This hour-long virtual program will feature guitarist Yasmin Williams, musician and scholar Alice Gerrard, and Cotten’s great-grandson John W. Evans Jr., who is pictured above as a young boy listening to Cotten.
Many live concert recordings are held in the McCabe’s Guitar Shop Collection (https://finding-aids.lib.unc.edu/20511/), which also includes a video interview, from around 1984, of Cotten and some of her family. The Grammy-award winning Elizabeth Cotten, Live! recording (pictured above), a sampler of live performances from Cotten in her 80s, includes selections from sets recorded at McCabe’s and preserved in the collection.
The Stefan Grossman Collection (https://finding-aids.lib.unc.edu/20578/), picked up in December 2019, also offers some classic Cotten material through his Vestapol label, a deep source of a variety of video recordings of jazz, blues, country, and folk artists.
Perhaps the richest source of Cotten material is held in the Mike Seeger Collection (https://finding-aids.lib.unc.edu/20009/). It was while in employment as a housekeeper for the Seeger family that Cotten picked up a guitar again after a period of musical inactivity, and Mike Seeger’s reel-to-reel recordings of her playing propelled her to becoming a popular figure on the folk circuit, and a touring and performing career that lasted into her 90s.
And if you ever find yourself down our way in Elizabeth Cotten’s hometown, check out this recently installed mural by North Carolina artist Scott Nurkin, near the Chapel Hill/Carrboro border, as part of the Musician Murals Project.
We are happy to invite you to the second of our two virtual first-ever screenings of these films made possible by the grant, Tuesday, October 6th, at 7pm. To view A.R. Cole, Potter, 1969, by Terry W. Rushin (https://finding-aids.lib.unc.edu/20402/), click the link below to register and join us for this wonderful short film covering a day in the life of ceramicist A.R. Cole and his family’s multi-generational pottery shop in Sanford, NC.
UNC student and frequent Field Trip South contributor, Hunter Randolph, will be presenting a short film he made, “Stories in the Clay: The Pottery & Poetry of Neolia Cole Womack,” and discussing the eastern Piedmont’s pottery traditions.
Revisit Anne’s excellent post about the grant award below.
Welcome back to Field Trip South. This period of isolation is a great time for recollections of a couple of our own recent field trips—my first collection pickups as Collection Assistant with the SFC. It might help during this time to remember ventures outside and connections with people, the history we all share, and the community that shared history creates.
Bobby Patterson (#20574) connected people for years from his hub in the Coal Creek Community near Galax, Virginia, as a musician, producer, and documenter of the old time mountain music of the region, operating Mountain Records with Kyle Creed before building his own studio and starting his Heritage Records label.
As another SFC connection Paul Brown (#20382) mentions in his excellent celebration of Patterson’s life and work here (Across the Blue Ridge – episode 95), many of the musicians recorded on both the Mountain and Heritage labels would not have been heard without Patterson’s dedication to recording and preserving this culture. Patterson could also pick a bit himself, accompanying on a variety of instruments with a number of collaborators like Kyle Creed and the Camp Creek Boys, the Highlanders, Tommy Jarrell, and Fred Cockerham. He later played regularly alongside his long-time musical partner Willard Gayheart, who offers his own recollections in the episode, which highlights not only Patterson’s playing, but a number of sessions recorded by him for the labels, and his documentation of performances at festivals and conventions throughout the region.
In 1987, Patterson was instrumental in launching the Old Time Herald(#20067) with founder and editor Alice Gerrard (#20006), a magazine that celebrates traditional music and dance, particularly in the southeastern United States, which still operates out of Durham.
SFC Curator Steve Weiss, AV Archivist Anne Wells, and I traveled to Galax in early Fall 2019 to pick up Patterson’s collection from the studio he built next to his home just outside Galax. Our local guides Kilby Spencer and Mark Sanderford, without whom we would have struggled to navigate through this pickup, provided context to the collection and pointed out recordings and musicians that could be of particular significance. Steve and Anne assessed the condition of the different formats and began the organization process. I helped them pack, tote, and haul, and learned a great deal.
It was a rewarding and satisfying experience to work with these colleagues and friends, reminding me why we do what we do, and reinforcing the importance of this work, preserving not only the physical materials but the spirit they capture. We would also like to thank Kelley Breiding, and—most of all—Janice Patterson, for their support of this project.
“First Impressions” is an ongoing series on the “first records” of several independent record labels releasing folk, blues, bluegrass, country, and other vernacular musics. Drawing from records and other materials in the Southern Folklife Collection, the focus of this virtual exhibition is on the albums that started it all for these labels in the LP era.
June Appal Recordings was founded to release traditional and contemporary mountain music, recorded by and for the people of the Southern mountains near their Whitesburg, Kentucky home. At the time, it would have been difficult to find a more complete embodiment of that mission than Nimrod Workman and Phyllis Boyens. Nimrod Workman had been a mine worker, singer, and union activist in the mountains of West Virginia for over six decades by the time June Appal Recordings was created in 1974. Phyllis Boyens, Nimrod’s daughter, had been raised in that culturally rich environment and quickly took to the musical and activist inclinations of her parents and grandparents. Passing Thru The Garden marked the recorded debut of June Appal, Nimrod and Phyllis, the first example of the cross-generational efforts that would come to define June Appal as a label. Most of the songs on Passing Thru The Garden are credited as arranged by Nimrod Workman, and most are sung unaccompanied by instrumentation. Nimrod and Phyllis take many of the songs alone, while joining voices on others. Listen to excerpts of two tracks from the album, and read on below.
Here is an excerpt from Track 1, “I Am a Traveling Creature,” featuring both Nimrod and Phyllis:
Also listen to a clip from Track 10, “Oh Death,” featuring Phyllis Boyens with some spare instrumentation:
Born in 1895 in Inez, Kentucky, Nimrod Workman moved to West Virginia to work in a coal mine at the age of 14. For the next 42 years, Workman continued to mine coal, until black lung and other injuries forced him to retire. He was an active union member and activist for worker’s rights from the early years of his career, but he became most well known later in life as a singer of unaccompanied ballads. Nimrod Workman was already 79 in 1974, the year his first album, Passing Thru The Garden, was released. While he was an active performer for the rest of his life, he recorded only one more album, Mother Jones’ Will, for Rounder Records in 1978. Workman continued to be associated with his career as a coal miner, frequently singing coal mining songs and contributing to different coal mining-related projects. He recorded several songs for Come All You Coal Miners, a collection of coal mining songs also produced by Rounder Records, and he appeared in the Academy Award-winning documentary Harlan County, USA.
His appearance in the acclaimed documentary, which followed the “Brookside Strike,” translated into a brief appearance in the 1980 Loretta Lynn biopic Coal Miner’s Daughter. In the film, Nimrod leads a group of mourners at a funeral in a rendition of “Amazing Grace.” The recording appears on the soundtrack to the movie, and Nimrod can be heard calling out each line before the rest of the crowd joins in. Listen to a brief clip from the song below:
At first glance, Workman’s appearance always seemed to announce his increasing age – from his uniquely dimpled cheeks to his tall and lanky frame. However, whenever Nimrod Workman sang or moved, he constantly betrayed just how young his spirit was. To help demonstrate that trademark youthfulness, below is a clip from Carry It On, a nine-part series produced by the Southern Folk Cultural Revival Project in 1984 and aired on PBS. In the clip, Nimrod states his age (“87 in years, 18 in feelings”) and demonstrates to his daughter Phyllis Boyens and host Mike Seeger how to do the “frog walk.” The full video, VT-20004/21 in the Southern Folk Cultural Revival Project Collection (20004) is streaming through UNC libraries here.
Phyllis Boyens-Liptak was born Phyllis Workman in 1947 in West Virginia, one of the youngest of Mollie and Nimrod Workman’s 13 children. Raised by musical parents, she quickly took to singing the songs that her father sang, and frequently accompanied him in casual venues and on tour. 1974’s Passing Thru the Garden was, like her father, also Phyllis’s first album. Also like Nimrod, Phyllis only recorded one more album, the 1983 solo outing I Really Care. Phyllis was active in the same musical and activist groups as her father, contributing songs to albums like They’ll Never Keep Us Down: Women’s Coal Mining Songs and touring with the Southern Folk Cultural Revival Project. Although she did not have a prolific recording career, she maintained an active presence in the folk music world, and she also expanded into the world of acting. Phyllis had appeared in the documentary Harlan County, U.S.A. alongside her father, and attention from that appearance helped her land a supporting role as Loretta Lynn’s mother in the film Coal Miner’s Daughter.
Phyllis’s mother Mollie Workman was also an accomplished singer, as she demonstrates in this field recording made by Mark Wilson for Rounder Records’ “North American Traditions Series.” In this clip from FT-20503/16073, Mollie Workman sings “I’m Going Back With Jesus When He Comes” unaccompanied:
The Appalachian Film Workshop was founded in 1969 in Whitesburg, Kentucky, part of the United States government’s legislative War on Poverty. Federal funding helped create several of these community workshops, which aimed to provide access to film production training and education in impoverished areas. In 1974, the organization underwent a few major changes, diversifying beyond film production and evolving into an independent nonprofit company. Around this time, the name of the organization was shortened to Appalshop, reflecting broader goals and a new direction.
These 1974 changes included the creation of June Appal Recordings, a record label within Appalshop. The goals of this new label reflected those of Appalshop as a whole – producing content for, by, and about the people that live in Appalachia. The June Appal discography includes Kentuckians like Buell Kazee, I.D. Stamper, and Nimrod Workman, but it also includes a broad range of traditional and contemporary folk musicians from across the U.S. June Appal has maintained a relatively steady pace since 1974, releasing more than 80 albums on LP, CD, or cassette in the past 45 years since its founding. Some of that discography is still available through the June Appal portion of Appalshop’s website, found here.
June Appal Recordings is unique among its contemporary independent record labels for many reasons, chief among them being its origins within a cooperative nonprofit company. Due to these unique beginnings, there are no individual founders widely credited with the creation of June Appal Recordings. However, there were of course individuals involved in the creation and maintenance of June Appal from its beginnings, including: Rich Kirby, who produced many records on the label and recently retired from Appalshop’s Mountain Community Radio station, and Jack Wright, who recorded on June Appal with The Payroll Boys, produced a film for Appalshop, and ultimately became a professor of film.
THE Southern folk cultural revival project
The Nashville-based Southern Folk Cultural Revival Project (SFCRP) was founded in 1966 by musicians and activists Anne Romaine and Bernice Johnson Reagon. The primary goal of the SFCRP was to “present traditional musicians from black and white cultures in performance together at a time when this was considered controversial.” In pursuit of that goal, the group recruited a large number of musicians, including Nimrod Workman and Phyllis Boyens, to perform on tour together. However, the work of Romaine and the SFCRP extended far beyond these tours. One such endeavor was the production of a nine-part series on traditional music that aired on PBS in 1984, Carry It On. Each episode of Carry It On consisted of interviews with and performances by traditional musicians. Nimrod Workman and Phyllis Boyens are featured in an episode of the series on mountain ballads. A videotape recording of the episode, VT-20004/21 in the Southern Folk Cultural Revival Project Collection (20004), is streaming through UNC Libraries here. Watch two brief clips from the episode below, featuring Nimrod and Phyllis singing “Passing Through The Garden” together and Nimrod singing “Burglar Man” alone:
Appalshop, true to its origins, is perhaps best known for the films it produces as Appalshop Films. Appalshop’s current website hosts over 80 films, ranging from narrative features to documentaries on a wide range of subjects. There are documentaries on craftspeople, like 1976’s Quilting Women and 1980’s Oaksie, about eastern Kentucky basket maker, fiddler, and harp player Oaksie Caudill. There are activist documentaries and documentaries on activists and protests, like 1995’s Justice in the Coalfields and 1992’s Belinda, about Kentucky AIDS prevention and education activist Belinda Mason.
One of the largest shares of the Appalshop filmography, however, is occupied by music documentaries, following performers and traditions rooted in Appalachia. These include works on Sarah Ogan Gunning, John Jacob Niles, Lily May Ledford, Ralph Stanley, Hazel Dickens, and Nimrod Workman. In 1975, the year after the release of Passing Thru The Garden, Appalshop released To Fit My Own Category, a 35 minute documentary following Nimrod Workman. Directed by Scott Faulkner and Anthony Slone, the black and white film features interview and everyday footage and incorporates Workman’s music. Watch a brief trailer for To Fit My Own Category below, and stream the entire film for free on Appalshop’s website.
ROADSIDE THEATER AND THE LOCAL CONNECTION
Appalshop also created several other prominent divisions beyond June Appal Recordings, including the Appalshop Archive, the Appalachian Media Institute, Culture Hub, Roadside Theater, and Mountain Community Radio (WMMT 88.7). Roadside Theater, one of the earliest new divisions of Appalshop, shares the spirit of the original film workshop and June Appal Recordings. Focused on providing a platform for young people in Appalachia to tell the stories of their lives, Roadside Theater is “a company of unreconstructed Appalachians who make stories out of the kind of history ‘that generally never gets written down.'” The group began by producing and maintaining a repertoire of Appalachia-centered plays, like South of the Mountain,Brother Jack, Red Fox/Second Hangin’, and Mountain Tales. Written by and starring members of the troupe, these productions would tour around the country, visiting schools and larger performance venues along the way. The below article from the April 3, 1987 issue of the Durham Morning Herald describes a Roadside Theater stop in Carrboro that day. Sponsored by The Arts Center in Carrboro, the group was set to offer a workshop on “Storytelling from Oral History” and perform South of the Mountain at Carrboro Elementary School. Roadside Theater continues to produce and perform new plays, and more of their work and history is available here.
SHOW ME MORE!
There are an abundance of materials related to June Appal Recordings, Appalshop, Nimrod Workman and Phyllis Boyens, and the Southern Folk Cultural Revival Project in the Southern Folklife Collection, as well as an extensive portion of the June Appal catalog on LP and CD. Check out a few other items of interest below or search the collection yourself.
Today marks the 90th anniversary of the June 7th, 1929 violence at the Loray Mill Strike in Gastonia, North Carolina. The strike started in April of 1929 with the arrival of the National Textile Workers Union. The workers at the mill began striking for their demands. On June 7th sheriff’s deputies raided tents set up near the mill by striking workers. Violence ensued, and Police Chief Orville Aderholt was killed. Just a few months after the culmination of the Loray Mill Strike, in September of 1929, Ella May Wiggins, a 29-year-old working mother and strike organizer, was killed by a mob of men trying to run the strikers out of town. The union was preparing for a large rally at which Ella May Wiggins would sing her ballads. On the way to the meeting, Ella May and other union members were attacked by anti-strikers. Ella May was one of many mill women and girls who protested the working conditions, hours and little pay in the Gaston County Mills in 1929. Often overlooked, the women working in the mills had a huge impact on the future of labor organizing in the South.
Ella May’s legacy lives on in the protest songs and ballads she wrote and sang. Her most popular protest song is “Mill Mother’s Lament,” a ballad covered by Pete Seeger on the album American Industrial Ballads.
She also penned songs such as “The Big Fat Boss and the Worker” and “Up in Old Loray,” that were sung at union meetings and rallies. Some accounts say that Ella May did not write “Up in Old Loray,” but the lyrics in the Archie Green Collection have Ella May credited as the writer. Handwritten and typed copies of the lyrics to a few of her songs can be found in the Archie Green Papers.
Many of the mill workers that fought for better working conditions during the strikes in 1929 will go unnamed. We are lucky to have Ella May’s songs as a reminder of her spirit and tenacity.
If you are looking to learn even more about Ella May Wiggins, check out The Southern Historical Collection’s oral histories of Ella May’s daughters, Millie Wiggins Wandell and Charlotte Wiggins. These tapes were digitized and are streaming online thanks to our generous grant from the Andrew W. Mellon Foundation.
Cox, Annette. “The Saga of Ella May Wiggins.” Southern Cultures, The University of North Carolina Press, 4 Oct. 2015, muse.jhu.edu/article/594509. Web. 7 June 2019. Huber, Patrick. “Mill Mother’s Lament: Ella May Wiggins and the Gastonia Textile Strike of 1929.”Southern Cultures, vol. 15, no. 3, 2009, pp. 81-110. Web. 7 June 2019. Jones, Loyal. “On the Death of Union Organizer and Balladeer Ella May Wiggins, A Tale of Two Families.” Review of Book. Appalachian Journal, vol. 43, no. 3-4, 2016, pp. 252–262. Web. 7 June 2019.
McShane, Chuck. “Tar Heel History: The Loray Mill Strike.” Our State Magazine, 17 May 2015, www.ourstate.com/loray-mill-strike/. Web 7 June 2019.
**Excited to share this Guest post by Visual materials Processing Archivist at Wilson Special Collections Library, Patrick Cullom**
Bebo White (pictured left) was a 20-year-old student at UNC Chapel Hill in 1965, when he had this image made with musicians Joan Baez and Bob Dylan. It was March 19, on the campus of NC State in Raleigh, when White and a friend managed to make their way backstage at Reynolds Coliseum, eventually finding their way into Baez and Dylan’s dressing room. There for less than 30 minutes, White was able to conduct a short interview with the duo (which he recorded), and to have a photograph (pictured above) made commemorating the meeting. He ended up creating resources documenting these two influential songwriters/musicians, in what would become an important year in the careers of both, thanks to a portable tape recorder (small enough to wear on shoulder strap under arm) and a camera packed with Polaroid “Polacolor” film. Mr. White and his cohort were equipped to document the evening with some of the most advanced tools available to them in 1965, and they did not disappoint.
This version of Polacolor film was relatively new to the market and allowedusers to create color photographic prints in a matter of minutes after taking an image. In the era of film-based photography, where 1 hour “express” processing was available (at a cost and with limited availability) this advancement provided photographers with a virtually “instant” color photographic print that could immediately be created and shared. If the camera used that night had been loaded with “traditional” roll film to make the image, neither Dylan or Baez would have likely ever seen the image.The film packs were sold with cardboard mounts that allowed users to put the newly developed print onto a more stable backer, providing both support and a surface for writing descriptions or notes. In White’s case he used the mounts to get what appear to be autographs from both musicians.
The photograph is mounted on the mount bearing Ms. Baez’s signature. In addition to the signature, the mount also has notes for a 24×36 inch print that was made after the image was taken. These Polacolor prints had some “trade-offs” for their virtually instant print capability, key among them, was no reusable negative. This meant duplicate prints could not made without producing a copy negative (photograph of a photograph) which would not be as sharp or detailed (think “resolution” or clarity) as the original. The photograph taken that evening ends up being an extremely unique item that not only depicts White with the two musical icons, but also is an objectthat both Baez and Dylanviewed, commented upon, and interacted with.All of these aspects make it a one of a kinditem we are thrilled to welcome into the Southern Folklife Collection, where it now resides with the other materials in the Bebo White Collection (20544). Read more about White’s experience at the show from this 16 March 2018 News and Observer article:“2 UNC students snuck backstage at the 1965 Dylan and Baez show in Raleigh and left with an interview of a lifetime” Learn more about Polacolor format via Graphic Atlas (Image PermanenceInstitute)
Joan Fenton was a folklorist and performer who earned a master’s degree in folklore from the University of North Carolina Chapel Hill. The sound recordings in this collection include interviews, oral histories, songs, and tall tales from artists and musicians throughout North Carolina, South Carolina, West Virginia, and Louisiana. She also recorded a gospel group at an African American church service near Princeton, West Virginia. Those recordings include sermons and testimonies from members of the congregation. Thanks to our generous grant from the Andrew W. Mellon Foundation, the audio items in the Fenton collection are available and streaming online from the finding aid. Fenton wrote the thesis for her master’s on Howard Cotten, a black tall-tale teller from North Carolina. These recordings include songs, tales, and interviews with Mr. Cotten and others like Laura Lea, a quilter from Chatham County, NC and Cotton’s friend and cousin, Willie Brooks. In the interviews, Cotten sings and tellsstories about hitchhiking, ghosts, possum hunting, talking dogs, seeing a train for the first time and more (FT-20015/890-908).
Fenton was the editor and sound engineer on an episode of the UNC Folklore Broadcast featuring a recording of Howard Cotten and Willie Brooks telling tall tales or lies, as Fenton calls them in the introduction to the broadcast, along with blues songs and additional explanation and commentary in between songs and stories. Some of my favorite audio recordings in the collection are from the John Henry Folk Festival in 1978. She gathered many interviews from this festival with musicians and attendees. She asks questions about the folk festival, why people attend this specific festival, what the blues mean to them, the importance of gospel music at a festival such as the John Henry festival, and many others. The answers she gets to her questions are part of larger conversations that are still relevant today. Some of the folks interviewed include Sparky Rucker, Ron Wilkerson, Hazel Dickens, Phyllis Boren, The Badgett Sisters, and Pigmeat Jarrett.
Finally, Fenton took part in video documentation of blues musicians including videos of Willie Trice. Fenton is described as recording the videos. They are also accessible and streaming in the Southern Folklife Collection Moving Image Materials finding aid. (VOR-30002/110-111).
Fenton resides in Charlottesville, VA where she owns 9 retail stores. She is one of the organizers of Blues Week at the Augusta Heritage Workshop in Elkins, WV.
“First Impressions” is an ongoing series on the “first records” of several independent record labels releasing folk, blues, bluegrass, country, and other vernacular musics. Drawing from records and other materials in the Southern Folklife Collection, the focus of this virtual exhibition is on the albums that started it all for these labels in the LP era.
In 1961, Sandy Paton recorded Frank Proffitt, a traditional singer, banjo and dulcimer player and instrument maker, in his home in Reese, North Carolina. 14 songs from that recording session were released on the 1962 Folkways album, Frank Proffitt Sings Folk Songs. Sandy Paton was a folk singer in his own right, having already released a well-reviewed album on Elektra Records in 1958, The Many Sides of Sandy Paton. In 1961, however, Paton and an old friend, Lee B. Haggerty, decided to start a record label in Huntington, Vermont. Paton had not been completely satisfied with the Folkways release of Frank Proffitt’s songs, and decided to release more material of his as the first LP on his new label, Folk-Legacy Records. This new album, Frank Proffitt of Reese, North Carolina, featured 17 songs, including the song preserved by Proffitt and made famous by the Kingston Trio, “Tom Dooley.” Most of the songs are of unknown authorship and are credited as traditional, while 4 are credited to Proffitt and 4 more are ballads collected by Francis James Child in the late 19th century. This first Folk-Legacy release, with a stark black-and-white cover, simple packaging, and comprehensive liner notes, is emblematic of their early catalog. In 2001, the album was reissued as Folk-Legacy CD-1, and is now available on digital and streaming platforms.
Here is an excerpt from Track 8, the murder ballad “Tom Dooley”:
Also check out Track 9, “I’m Going Back to North Carolina”:
Frank Proffitt was born in Laurel Bloomery, Tennessee in 1913, and raised in Reese, a small town in Watauga County, North Carolina. Proffitt worked in a variety of trades throughout his life, including carpentry, factory work, and growing tobacco. As a carpenter, he became well-known for his handmade fretless banjos and dulcimers, but he was always locally known for his banjo-playing and singing. In the late 1930s, the folksong collectors Anne and Frank Warner met Proffitt through their search for a dulcimer builder. Among the songs that Frank Proffitt shared with the Warners was “Tom Dooley,” a ballad which had been passed through several generations of his family. The Warners in turn shared the song with Alan Lomax, who published it and several others in his book Folk Song USA in 1947. The Kingston Trio learned the song from one of the Warners’ recordings, and the version they sang became one of their first and biggest hits. Frank Proffitt continued to live and work in Reese, North Carolina, and only released two albums in his lifetime: one on Folkways Records and one on Folk-Legacy Records, both recorded by Sandy Paton. After these two releases in the early 1960s, Proffitt enjoyed even more attention in the ongoing folk revival, performing at the Newport Folk Festival in 1963 and the 1964 New York World’s Fair. Frank Proffitt passed away in 1965 at the age of 52. In 1969, Folk-Legacy Records released an album of previously unreleased recordings of Proffitt as the Frank Proffitt Memorial Album.
As part of a radio program on record collectors, Billy Faier interviewed Frank and Anne Warner about their lives and work. In this clip from FT-20380/11368 in the Billy Faier Collection (20380), the Warners tell the story of how they first met Frank Proffitt at the home of dulcimer-maker Nathan Hicks in Beech Mountain, NC:
Frank Warner: When we crossed the divide, and looked down over on the
side, there was this house sitting on the side of Beech Mountain and
a lot of people around it. And we pulled up and they just gave us a
Anne Warner: Everybody was sort of shy at first, including us.
Billy Faier: Yeah, first time you'd seen them.
FW: Yes! But there was old Frank Proffitt, the son in law of Nathan
AW: Well we met him for the first time - when you say "old," it's
just in endearment, he was very young, he was about 27.
FW: But I mean, there he was, and uh, Nathan had got him to come over
- he came 25 miles to be with us, and brought his guitar.
AW: It was 25 miles by road or 10 on foot.
FW: Yeah, and he walked, that's right, he walked across carrying his
guitar on his shoulder all the way across those mountains just to be
with us, you know.
AW: I remember his - that - acute sense of humor he still has, and we
had some binoculars, and later on to break the ice everybody was
looking through these binoculars. Frank Proffitt said, "Well, I can
see my corn field over there, but I don't see nobody hoeing in it.
THE LABEL & ITS FOUNDERS
By 1960, Sandy Paton was working a regular job as the manager of a record department in Chicago, where he focused primarily on stocking and selling folk music. Eventually, however, he and his wife Caroline decided to leave the city life for rural Huntington, Vermont. Soon after their move, they were visited by their friend Lee B. Haggerty, who suggested they start a record label with the rest of Sandy Paton’s unreleased field recordings. Haggerty had just received a sizable inheritance, which formed the foundation of Folk-Legacy Records along with Paton’s tapes of Frank Proffitt. Haggerty joined the Patons in Vermont, and they operated the label from a large barn near their home. Everyone was involved in the operation of the label, from making and purchasing recordings, designing record sleeves, writing liner notes and transcribing lyrics, placing ads in folk music publications, and taking the records on the road to festivals and conventions across the country. In 1967, they moved the label from its home in Vermont to Sharon, Connecticut. The label ultimately released around 150 recordings on LP, CD, and cassette over their more than 50 years of operation. Lee B. Haggerty passed away in 2000 and Sandy Paton passed away in 2009. As of this posting, Caroline Paton maintains the label, which survives primarily through its website. [update: Caroline Paton passed away after this post was published. You can read her obituary here. The Folk-Legacy catalog was acquired by Smithsonian Folkways and can be found here.]
In 1991, Ronald Cohen interviewed Sandy and Caroline Paton in their home, and in this clip from that interview, FS-20239/7539 in the Ronald D. Cohen Collection (20239), Sandy Paton describes the humble origins of Folk-Legacy Records.
Sandy Paton: While I was there, I recorded a number of other people
around Beech Mountain, and I was playing these tapes back home for this
visitor, Lee Haggerty from Chicago. And he said, you know, what are you
going to do with them? And I said, well, I might put them together and
try to make another album for Folkways, and he said, why don't we put
them out? I said well, it's cool, except, you know, I gotta make money.
He had inherited some money from an uncle, and so we started Folk-
Legacy Records with his inheritance and my tapes, and produced - I
called up Diane Hamilton [founder of Tradition Records, another
prominent folk music label at the time] and asked her who made masters,
and where did you get your records pressed, and who prints jackets, and
Limber jacks and dulcimers
Operating a record label of any size is a costly venture, but operating a relatively niche, small label like Folk-Legacy was rarely profitable. In part to supplement their income, the Patons sold other items alongside their recordings, both through mail-order and from a table at conventions and festivals. Several accounts describe Sandy Paton as always carrying one of his Limber Jacks, a small, wooden dancing toy the Patons sold for many years. Recognizing a market for the beautiful instruments made by craftsmen like Frank Proffitt, the Patons also sold hand-crafted “Appalachian” dulcimers from their headquarters in Connecticut.
In discovering the first LP released by a given record label, one challenge can be deciphering the numbering system used by the label. Sometimes the process is simple – early catalogs and the records themselves say “#1” or “1001,” or the liner notes explain that this is the first album released by the label. However, it can also be more complicated – sometimes multiple lines of recordings (i.e. a 400 and 600 “series”) are released simultaneously, labels have several releases prepared before their launch, or numbering systems change throughout the years. Folk-Legacy’s initial numbering system includes four “number 1s,” each with a different prefix: Frank Proffitt is FSA-1, while there is also an FTA-1, FSI-1, and FSE-1. Based on catalogs and various reviews, these prefixes could be loosely translated as: FSA = Folk Songs – Authentic, FTA = Folk Tales – Authentic, FSI = Folk Songs – Interpreters, and FSE = Folk Songs – England. Folk-Legacy continued to use these prefixes in creative (if sometimes confusing) ways throughout their catalog. For example, when Sandy and Caroline Paton released their first album on Folk-Legacy as performers, Sandy and Caroline Paton, they changed the prefix to “EGO” to acknowledge what was required to release an album of your own music on your own record label.
SHOW ME MORE!
There are an abundance of materials related to Folk-Legacy Records, Frank Proffitt, and other independent record labels in the Southern Folklife Collection, as well as an extensive portion of the Folk-Legacy catalog on LP and CD. Check out a few other items of interest below or search the collection yourself.
Yesterday marked what would have been the 80th birthday of musician, folklorist and proponent of American Primitive Guitar, John Fahey. In honor of this occasion, we pulled a few Fahey-related highlights from our collection. The 1967 rerecording of his debut set Blind Joe Death provides an excellent primer on the breadth and depth of his idiosyncratic playing style, nicknamed “American Primitive Guitar,” juxtaposing traditional country blues fingerpicking guitar techniques against melodies drawn from traditions ranging from gospel hymns and 20thcentury classical music to Indian ragas.
By the late 60s, Fahey had expanded the sonic palette of his recordings significantly: incorporating found sound and tape collage techniques and occasionally bringing in additional musicians to flesh out his solo guitar performances. The Yellow Princess exemplifies this experimentation by featuring contributions by Jay Ferguson and Mark Andes from the psychedelic band Spirit and ex-Byrds drummer Kevin Kelley alongside musique concrete pieces and Fahey’s own consistently excellent solo guitar.
Fahey was also known for founding the influential folk label Takoma Records, which was responsible for several high-profile releases by like-minded musicians such as Leo Koettke, Robbie Basho, Peter Lang and Joseph Byrd among others. The 1974 split LP Leo Koettke/Peter Lang/John Fahey shows all three guitarists in fine form, each performing a set that exemplifies the American Primitive Guitar style.Our archival holdings also include a number of fascinating Fahey-related items. Of particular note in the Greenhill Family/FLi Artists/Folklore Productions Collection (20542) are tapes containing safety masters and rough mixes from Fahey’s 1975 LP Old Fashioned Love as well as promotional artwork meant to accompany the Shanachie records re-release of Death Chants, Breakdowns and Military Waltzes.
In addition, this collection holds a number of unique Fahey manuscript items: including a typescript copy of Fahey’s unpublished book Admiral Kelvinator’s Clockwork Factory. Especially exciting are handwritten lead sheets and orchestration charts for a number of his pieces, prepared as part of the copyright registration process for these compositions.
John Fahey passed away in 2001, leaving behind a vibrant and restlessly imaginative body of work that continues to inspire musicians to this day.
Documenting Gravel Springs, Mississippi, in the 1970s
Exhibition opening with lecture by Dr. Cheryl Thurber and performance by Rising Star Fife and Drum 5:30 p.m. Reception and exhibition viewing 6:00 p.m. Lecture 7:00 p.m. Performance
Scenes and sounds of African-American musical traditions from Mississippi will greet visitors to Wilson Library during the opening of a new photographic exhibition in the Pleasants Family Assembly Room.
“Cheryl Thurber Photographs: Documenting Gravel Springs, Mississippi, in the 1970s” will launch with a talk by the photographer and a performance by Rising Star Fife and Drum.
Thurber is an interdisciplinary scholar, cultural historian, folklorist and photographer whose images have been published in the New York Times and Rolling Stone, as well as in numerous music and folklore publications.
During the 1970s and 1980s, Thurber traveled through the South and California, documenting African-American communities, musicians and musical traditions, including in the small town of Gravel Springs, Mississippi. Thirty prints from Thurber’s time in Gravel Springs will be on view. They are part of the Cheryl Thurber Photographic Collection in the Southern Folklife Collection at the Wilson Special Collections Library.
Following Thurber’s talk, Rising Star Fife and Drum will take the stage for a traditional performance of this iconic form of blues music.
Presented by the Southern Folklife Collection at the Wilson Special Collections Library, the American Studies department and the Center for the Study of the American South.