Hoedowns, Reels, and Frolics at Wilson Library Aug. 25

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We are excited for our first program of the 2015-2016 school year.

The South’s traditional folk dances will be the topic of a free public program on August 25 at UNC’s Wilson Special Collections Library.

Author Phil Jamison will discuss his new book, Hoedowns, Reels, and Frolics: Roots and Branches of Southern Appalachian Dance, at 5:30 p.m. in the Pleasants Family Assembly Room. Jamison will also demonstrate dance steps, with fiddle accompaniment by the excellent Joseph Decosimo. For details on the Phil Jamison Collection (20389) in the Southern Folklife Collection, see the finding aid.

Jamison is a nationally known dance caller, musician, and flatfoot dancer. His dancing was featured in the film Songcatcher, for which he also served as a dance consultant. Jamison teaches mathematics and Appalachian music and dance at Warren Wilson College in Asheville, North Carolina.

In Hoedowns, Reels, and Frolics, Jamison asserts that square dances, step dances, reels, and other dance forms of Southern Appalachia did not descend directly from the dances of early British settlers, but adopted and incorporated elements of other traditions.

Jamison’s talk is sponsored by the Southern Folklife Collection in Wilson Library, which is home to the Phil Jamison Collection, including numerous recordings he has made of traditional music and dance.

Tuesday, August 25, 2015 at 5:30 p.m.
Pleasants Family Assembly Room
Wilson Special Collections Library
Free and open to the public.
Information: Liza Terll, Friends of the Library, (919) 548-1203

Thank you, Jean Ritchie

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Jean Ritchie, recording session, NYC, ca. 1959. Photo by Ray Sullivan for Photo Sound Associates. Ron Cohen Collection (20239), Southern Folklife Collection, UNC-Chapel Hill.

Jean Ritchie–singer, scholar, songwriter, activist, Kentuckian, “The Mother of Folk”–passed away June 1 at the age of 92. We wanted to share some images of Ritchie in remembrance of her life and in honor of her vitally important contributions to the promotion and preservation of traditional music in Appalachia, America, and beyond.

Ray Sullivan of the Photo Sound Associates team in New York City documented Ritchie in the late 1950s, recording herself in a small space on an open reel tape machine and performing at a concert of the Folksingers Guild. From the look on Ritchie’s face, it must have been a good session. Following are a few images from the Southern Folk Cultural Revival Project–including SFCRP founder Anne Romaine, Mike Seeger, Doc Watson, Rosa Lee Watson, Bessie Jones, and more–with whom Ritchie would occasionally tour.

Jean Ritchie, recorded at Renfro Valley Folk Festival, Renfro Valley, Kentucky, April 1946. 12 acetate disc, FD_0501, in the Artus Moser Papers (20004), Southern Folklife Collection, UNC-Chapel Hill.

Finally, for listening we pulled out a special recording of Ritchie from the Artus Moser Papers (20004). Ritchie was a senior at the University of Kentucky in April of 1946 when she attended the Renfro Valley Folk Festival and sang a number of ballads for Artus Moser collecting for the Library of Congress. The following, “Lord Grumble,” “I Married Me a Wife (Gentle Fair Jenny),” “Foggy Dew” and “The Little Old Woman” come from a 12″ acetate disc FD_0501. Thank you Jean Ritchie. Peace to you, your family, your friends, and your fans.

Jean Ritchie, recorded at Renfro Valley Folk Festival, Renfro Valley, Kentucky, April 1946. 12 acetate disc, FD_0501, in the Artus Moser Papers (20004), Southern Folklife Collection, UNC-Chapel Hill.

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Jean Ritchie, recording session, NYC, ca. 1959. Photo by Ray Sullivan for Photo Sound Associates. Ron Cohen Collection (20239), Southern Folklife Collection, UNC-Chapel Hill.

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Jean Ritchie, recording session, NYC, ca. 1959. Photo by Ray Sullivan for Photo Sound Associates. Ron Cohen Collection (20239), Southern Folklife Collection, UNC-Chapel Hill.

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Jean Ritchie, recording session, NYC, ca. 1959. Photo by Ray Sullivan for Photo Sound Associates. Ron Cohen Collection (20239), Southern Folklife Collection, UNC-Chapel Hill.

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Jean Ritchie at Folksingers Guild concert, 30 January 1959. Photo by Ray Sullivan for Photo Sound Associates. Ron Cohen Collection (20239), Southern Folklife Collection, UNC-Chapel Hill.

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Possibly a tour organized Anne Romaine, photo includes Bessie Jones, Jean Ritchie, Anne Romaine, Rosa Lee Watson, Mike Seeger, and Doc Watson. Mike Seeger Collection (20009), Southern Folklife Collection, UNC-Chapel Hill.

Fred Gerlach and Rev. Gary Davis at Town Hall, 1958

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A couple of weeks ago, friend of the Southern Folklife Collection, Bob Carlin, brought in a few reels of 16mm film, 35mm negatives, and open reel tapes from the Fred Gerlach estate. More on the film on a future date, but Bob’s visit had me looking into the music of Fred Gerlach. A remarkable and innovative 12-string guitar player I first heard on volume 2 of Tompkins Square‘s brilliantly curated multi-volume guitar series, Imaginational Anthem, Gerlach released only three albums throughout his career: Twelve-String Guitar – Folk Songs and Blues Sung and Played by Fred Gerlach (Folkways, 1962), Songs My Mother Never Sang (Takoma, 1968), and a cassette, Easy Rider (Eyrie, 1993).

An active participant in the 1950s New York folk scene, Gerlach spent time playing with and learning from Leadbelly, Woody Guthrie, and Tiny Ledbetter (Leadbelly’s niece). Along with Tiny Robinson, Gerlach made recordings Reverend Gary Davis in 1957 that later became the album Pure Religion and Bad Company (77 Records, 1961). Knowing he spent time in Washington Square Park and the Folklore Center, it was no surprise to find images of Gerlach in the Photo-Sound Associates images in the Ron Cohen Collection (20239). Photo-Sound Associates photographer, Ray Sullivan documented this concert by Gerlach, on his 12-string, and Reverend Gary Davis at Town Hall on 8 March,1958. For more images seeImage Folder PF-20239/007_02 in the finding aid for the Ron Cohen Collection (20239). Gerlach moved to California in the early 1960s and lived there until his death in 2009. He became well known woodworker, luthier, craftsman (he was reportedly building an airplane in his attic) and musician. He continued to play, if sporadically, around town, often at Los Angeles laundromats, and was a regular at McCabe’s Guitar Store where Ry Cooder and Taj Mahal likely picked up a few pointers.

We would love to have been at this concert in 1958. You can hear at least one tune by Gerlach online, his version of Gallows Pole.”

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Out of the stacks: a sampling from the SFC reference shelf

 

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Fun research in the Southern Folklife Collection today. Always great to have an opportunity to dig through the SFC reference books. If you’d like to join us for some research, please visit Wilson Library and jump right in with one of these texts, like The golden years : Kitty Wells (pictured above).

ML3481D53_A_Study_of_the_Ballads_of_a_Mexican_American_Hero005The Kennedy corridos : a study of the ballads of a Mexican American hero

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Medicine fiddle : a humanities discussion guide, a film by Michael Loukinen

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Giant photos Country Music program book

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Country Music Spectacular Souvenir Album

 

 

 

American Folk Music in the Ivory Coast, 1983

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Participants from the U.S. and the Ivory Coast at the Festival of Traditional American Dance, Abidjan, Ivory Coast, 1983. Photo includes: Eileen Golden, Mike Seeger, Fris Holloway, Sandman Sims, Donny Golden, John Dee Holeman, and Alan Belt.

In 1983, the U.S. State Department sponsored a tour by American folk musicians through Zaire, Cameroon, Senegal, and the Ivory Coast. Along with Mike Seeger, the tour group also included Liz Carroll, Mick Moloney, Eileen Golden, Fris Holloway, Sandman Sims, Donny Golden, John Dee Holeman and Alan Belt.

Part of this tour included a Festival of Traditional American Dance held in Abidjan, Ivory Coast between September 26-October 1, 1983, in which the U.S. and Ivorian musicians demonstrated folk music, instruments, and dancing from their respective locales.

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Mike Seeger demonstrates the jaw harp. In audience are Donny and Eileen Golden, and Liz Carroll.

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An unidentified Ivorian musician demonstrates an African instrument similar to the jaw harp.

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An unidentified Ivorian musician demonstrates an African instrument similar to the jaw harp.

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Mike Seeger (guitar), Liz Carroll (fiddle), and Mick Moloney (banjo)

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Ivorian dancers and musicians perform as part of the Festival of Traditional American Dance, 1983.

The trip was considered a success, except (as noted in the letter below) that one of the American tour members lost track of their Converse sneakers.

20009_pf0234_0025These images were preserved as part of the Southern Folklife Collection‘s digitization project, “From the Piedmont to the Swamplands: Preserving Southern Traditional Music,” funded by a grant from the National Endowment for the Humanities. They are available in the Mike Seeger Collection as Image Folder 20009/0025.

Cabin fever Friday at the Southern Folklife Collection

 Paul Clayton and others, playing a folk game or making a diorama, or something on a floor 20239_pf0058_01_0044_Ron Cohen Colleciton_Southern Folklife Collection _UNC Chapel Hill20239_pf0064_05_0006_20239_pf0058_01_0039_Ron Cohen Colleciton_Southern Folklife Collection _UNC Chapel HillIt’s not Boston, but here in North Carolina we’ve had an unexpected, late winter, one-two punch the past couple of weeks with ice and snow. The amount of school and work that has been cancelled has certainly fueled some cabin fever creativity in our own households, but not sure if anyone has gone so far as Paul Clayton, Bob Brill, Dave van Ronk, Lee Hoffman, and their friends did at this party in New York circa 1959. We’re really not sure what’s going in these images–a game, a collaborative sculpture, a ceremonial practice, building a diorama? Let us know if you have any ideas. All images in this post were photographed by Ray Sullivan, a partner in Photo-Sound Associates along with photographer Aaron Rennert and sound-recordist Joel Katz, a team dedicated to documenting the folk scene in New York City in the late 1950s and early 1960s. Over 4000 images from the Photo-Sound Associates have been digitized and can be viewed through Ron Cohen Collection (20239) finding aid via the Southern Folklife Collection.

Lee Hoffman_20239_pf0058_01_0039_Ron Cohen Colleciton_Southern Folklife Collection _UNC Chapel HillNo matter what’s going on, it looks pretty fun. And Bob Brill is providing musical accompaniment on the kazumpet while Dave van Ronk and Paul Clayton harmonize accompaniment. We hope you had at least as much fun during your last “weather event.” Looking forward to Spring!Paul Clayton watching Bob Brill play kazumpet_20239_pf0058_01_0029_Ron Cohen Collection_Southern FOlklife Collection_UNC Chapel HillDave Van Ronk and Paul Clayton_20239_pf0058_01_0038_Ron Cohen Collection_Southern Folklife Collection_UNC Chapel Hill

 

Songs from Limestone Country

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We came across an interesting bit of American industrial history in a recent 78rpm cataloging session in the Southern Folklife Collection: a circa 1948 record promoting the Indiana Limestone Company, featuring on its label a relatively complex illustration of the limestone mining process. Celebrating the 100th anniversary of Indiana’s limestone industry, it includes two songs honoring the state’s favorite sedimentary rock : “Old Limestone Quarry” and “Girl from Oolitic.” (Oolitic is a town in Indiana known for its oolite, a kind of limestone).

We cannot find any information on this release, except that John H. McGee applied for copyright for the two songs in 1949.

We’ve included an excerpt from Side A here, which features an unknown vocalist and big band:

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The record is available at the SFC as call no. 78-17816.

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Music Biographer Barry Mazor and Musician Dom Flemons at Wilson Library Feb. 6

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Ralph Peer and the Making of Popular Roots Music

Friday, Feb. 6, 2015
Wilson Special Collections Library
Pleasants Family Assembly Room
5:30 p.m. Reception (program will begin at 6 p.m.)
6 p.m. Book Talk by Barry Mazor
7 p.m. Concert by Dom Flemons
Free and open to the public
Information: Liza Terll, Friends of the Library,
(919) 548-1203

 

Music scout, record producer, and industry visionary Ralph Peer helped shape and popularize American country and roots music from the 1920s through the ’40s. On Feb. 6, at 6 p.m., a new biography of Peer will be the topic of a talk by the author, Barry Mazor, at UNC’s Wilson Special Collections Library. A concert by musician Dom Flemons will follow at 7 p.m.

The Southern Folklife Collection (SFC) in Wilson Library is the program sponsor. Mazor and Flemons have both conducted extensive research in the Collection and are friends with one another, said SFC curator Steve Weiss.

Ralph Peer and the Making of Popular Roots Music was released in November to critical acclaim. The New York Times called it “a beautifully written portrait of an utterly fascinating man. One is continually astonished at how a shipping clerk from Independence, Mo., at various junctions in his life, made decisions that transformed American music by bringing new artists and forms of music — from country, blues and bluegrass to early rock ‘n’ roll — to millions of citizens who had not yet encountered them.”

Peer’s accomplishments include sparking the blues craze by recording Mamie Smith’s “Crazy Blues;” discovering the Carter Family and Jimmie Rodgers; and helping transform popular music well through the postwar years.

In the stacks of the SFC, Mazor — a winner of the 2008 Charlie Lamb Award for Excellence in Country Music Journalism — was able to draw on a unique recorded interview with Ralph Peer, as well as correspondence between Peer and musician Sara Carter of The Carter Family, found in the SFC’s Ed Kahn Collection. Those letters will be on display at the event.

Flemons_333Flemons, too, has deep ties to the SFC. In 2012, the Grammy-winning banjo player and former member of the Carolina Chocolate Drops described in an interview how video recordings and interviews in the Collection have informed his work. “There is something that a visual artifact can do that is greater than a mere recording,” he said. “You get to see the player and performer in the flesh and see how they played the music.”

The Dom Flemons Papers, 2004-2009, are part of the Southern Folklife Collection, and consist of audio and video recordings, photographs, programs, and related materials that Flemons has donated. Approximately 200 photographs from the collection, including publicity stills of the Carolina Chocolate Drops, may be viewed online, via the UNC Library’s Carolina Digital Repository.

Etta Baker at home

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Beautiful portrait of Etta Baker at her home in Morganton, North Carolina by Mike Seeger. P20009_0003 in the Mike Seeger Collection (20009).

If you have not yet had the opportunity to hear Mrs. Baker’s music, we highly recommend you remedy that as quickly as possible. There are ample opportunities here at Wilson Library and we welcome you to visit for some research, but until then here is an interview with Etta Baker by David Holt (whose papers are also at the Southern Folklife Collection). And if that’s not enough, our friends at the Music Maker Relief Foundation released a few albums by this North Carolina and national treasure (including a remarkable disc with Etta Baker and Taj Mahal).

Little Jimmy Dickens, 1920-2015

Little Jimmy Dickens, portrait, 20001_pf0566_0001, John Edwards Memorial Foundation Records (20001), Southern Folklife Collection, The Wilson Library, UNC Chapel HillLittle Jimmy Dickens in one of his trademark suits, image from the John Edwards Memorial Foundation Records (20001), one of many images of country, folk, and traditional musicians now available for research online. He started as a member of the Grand Ole Opry in 1948 and became a member of the Country Music Hall of Fame in 1983. At the time of his death, he was the oldest living member of the Grand Ole Opry. Dickens passed away in Nashville on January 2, 2015.

Nice boots, Tater, nice boots.