Cataloger’s Corner: Trumpet Records

Carolina Kings of Harmony, "There's a Narrow Path to Heaven," Trumpet Records TR-207, 1953

Carolina Kings of Harmony, “There’s a Narrow Path to Heaven,” Trumpet Records TR-207, 1953

Newly cataloged at the SFC is a 1953 release by the Carolina Kings of Harmony on Trumpet Records, call no. 78-16736. Trumpet Records was based at 309 N. Farish Street in Jackson, Mississippi, at a combined furniture and record store in one of the city’s African American commercial districts. When Lillian McMurry and her husband (both white) first moved into the space, Lillian found some 78rpm R&B records that the previous tenant had left behind. Upon listening to the records, she fell in love with the sound and decided to sell recordings by black artists out of the store. She also attended blues and gospel performances by touring musicians at the Alamo Theater down the street and got the idea to start her own label featuring those genres.

Photo of Lillian McMurry, undated. From the William R. Ferris Collection, 1910s-2011, Folder PF-20367/978.

Photo of Lillian McMurry, undated. From the William R. Ferris Collection, 1910s-2011, Folder PF-20367/978.

In the summer of 1950, Lillian established her label as the Diamond Record Company—and then learned that Diamond was already in use as a record label name. Since she planned to record music with a spiritual theme, she chose Trumpet Records as a second option—“trumpet” referring to the angel Gabriel’s signature instrument. Lillian searched for talent at the Alamo, in her shop’s listening booths (where customers often sang along to the records), and through word-of-mouth. When she heard about vocalist and harmonica player Sonny Boy Williamson II, she canvassed the area until she found him. Sonny Boy went on to record a number of songs for Trumpet between 1951-1955 before signing to Chess Records. According to Marc Ryan in his book on Trumpet Records, Sonny Boy had such respect for Lillian that he observed her requests to leave all weapons outside the recording studio, as well as to stop all foul language on the Trumpet premises.

The Carolina Kings of Harmony met Lillian and signed a contract with Trumpet after a tour stop in Jackson. Consisting of lead singer Weldon Gill (who also ran a diner in Lewisburg, NC), along with William Battle, T.D. Jones, Vernon Joyner, Bennie Ruffin, Paul Cooley, the group recorded four sides in April 1953 in Raleigh, NC. Dubs of the recordings were then sent on to the Audio Company of America in Texas for mastering. Two of the tracks, “Going On Home to Glory” and “There’s a Narrow Path to Heaven” were released as Trumpet 207; the other 2 were not released until the 1994 Alligator Records compilation, In the Spirit: The Gospel and Jubilee Recordings of Trumpet Records.

We’ve included an excerpt from “There’s a Narrow Path to Heaven” here:

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Though Trumpet Records only lasted until 1955 (partly because there was so much competition in the Southern gospel and blues market at the time), it has since become known as the first nationally known Mississippi-based label. Additionally, Lillian McMurry is now recognized as a key figure in the birth of American rock ‘n’ roll and as someone who resisted racial segregation of 1950s Mississippi. In 1998 she was inducted into the Blues Hall of Fame. Her papers, including significant documentation of Trumpet Records, are available for research at University of Mississippi’s Special Collections.

SFC25

Southern Folklife Collection 25th anniversaryIn just over one month, Southern Folklife Collection will celebrate our 25th Anniversary, August 21-August 23. As one of the nation’s foremost archives of Southern vernacular music, art, and culture, available for research in the University’s Wilson Special Collections Library, the Southern Folklife Collection is honored to had the opportunity to serve as an educational resource, an archive dedicated to collecting and preserving cultural heritage, and a focal point for the public appreciation of Southern art forms for 25 years.

Since its opening in 1989, the SFC has grown to contain over half a million items including sound recordings, moving images, photographs, manuscripts, books, song folios, serials, posters and ephemera. The Collection is especially rich in materials documenting old-time, country-western, bluegrass, blues, folk, gospel, rock, Cajun and zydeco music. The SFC holds numerous recordings on the Library of Congress’ National Recording Registry, including Dolly Parton’s first recording “Puppy Love.”

As part of the Southern Folklife Festival, we are presenting a number of events. You can visit our event website, sfc25th.web.unc.edu for more details, and come back to Field Trip South where we’ll highlight the our programs over the coming weeks.

August 21-23 is going to be a really good time to be in Chapel Hill.

SFC25

A benefit reception, dinner and concert (5:45pm, 8/21)
New Orleans Brass Band Symposium (5pm, 8/22)
Rebirth Brass Band and Dumpstaphunk (8pm, 8/22)
Big Star’s #1 Record and Third/Sister Lovers (9pm, 8/22)
SFC25 Festival at the Cat’s Cradle in Carrboro, NC (1-4pm 8/23)
Merle Haggard and Tift Merritt (8pm, 8/23)
A retrospective SFC25 Exhibit (8/21/14 – 1/15/15)

We hope you can join us!

Cataloger’s Corner: Bluegrass on Blue Ridge Records

The Church Brothers & their Blue Ridge Ramblers, "No One to Love Me" (Blue Ridge, 1952)

The Church Brothers & their Blue Ridge Ramblers, “No One to Love Me” (Blue Ridge, 1952), call no. 78-16864

Newly cataloged at the SFC (call no. 78-16864) is a 1952 release by the Church Brothers & their Blue Ridge Ramblers, a short-lived ensemble on a short-lived label, both based out of Wilkes County, North Carolina.

The oldest of the three Church Brothers, Bill Church, had played during the 1940s with Roy Hall & his Blue Ridge Entertainers and on a radio show in Asheville, N.C. called “Farm and Fun Time.” After serving in World War II, he and his brother Ralph began playing with cousin Ward Eller and a few other locals—Drake Walsh (son of Dock Walsh), Gar Bowers and Elmer Bowers. Eventually a third Church brother (Edwin) joined the group. Calling themselves the Wilkes County Entertainers, they played on the local radio stations WILX and WKBC and at schoolhouse shows.

The Church Brothers & their Blue Ridge Ramblers, with songwriter Drusilla Adams (center)

The Church Brothers & their Blue Ridge Ramblers with songwriter Drusilla Adams

By the 1950s they were performing as the Church Brothers and their Blue Ridge Ramblers and making recordings with a lineup featuring Bill Church (guitar), Edwin Church (fiddle), Ralph Church (mandolin), Ward Eller (guitar), Ralph Pennington (bass), and Johnny Nelson (banjo). They also began recording songs written by a local lyricist, Drusilla Adams. Initially the band planned to have these recordings come out on Rich-R-Tone Records (at the time based in Johnson City, TN). Because of various delays, Drusilla and her father decided expedite the process by setting up their own Wilkesboro-based label called Blue Ridge Records, which issued several Church Brothers singles. Blue Ridge Records went on to record the Stanley Brothers and Bill Clifton; the label lasted until 1958 when Noah Adams passed away and it was sold.

The single “No One to Love Me,” featured here, received a somewhat mixed review from Billboard magazine: “A lively performance by the Church Brothers with hoedown accompaniment of a so-so piece of material.” About the B-side, “You’re Still the Rose of my Heart,” the critic simply stated: “More of the same.”

We’ve provided an excerpt from “No One to Love Me” here:

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In addition to their releases on Blue Ridge, the Church Brothers & their Blue Ridge Ramblers eventually did go on to sign a contract with Rich-R-Tone, recording several tracks for that label. In 1952, the group disbanded—though the members continued to play on their own at various dance events in the Wilkesboro area.

The Church Brothers’ output on Blue Ridge Records and was later released on LP compilations by Gerd Hadeler Productions and Rounder Records. These LPs are also available at the SFC, as FC-4743 and FC-2046, pictured below.

Church Brothers compilation released on GHP Records

Church Brothers compilation released on GHP Records, call no. FC-4743

Church Brothers compilation on Rounder Records

Church Brothers compilation on Rounder Records, call no. FC-2046

 

 

 

 

 

 

 

An article and video feature on former Rambler Ward Eller’s experiences with the band appeared in the March 2014 issue of Mountain Music Magazine.

I want to dance in Lafayette

We love hearing from our students about their work in the Southern Folklife Collection as they explore our holdings and find artifacts of expressive cultures they are often experiencing for the very first time. In this post we hear again from SFC student Zach Gossett. Enjoy.

78_3435_005Pulling this Columbia disc out of stacks and putting it on the turntable definitely was my first experience with the excitement, the intrigue, and the joy that no doubt inspires record enthusiasts and collectors; this was a piece of history in my hands, the first commercial Cajun recording. While researching another Cajun artist, fiddle player Rufus Thibodeaux, I briefly searched “Allons à Lafayette” from his record Cajun Fiddle (FC1111). Not only did I discover who originally recorded the tune, but also that we had a copy of that recording on 78 rpm disc.

Accordion player Joe Falcon and guitarist (and future wife) Cleoma Breaux recorded “Lafayette (Allon a Luafette)” on April 17, 1928. The many Cajun song-titles bearing “Waltz (Valse)”, “Dance”, or “Two-Step”, emphasize danceability of Cajun music as integral to the style. “Allon a Luafette”, as it appears written undoubtedly in a French dialect, is a (Cajun?) two-step. I’ve never danced it, but I feel an unwavering rhythmic drive. I enjoy it, so much.

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We have the 78, call number 78-3435 here at the Southern Folklife Collection. There is a lovely waltz on the other side.

 

¡Muy Caliente!

I am pleased to introduce the first post by another of the Southern Folklife Collection’s great student employees, Zachary Gossett. Always nice to see/hear what fresh ears can pull out of the stacks.

FC423014Overall, May has been strangely clement, but it’s a fair bet to expect hotter weather soon. Here’s a little salsa to heat things up too! This track, “Yo Quisiera Ser” by Hector Rivera y su Conjunto, features a typical salsa ensemble with Hector Rivera himself on piano.

Although the stacks are home to a large variety of musics associated with the American South, the first ≈7000 records alone are peppered with some wonderful cuts of Latin and Caribbean music, including this compilation of the Puerto Rican, Cuban, and Afro-Cuban music from New York. The label New World Records is “dedicated to the documentation of American music that is largely ignored by the commercial recording companies”, in a similar vein as the diverse collections of folk song procured by Alan Lomax. It’s quite spectacular what one might find while perusing the records.

Enjoy this excerpt from EP, call number FC423: Caliente = Hot: Puerto Rican and Cuban Musical Expression in New York , New World Records.

Listen for the piano montuno, a repeating rhythmic/melodic pattern essential to many styles of Latin music, the coro—or chorus (with call-and-response), and the groove of the percussion.

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Also, I can’t help but include a bit of Rivera’s piano solo.

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To hear more, visit the Southern Folklife Collection in Wilson Library.

 

Southern Folklife Collection welcomes the 48th annual ARSC Conference, May 14-17, 2014

ARSC 2014_Southern Folklife CollectionThe Southern Folklife Collection is honored to act as local host of the 48th annual conference for the Association for Recorded Sound Collections (ARSC), May 14-17 in Chapel Hill. For conference information, registration, schedules, and program abstracts, visit the ARSC site.

Highlights for conference participants include a tour of the Southern Folklife Collection, work-shops on Managing Digital Audio Collections and Audiotape Playback, panel sessions on producing reissues through the years and donating collections to archives, plus a wide variety of presentations on topics ranging from recording artists and labels to technology and restoration. A schedule of presentations and detailed abstracts are now available through the ARSC conference website. Looking forward to seeing everyone next week!

http://www.arsc-audio.org/conference/

 

Cataloger’s Corner: Moondog!

During a recent cataloging session, we stumbled across this 1953 EP by composer/performer/inventor/poet/philosopher Moondog (born Louis Thomas Hardin, b.1916-d.1999), hidden in between recordings by Dizzy Dean & his Country Cousins and the Circuit Rider Quartet.

Moondog, Improvisations at a Jazz Concert, Brunswick, 1953

Moondog grew up in the Midwest and became blind at age 16 after playing with a dynamite cap. In the 1940s, he moved to New York City, renamed himself after an ex-pet (a dog who liked to wail at the moon), and stationed himself on a Times Square traffic median where he played his own compositions on instruments that he’d designed and built. Some time during the 1950s, increasing crowds at his performances drove him to relocate to a quieter spot near the corner of 53rd Street and 6th Avenue—and to switch from playing music to standing still for eight hours a day, sometimes reading and selling his poetry. He typically carried a spear, wore a Viking helmet, long beard, and a robe he made from pieces of army blankets. (In 1965, the New York Times reported that he’d changed to a green velvet outfit in order to avoid the “G.I. connotations” of the army blankets).

In the meantime, Moondog also recorded a number of albums for Decca, Prestige, and Columbia and gained recognition as a serious avant-garde composer. Improvisations at a Jazz Concert is the only Moondog record on the Brunswick label. It features two of his self-made, self-designed instruments—the oo (a sort of miniature dulcimer) and the trimba (two small triangular drums with a cymbal attached), as well as his characteristically elastic approach to tempo and meter that he sometimes referred to as “snake time.” Billboard magazine called the EP “one of the unusual recordings of the year” when it came out in 1953, the reviewer suggesting that “those who react to rhythm should be intrigued.”

We’ve included here an excerpt from Side 1, entitled “Improvisation in 7/4.” The EP is available at the SFC, call no. 78-16420.

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Moondog, Improvisation in 7/4

A Moondog documentary is soon to be released, the trailer for which is available here: http://thevikingof6thavenue.com/

 

 

Record of the Week: Alura Mack, “Beef Blood Blues”

Really nice to pull this out of the stacks, Female Country Blues Singers (1929-1931), SFC call number FC9785. Alura Mack, whose entire recorded output sadly makes up only 13 songs, was a legendarily bawdy blues pianist. “Beef Blood Blues” is perhaps the most macabre of all of her cuts, a sharp change in mood from uproariously immoral ditties such as “Loose Like That,” “Everybody’s Man is Mine,” and “I’m Busy, You Can’t Come In.” Check out the track below–a fittingly grim one for the worst day of the week.

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Sun Ra, “Dancing in the Sun”

With the anticipation of the 100th anniversary of Sun Ra’s appearance on Earth from his home on Saturn on May 29, we have inexplicably been called toward his music in the stacks, most recently to The Heliocentric Worlds of Sun Ra, SFC call number FC21135, a seminal 1965 release from legendary free-jazz and out music label ESP-Disk . Equal parts “unfree free jazz, afrofuturist storytelling, and detours into pop music (e.g. the gorgeous doo-wop track “Somebody’s in Love” or the very-NSFW anti-war lament “Nuclear War“), Sun Ra’s oeuvre defies easy summation. With that said, Heliocentric Worlds is about as good a place to dive into it any. Posted here is the final track from the record, “Dancing in the Sun.” As an added bonus, this particular rip of the record comes from an original (and rare) ESP-Disk pressing–check out those scans of this particularly well-worn copy below the track.

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Photos of the week: life according to Photo-Sound Associates

 

20239_pf0101_01_0002. Lee Hoffman and John Schuyler "Jock" Root at the races. Photo by Aaron Rennert, ca. 1957-1960.  Photo-Sound Associates, Ron Cohen Collection (20239). Southern Folklife Collection, UNC Chapel Hill

20239_pf0101_01_0002. Lee Hoffman and John Schuyler “Jock” Root at the races. Photo by Aaron Rennert, ca. 1957-1960.  Photo-Sound Associates, Ron Cohen Collection (20239).

It’s hard not to get drawn into the Photo-Sound Associates images in the Ron Cohen Collection (20239). My intention is always to grab a quick photo to share on the blog and before I know it, I’ve grabbed six. I started off with the image above including the Caravan magazine founder and renaissance woman Lee Hoffman (ed. note: I recommend reading her website, Ms. Hoffman led a remarkable life) at some car races. I was looking for a different Washington Square Park photo when I saw the image below with the enormous crowd on a spring day. I can’t imagine the sound of that environment in the middle of the city. The street scenes documented by Rennert and photographer Ray Sullivan provide a fascinating look into New York City in the late 1950s. Framing musician Eric Weissberg and his Puch/Allstate 250CC two-stroke motorbike in the distance allows for a wonderful view of the architecture and 1950s automobiles. Finally, the image of Izzy Young through the window at the Folklore Center seemed the perfect way to end the tour along with this tired cat, so sleepy. The folk scene in NYC was a happening place to be in the late 1950s.

20239_pf0102_02_0003. Car races. Photo by Aaron Rennert, ca. 1957-1960.  Photo-Sound Associates, Ron Cohen Collection (20239). Southern Folklife Collection, UNC Chapel Hill20239_pf0102_02_0003. Car races. Photo by Aaron Rennert, ca. 1957-1960. Photo-Sound Associates, Ron Cohen Collection (20239).

 

20239_pf0082_01_0006. Crowd in Washington Square Park, 5 May 1959. Photo by Aaron Rennert. Photo-Sound Associates, Ron Cohen Collection (20239). Southern Folklife Collection, UNC Chapel Hill20239_pf0082_01_0006. Crowd in Washington Square Park, 5 May 1959. Photo by Aaron Rennert. Photo-Sound Associates, Ron Cohen Collection (20239).

 

20239_pf0082_01_0010. Listeners, small boy playing harmonica, Washington Square Park, 5 May 1959. Photo by Aaron Rennert. Photo-Sound Associates, Ron Cohen Collection (20239). Southern Folklife Collection, UNC Chapel Hill20239_pf0082_01_0010. Listeners, small boy playing harmonica, Washington Square Park, 5 May 1959. Photo by Aaron Rennert. Photo-Sound Associates, Ron Cohen Collection (20239).

 

20239_pf0098_01_0013. Eric Weissberg and his Puch/Allstate 250cc two-stroke motorbike. Photo by "LH," ca. 1957-1960.  Photo-Sound Associates, Ron Cohen Collection (20239). Southern Folklife Collection, UNC Chapel Hill20239_pf0098_01_0013. Eric Weissberg and his Puch/Allstate 250cc two-stroke motorbike. Photo by “LH,” ca. 1957-1960. Photo-Sound Associates, Ron Cohen Collection (20239).

 

20239_pf0100_0015. Izzy Young looking in the Folklore Center, 27 July 1959. Photo by Aaron Rennert. Photo-Sound Associates, Ron Cohen Collection (20239). Southern Folklife Collection, UNC Chapel Hill20239_pf0100_0015. Izzy Young looking in the Folklore Center, 27 July 1959. Photo by Aaron Rennert. Photo-Sound Associates, Ron Cohen Collection (20239).

 

20239_pf0097_0003. Photo by "LH," ca. 1957-1960.  Photo-Sound Associates, Ron Cohen Collection (20239). Southern Folklife Collection, UNC Chapel Hill

Tired Cat.Photo by “LH,” ca. 1957-1960. Photo-Sound Associates, Ron Cohen Collection (20239).