Posts Tagged ‘oldtime’
When Country Music Comes to Town
(octogenarian clarinetist Dub Hudson performing with the Georgia Crackers and Jerron Paxton, Grocery on Home, Atlanta)
Much of what has long been termed country music has ties to city life. Cotton mills, railroads and factories have always played a part in the conveyance of culture between city and country which is reflected in the arts. Even the availability of “store bought” guitars, pianos, pump organs and violins changed the sound and manner of playing.
It is certain that previously isolated rural musicians became aware of Blues, Ragtime, Classical, and Contemporary pieces by trained composers. This influence was evident in their repertoire almost immediately. Although, to this day there is some tension between traditionalists and progressives.
Georgia country artists, in particular, were eager to incorporate not only stylistic shifts but new instrumentation as well. Fiddle bands in Georgia often used “Dixieland” banjo rhythm and quite a few used clarinet. For example, fiddler Clayton McMichen hired the 16 year old clarinetist Robert Stephens Jr in his band the Home Town Band. After Stephens tragic death in an automobile wreck, McMichen continued the formula with the talented Kasper Malone, also age 16. Other notable Georgia hillbilly bands to include clarinet were Hoke Rice & his Hokey Pokey Boys, Walburn & Heathcox, The Jenkins family and Hershel Brown and his Happy Five.
Our vision for this album was to show the wide variety of Georgia music when country music went to town. We hope you enjoy our renditions of the fine artist’s material. See and sample the tracks from Brown Mule Slide here: http://www.cdbaby.com/cd/georgiacrackers1
Georgia Country Music Firsts:
-First country record (Fiddlin’ John Carson)
-First recorded lap guitar (Darby & Tarlton)
-First Country yodeler (Riley Puckett)
-First recorded Country brother duet (Cofer Brothers)
-First Country family band (The Jenkins family)
-First Country clarinet band (McMichen’s Hometown Band)
Here is a 11/2015 video of the Georgia Crackers featuring their octogenarian clarinetist Dub Hudson, playing Unexplained Blues:
Below is a 2012 video link to Jerron Paxton joining the Crackers with Atlanta’s Dub Hudson, again highlighting the clarinet’s role in this sub-genre of oldtime music:
photos and videos in this post c/o MoonshineV Oldtime Field Recordings YouTube Channel
Persons featured in this video include:
Skillet Lickers (3rd and 4th generation)
Mick Kinney, Evan Kinney (and the Stone Mountain Wobblers)
Along with interviews and memories of past NGFF performers now gone. Each year, the festival celebrates the finest in folk art, crafts, and music from North Georgia and neighboring areas and is produced entirely by volunteers from the Athens Folk Music and Dance Society (athensfolk.org). The AFMDS is proud to present the 31st Annual North Georgia Folk Festival on October 10, 2015 at Sandy Creek Park, Athens, Georgia. VDO by Neil Rosenbaum
At a gathering of oldtime musicians in Tennessee, we find another example of young Americans playing real oldtime music, 1920s deep South style. Georgia-born Evan Kinney fiddles with ragtime rhythm section with Matt Kinman & Ali Kafka guitar, Mickey Nelligan banjolin, Chris Ryan banjo, Rachel Meirs cello. Moonshine buckdancer. 2015 Sewellfest Pikesville. Evan learned fiddle within the past 7-10 years, but grew up hearing his dad Mick Kinney playing oldtime. Vdo recorded by MoonshineV YouTube Oldtime field recordings channel.
At a gathering of oldtime musicians in Tennessee, we find excellent examples of young people doing the real Old-time music — Deep South style. Alabama Ashley Carr (and Rachel Meirs) on fiddle. Van Burchfield & Ali Kafka guitar, Mickey Nelligan banjolin, Evan Kinney cello, Joni Carr uke…. Pikesville, Tennessee, 2015. Key of Bflat (duh). Vdo recorded by MoonshineV YouTube Oldtime field recordings channel.
At a gathering of oldtime musicians in Tennessee, we find excellent examples of young people doing the real Old-time music — Deep South style. Rachel Meirs on fiddle. Van Burchfield & Ali Kafka guitar. Mickey Nelligan banjo mandolin. Joni Carr uke. Evan Kinney cello….. Pikesville, Tennessee, 2015. Key of F, recorded by the Rector Trio. http://slippery-hill.com/f/SkylandRag.mp3 Vdo here recorded by MoonshineV field recordings YouTube channel.
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.)
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.