely destroyed, and many people stopped coming to the new, smaller spaces where they’d hold church. But Jones kept preaching.
“He said ‘The fire burned the building, but not the church,’” says Deacon Walter Russell, describing how, in the 42 years that followed, “he would preach and sing and play the organ, just like he did when the church was standing, and we all enjoyed and had a good time.”
Those who knew him best will remember that voice and climactic preaching. But they say they’ll also remember his unflaggingly upbeat personality, his devotion to his faith and five children, as well as, a commitment to his congregation that endured, even when times got hard.
On Nov. 8, Jones preached from the first sermon he ever wrote at Second Mount Olive. That night, he passed away. The family believes the cause to be a brain aneurysm. He was 79 years old.
Jonathan Bekoff died at home in the night between June 14-15, 2015, after a three-year illness and the culmination of a lifelong spiritual journey. He loved this blog and asked one of his music students to help maintain the site after he died. An excerpt of this will appear in the Summer issue of Oldtime Herald.
Jon was born May 8, 1959 in Staten Island, NY. Raised in Montreal, Canada, he also lived in Ohio, Edmonton, Virginia, Oregon, and Vermont before settling in Greenfield, MA in 1996. He attended the University of Oregon, and was a gifted middle school math teacher for 27 years, mostly in Guilford and Brattleboro, VT. As his former principal at Brattleboro recalled, “Jon was a gentle soul and loved to connect with people, especially with the kids. He came into himself in the classroom; he explained things so clearly. His students loved him. Everyone loved him.”
Jon had strong passions for studying, collecting, playing, mentoring, and sharing roots music of the world, particularly American Old-time and music of Africa (e.g. Malian, Congolese, Shona) and the African diaspora (e.g. Mento, Haitian, Cumbia.) The diverse content of this blog is testimony to his manifold tastes – although all his tastes share one thing in common, i.e., rhythm and groove. To listen to the African music alone in Jon’s iTunes library would take an entire month of continual playing. Jon had a scholarly interest in the people who documented and field recorded roots music. For example, he regarded Alan Lomax, Harry Smith, and Moses Asch as the “holy triumvirate” of Old-time music; having “huge, incalculable long-term cultural influence.”
Jon was a multi-instrumentalist, playing guitar (excelling at several American and African styles), mandolin, banjo, kora, balafon, etc., but fiddle was his forte. Jon started fiddling in 1978, and quickly mastered several regional styles, though he seemed to prefer the excitement and danceability of early Georgia stringbands and favored the “great southern waltzes” of the 1920s and 1930s. Jon developed a unique style of “complementary” fiddling, drawing from the Cajun tradition, but with his own characteristic counter-melodies, harmonies, and syncopated double stops. Jon disliked being the only fiddler in a jam, and said after one masters a tune inside and out, it more fun to complement the melody of another player. This approach he developed is probably one of Jon’s most important contributions to old-time music. This clip of Jon and his protege, Nate Paine, playing Coleman’s March (recorded August 2015) is a good example of how Jon started a tune with the melody lead, then shifted into accompanist fiddling:
Although he once played electric bass in a Zydeco band, and later fiddle in a Cajun band (the high point of his musical “career”), Jon shunned performance opportunities and large festivals in favor of creating music with small groups of friends (friends who considered him as their mentor). Despite his uncanny abilities on the fiddle, Jon was not elitist and regularly played with less skillful players of all ages. He was committed to sharing the love of music. He encouraged those who were drawn to his style to instead learn from source recordings. This self-effacing approach to music was sometimes frustrating, because regardless of the genre, Jon’s version of tunes sounded better, even more authentic, than the original recordings. One might attribute this phenomenon to his ability to intensively and actively listen to a recording, and to reproduce the music as it originally was played, embellished by his understanding of the genre from which the source recording emerged. Anyone who came in contact with him came away with their curiosity awakened and courage bolstered. As a gifted accompanist and a natural teacher, Jon had a curious ability to assess the strengths of his playing partners; his sensitivity and giving nature drew the best out of players, while gently buoying their weaknesses.
Regardless of the genre, in a good jam, Jon liked to play a single tune for no less than ten minutes and often up to 30-60 minutes, depending on the endurance of his musical partners. This reflected his need to exhaustively explore a tune’s harmonic and rhythmic dimensions. While faithful to a tune’s originally composed character, Jon experimented in a way that adds diversity and richness to an otherwise simple folk tune. After 10-15 minutes of playing a tune, one could start to hear delightful syncopated rhythms, evoking an ethnic feel from somewhere in the Caribbean or West Africa. This “complementary” fiddle ability of Jon had the effect of making anyone sound better than they could ever sound alone, and explains Jon’s popularity amongst his musical friends. For most musicians, playing music in a jam with Jon bordered on an ecstatic experience. For Jon, jamming seemed to be when communed best with others, and when he felt most at ease, “delighting in relaxed unity with the constant flow.”
According to his friend Meghan, Jon used to sing long, complex ballads in his younger days. Here’s Jon at age 24 singing Paddy’s Lamentation
One of Jon’s unique contributions to Old-time fiddling was his ability to “resurrect” archaic ballads which he converted into fiddle tunes, e.g. Watchman Ring the Bell:
or twin fiddle “compositions” with his musical partner, Nate Paine: e.g. Charlie Poole’s “Once Loved a Sailor,” which can be seen/heard here amongst >5 hours of footage of Jon with Nate, or with other players (>100 posts by MoonshineV):
This blog Oldtime Party, was Jon’s passion from about 2011-2015, as the 3rd (and most active) blog administrator. His original goal was to create an online community of like-minded music lovers, but the blog morphed into what he described as his repository of “cool stuff” that he discovered posted elsewhere or was submitted by subscribers. Basically, Jon wanted to make it easy for others to find “cool stuff” all in one place. He once said he would have expected that Old-time musicians to find interest in the content regarding Caribbean, African, Cajun and other genres he re-posted here, in addition to the exhaustive collection of Old-time articles, music history, CD/LP reviews, book reviews, links to other archives, and classic recordings. He was our acoustic curator and lined up posts for this blog until his last 2 weeks of life (as evidenced by the posts that continue to emerge under his handle, oldtimeparty, through mid July). Anyone who wants to submit something they think Jon would like to have had posted, or who has recordings of him, contact the blog at oldtimepartyblog (at) gmail.
Jon’s last words were laid out in a letter to family and friends, in which he informed us that his last year of life was his “most peaceful, clarifying, and meaningful.” [http://www.jonbekoff.net/index.php/2015/06/16/new-post/ ] In addition to communing with others through music, Jon adored spending his last few years alone, exploring alternative healing, spirituality, reading, listening to audiobooks, podcasts and his expansive world music collection, and hunting material for his blog. Jon left this world without fear and with profound gratitude for his 56 wonderful years; he wished us to cultivate affection for all beings. Let us honor him by taking a moment to browse through the blog’s archives. Jon never made commercial recordings, but several hours of his unique fiddle style can be experienced at MoonshineV Old-time Field Recordings YT Channel
One of Jon’s fiddle students in his final year posted a highly personalized tribute movie for Jon. All the audio was fiddled by Jon or came from his personal audio collection. Audio borrows heavily from the Harry Smith Anthology and visuals borrow from Harry Smith’s 1950s stop-motion film “Heaven and Earth Magic,” as well as from photos/vdo contributed by Jon’s old-time musician friends. Astute blog followers will also note many world music images from posts of this very blog. Jon viewed this 22-minute tribute twice in April and said he liked it.
Remembrances can be posted here (but cannot be edited immediately after posting, so check your wording first.)
More recordings will be added below or in an upcoming OTP Blog Page devoted to Jon’s music. What follows are muses on Jon’s music, which we will flesh out over time:
Nate and I believe that Jon learned all the great tunes in old-time in the 1980s and 90s, and by the 2000s had taken the best ones and developed his own twist to them. By example, we present his early and versions of the same tunes:
Here is Jon playing straight Peter Francisco, 1985:
And here is a recording of Jon and Nate playing a modalized Peter Francisco in 2014, when Jon applies his “complementary” fiddle style:
Here’s is Jon fiddling Old Jake Gilly in 1985
And here’s is Jon fiddling Jake Gilly in 2014, with Nate, when Jon applies his “complementary” fiddle style:
Jon fiddling at Galax mid 1980s
Here’s Jon fiddling Bibb County Hoedown in 1985, recorded in Port Townsend, obtained by Nate’s dad, Don.
Below’s Jon and Jim fiddling Bibb County in 2006 at Harry Smith Frolic (Jon once said Jim Burns bows breakdowns exactly like him – Georgia style):
Here’s Jon fiddling Bibb County in 2014, with Nate (flatfooting by Moonshine); Jon applies a light version of his “complementary” fiddle style after a few rounds through on the melody line:
NB: Jon said the most interesting site along his drive through S Georgia to Atlanta in January 2015 was passing the sign “Welcome to Bibb County!”
Jon said he leaned Cajun fidding from recordings, but he attributed his application of Cajun styling in the Old-time context to Vermont fiddler Bob Naess (here they’re playing “Eunice Two Step”, then the beautiful “Aimer et Perdre” Champlain Festival 2009, recorded by Mara):
Found this recording of Brandan Taaffle with Jon playing african style guitar on Brandon’s website: Go to sleep, weary Hobo:
This is Jon 1985, playing Dance Terpsichore, recorded in Port Townsend, obtained by Nate’s dad, Don.
It is remarkable how well Jon played music throughout his last year of life. Below Jon and Nate playing Omie Wise in March 2015:
Here is a beautiful rendition of Kitty Waltz with Jon and Nate in March 2015 (Carter Family version) Music starts after a 35 seconds: This is a great example of Jon’s complementary fiddling for a waltz. He starts to really cool things after minute 6, note how he pulses variations of the 3/4 rhythm! This is an example of inserting other African rhythms into old-time while always respecting the original spirit of the American folk tune.
This is the last tune Jon played, and recorded, June 14, 2015, an adaptation of a Congolese tune called Kuyina, with Jon playing lead in a guitar duet with Eddie. He died later that night. Note his little laugh at the end of playing! Music brought Jon great happiness his entire life. Original below.