Our friends at The ArtsCenter in Carrboro are hosting banjo musician Jayme Stone and his Folklife Project on Friday, April 27. Continuing the practice from 2014’s Lomax Project, CD-15287 in the Southern Folklife Collection, Stone and his collaborators continue to look to recordings made by folklorists and field recorders for songs to reimagine. While Alan Lomax made recordings across the globe, opening up the source material allows for Stone to explore the work of other folklorists and song collectors, presenting that work to new listeners. The Smithsonian Folkways recording artists Anna & Elizabeth have also looked to archival recordings for source material, and during a recent performance at Chapel Hill’s Nightlight, the duo performed along with a field recording of Margaret Shipman singing “Jeanno and Jeanette” recorded by Helen Hartness Flanders, a folklorist from Vermont whose collection is at Middlebury College Davis Family Library. The Flanders collection is digitized and you can hear her recordings of Margaret Shipman streaming online via the Internet Archive
The Southern Folklife Collection is the repository for thousands of field recordings and many of these stream online thanks to the Audiovisual Preservation and Access Team and grant support from the Andrew W. Mellon Foundation. I hope these recordings can inspire artists to create new and reassembled works as well. Remember that Wilson Library does offer fellowships!
There are well over 20,000 streaming audio recordings streaming online through the Southern Folklife Collection finding aids. Field recordings are made in the field, taking the listener to a specific time and place. With that in mind I selected a few recordings made in North Carolina. Be sure you click through to the streaming file to listen.
For some old time inspiration, the Paul Brown Collection (20382) includes many recordings made at the home of fiddler Benton Flippen. Audio cassette FS-6582 was recorded 22 October 1980 along with Paul Brown and Paul Sutphin.
For some blues, the Joan Fenton Collection (20382) includes open reel tape recordings she made of Howard Cotten, bluesman and storyteller from Goldston, NC. Audiotape FT-0891 was made 6 August 1976 and includes Mr. Cotten performing the Piedmont blues classic “Step it Up and Go” as well as sharing memories about Blind Boy Fuller.
Field recordings in the Artus Moser Papers (20005) were made on instantaneous discs. Listening through some of those recordings recently, I fixed on disc FD-0705. Songs on the recording, including a driving and lightly swinging version of “John Henry.” are performed by an unidentified female singer, recorded to instantaneous disc by Artus Moser in the 1930s.
If you are interested in other field recordings in the Southern Folklife Collection and Wilson Library, contact us anytime! And remember you can hear Jayme Stone’s Folklife interpret field recordings at The ArtsCenter this Friday.
Many thanks to the North Carolina Collection, Southern Folklife Collection, PineCone, North Carolina Arts Council, and North Carolina Folklore Society for their contributions to this event!
All are invited, with no subject expertise or Wikipedia editing experience needed. A brief workshop on the basics of Wikipedia editing will be offered at the start of the edit-a-thon. We will have library resources and a list of suggested topics on hand.
WHEN: Thursday, April 12, from 5:00 to 9:00 p.m. Come when you can, stay as long as you would like.
Please arrive at 5:00 pm if you’d like to attend the Wikipedia basics workshop.
Experienced or new Wikipedians (We’ll provide assistance with Wikipedia formatting and syntax.).
Amateur historians or research pros (We’ll have library materials on hand to help with research).
UNC faculty, staff, and students.
WHAT TO BRING: A laptop. We’ll help you access the University’s wireless network. WHAT TO KNOW BEFORE YOU ARRIVE:
Enter Wilson Library through the main entrance.
There are several parking options within a few blocks of Wilson Library, including the Rams Head Parking Deck (330 Ridge Road), Cobb Deck (on Paul Green Drive) and metered parking along South Road and Country Club Road. Please see the Department of Public Safety’s Map of Visitor and Metered Parking for a complete list of visitor parking on UNC’s campus.
WILL THERE BE FOOD? Yes! We’ll have pizza, a few salad options, and soft drinks for participants. WILL THERE BE FREE STUFF? Yes! We’ll have North Carolina-themed posters. We’ll also have a button-maker on hand for making your own buttons. WILL THERE BE PRIZES? Yes again! During the event we’ll raffle off prizes related to our theme of traditional North Carolina artists.
As the AV Preservation team waits on the next large batch of digitized video content (check-in later this summer!), a small selection of videos has been described and made available for streaming in the last week, including: VT-20004/1:5th Annual Tennessee Grassroots Days Held in Nashville’s Centennial Park in 1980, this video features performances by Leola Cullum, Gospel Stirrers, Bud Garrett, Lizzie Cheatham, Nimrod Workman, Jo-El Sonnier with Frazier Moss, Sam’s Ramblers, and Hazel Dickens. Also included are shots of the festival grounds, with demos spanning quilt-making to beekeeping.
Additional footage, PSAs and television coverage of annual Grassroots Days through the 80s can be found in the Southern Folk Cultural Revival Project Collection (#20004)
VT-20466/5: James “Son Ford” Thomas at Bacchus, Newark, Del., winter 1978
I highlighted a different James “Son Ford” Thomas video in the Robert Bethke Collection (#20466) in a previous post, in which he performed with George Thorogood and Ron Smith. Primarily playing solo, but joined by Ron Smith eventually, this performance takes place at the University of Delaware’s Bacchus Theater.
VT-20018/1 & VT-20018/2: Walter Raleigh Babson at UNC Chapel Hill with Andy Cahan, 1987 Walter Raleigh Babson performed twice at Chapel Hill in 1987, including his last public concert with Andy Cahan on November 12th (VT-20018/2), 26 days before passing away. Along with the performance, this tape includes a retrospective of Babson’s life through home movies and photographs.
VT-20018/1 documents Babson’s performance earlier in 1987 at Gerrard Hall on March 28th for the Southern Accents Fine Arts Festival at UNC, where he is again joined by Andy Cahan. Additional audio recordings and interviews of Babson can be accessed in the Andy Cahan Collection (#20018).
Gene Bluestein hosted a number of guests on his series Folk Sources in American Culture while at California State University. Many of these segments can be found in the Gene Bluestein collection (#20379). On this particular day, he hosted Nona Beamer, who shared examples of instruments and related Hawaiian folk traditions.
Pulled a few favorites by the great Cecil Taylor today in honor of the artist’s passing. Taylor was incredibly prolific, but for the briefest of surveys of his music the three albums pictured above might be a place to start.
The Cecil Taylor Quartet, looking ahead! (Contemporary Records, 1958), was recorded in the Nola Penthouse Studios in New York City, June 9, 1958 and features Earl Griffith on the vibra-harp, Buell Neidlinger on bass, and Dennis Charles on drums. Working as the leader of a quartet, Taylor stretches the tonal, melodic, and rhythmic structure of the pieces and his collaborators. The second album, Embraced (Pablo, 1977), recorded live in New York City is a collaboration between Taylor and one of his influences and another pioneer of the avant-garde, Mary Lou Williams. The two artists take the listener through the history of jazz, from spirituals and ragtime through boogie, bop, blues, and beyond into the future. Finally, For Olim (Soul Note, 1987), a solo album recorded April 9, 1986 at “Workshop Freie Music 1986” in Berlin, a collection of works that demonstrate the full range of Taylor’s compositional and performance skills, challenging and thrilling listening.
You can hear clips on our instagram, @sfolklife. You may also want to tune into the 24 hour memorial broadcast on WKCR that will extend through Sunday, April 8 at 8PM.
Like many of you today, we remember Dr. Martin Luther King, Jr. and his legacy by turning to his own voice and words. In that spirit we’d like to share a clip of a speech Dr. King made to a group of organizers and activists at a Mass Meeting in Birmingham, Alabama, April 1963, digitized from open reel tape recording FT-20008/9832 in the Guy and Candie Carawan Collection (20008). He addresses the audience with seriousness and humor, inspiring them to continue to fight for the cause and lifting them up in solidarity before they all join together to sing “We Shall Overcome”. Listen to those clips here or read the transcription below:
[Martin Luther King, Jr.]: Now what I’m saying to you we are in this together and they are scared to death they don’t know what to do but this demonstrates the power of numbers. Mr. Connor has hollered, I know he’s gonna be a hoarse tonight, he has hollered so loud and when we were leaving I said, “How you doing Mr Connor?”
[MLK mimicking Mr. Conner] “Arrrerrrarrrarr, How the hell you….!”
And so as we were driving out he looked at Billups and we were in the car, he said “You better get on back over that church and I hope you get there safe”
Yes but God bless you that’s all we want to say, “Don’t worry..” We’re gonna take care of everything and see that everybody’s treated alright. And I said this to Mr. Marshall, I said “Now, I want you to know this Mr. Marshall, they are not criminals.” And I said “It’s not our problem.”
And Mr. Marshall said, “Well you know the city’s had a real problem today with so many…”
And I said “Well that’s that your problem, not ours. When you arrest somebody it is the job of the city to see that they are housed, that they are fed this is the job of the city. These young people have been unjustly arrested for standing up for that right. Don’t you know it’s a sacred right to picket and to protest. People can march around the White House, 500 went to the White House yesterday nobody was arrested. And down here in Alabama we are put in jail because we will stand up for our rights.”
And we are going to let them know if they put us in jail they’re going to treat us right after we get there
[Speaking: Rev. Charles Billups]:
Now let us join hands and let us sing together, “We Shall Overcome”
We shall overcome
We shall overcome
We shall overcome someday,
Oh deep in my heart
I do believe
We shall overcome someday.
You can hear the entire tape, as well as interviews and comments from participating student actives, streaming through the Southern Folklife Collections digital collections here: FT-20008/9832. Digitized recordings in the Guy and Candie Carawan Collection have been made accessible through streaming thanks to SFC’s ongoing audiovisual preservation grant from the Andrew W. Mellon Foundation.
The photo above is a closeup of Guy Carawan’s banjo head (pictured in full below), signed by Martin Luther King, Jr. as well as other leaders like Rosa Parks, Mahalia Jackson, Septima Clark, Fred Shuttlesworth and more. If you are interested in other archival materials related to Martin Luther King, Jr. you may want to read an article from today’s News and Observer, April 4, 2018, “Martin Luther King, Jr. and Chapel Hill’s Jim Crow Past,” by journalist Mike Ongle. The article based on research across the collections at Wilson Special Collections Library and details Martin Luther King’s visit to Chapel Hill and UNC Chapel Hill in May of 1960, including photos from the John Kenyon Chapman Papers (05441) .
We recently published a finding aid for the Joan Moser Collection (20370), which contains the papers and audiovisual materials of the western North Carolina based folk musician and historian, Joan Moser. There’s a chance you may have heard of Joan’s father, Artus Moser, whose collection of papers also resides at the Southern Folklife Collection. Like her father, Joan studied and taught the music and folk traditions of Appalachia. She also played – guitar, banjo, lute, and dulcimer, to name a few.
Joan’s collection is made up mostly of open reel tapes that she compiled over the years. Thanks to SFC’s ongoing audiovisual preservation grant from the Andrew W. Mellon Foundation, the Joan Moser Collection is now available for research and her tapes have been queued up for digitization.
Many of the tapes found in her collection have close ties to the music and traditions of western North Carolina. Below is a visual sampling of these tapes, including live recordings from the Asheville Mountain Dance and Folk Festival and recordings made at the Moser family home in Swannanoa, N.C., located on Buckeye Cove in Buncombe County.