World Day for Audiovisual Heritage 2018

inspecting 16mm film with a magnifying loop on a light table on left and a bay of cassette playback decks on the right UNESCO, in cooperation with the Co-ordinating Council of Audiovisual Archives Associations (CCAAA) and other partners, has adopted 27 October as the World Day for Audiovisual Heritage to better focus global attention on the significance of AV documents and to draw attention to the need to safeguard them. The theme for this year’s celebration is “Your Story is Moving” described in a statement from the CCAAA Board.

Every year millions of people record stories of all varieties on audiovisual media, ranging from narratives of everyday life to historic events. These moments are chronicled and stored each day on multiple formats and media, whether they are digital or analogue. How do we ensure that this ever-growing corpus that is our cultural history today is preserved and exists in the future? And how do we guarantee that this rapidly accumulating, collective moving story of ours is not lost, as much of our history on these fragile media has been over the past 150 years? 

Reliably, thousands of archivists, librarians and preservationists around the world strive to make our world’s cultural heritage accessible and safeguard it for the future. In addition to their daily efforts to provide access to historic collections housed in established archives, archivists actively rescue collections in danger of loss or destruction due to poor climates, less than ideal storage conditions, political unrest or the economic challenges that many countries are confronted with daily.

…stories move us emotionally. We see this every year on Home Movie Day, an event that provides a moment for publics around the world to bring their visual cultural heritage to archives and libraries, to view, sometimes for the first time in decades. As they see lost family members, loved ones and ancestors long gone come to life on the screen, tears flow, emotions are high, and these moments of our captured history transport us to new heights as our histories unfold before our eyes. History too comes to life through the power of the moving image and in sound recordings which connect us personally with those events and moments in time which have shaped our memories and who we are.

A selection of audio recordings found in the Duck Kee Studio Collection (20553) at the SFC. Recordings are pictured in the vault at Wilson Library.

A selection of audio recordings found in the Duck Kee Studio Collection (20553) at the SFC.

The Southern Folklife Collection at Wilson Special Collections Library and the University Libraries at UNC Chapel Hill have many moving parts working daily in our efforts to preserve and make accessible the hundreds of thousands of sound recordings, film and video housed in our special collections.

Thanks to a series of generous grants from the Andrew W. Mellon Foundation, the National Endowment for the Humanities, and the Grammy Foundation, the Southern Folklife Collection (SFC) has been able to complete a significant amount of digitization of its historic analog audiovisual holdings,

Most recently, UNC University Libraries received a $1.75 Million Grant from The Andrew W. Mellon Foundation, the largest ever made to the University Libraries, to allow the SFC to continue to preserve, digitize and share unique audio and moving image recordings. Collections targeted through the grant will come from the SFC and other curatorial departments within Wilson Special Collections Library, as well as six partner institutions across the state.

The regional partnerships will take place through the North Carolina Digital Heritage Center, a statewide digitization and publishing program based at Wilson Library. The State Archives of North Carolina, the Southern Appalachian Archives at Mars Hill University and the Forest History Society in Durham have already committed to work with the SFC.

In honor of the 2018 World Day for Audiovisual Heritage, we wanted to highlight some of the recordings recently digitized as part of one of our current projects. These selections are just a few from materials that have moved through this workflow in the last few month. As of Friday,. October 26, thanks to the work of our incredible Mellon Project Team, Wilson Library has 29,857 streaming AV files made from 23,322 preserved audio recordings, and 1,191 preserved video and film items. 

Click through the links below to listen or to view to streaming AV files.

SFC Audio Open Reel FT-20106/6113

(digitized)

Algia Mae Hinton

1/4″ Open Reel Audio

Raw field recording used as source material for “North Carolina Traditions: Algia Mae Hinton: Blues Woman of Zebulon” (FT-20106/3413)

10" cardboard container box for open reel tape, call no. FT-20106_6113The  North Carolina Foklife Media Project Collection (20106) consists of radio programs and associated field recordings, 1982-1983, produced by the North Carolina Folklife Media Project, a National Endowment for the Arts funded media project directed by folklorist Cecelia (Cece) Conway. As project director, Conway headed the production of North Carolina Traditions, an 8-part radio series featuring North Carolina based musicians that aired on WUNC, the flagship National Public Radio station for the Research Triangle area of North Carolina. The collection primarily consists of master recordings but also includes associated field recordings. Programs feature such artists as Etta Baker, a nationally-recognized African-American Piedmont blues guitarist from Caldwell County, N.C.; traditional Anglo-American fiddler Ike Rochelle, singer and accordion player Worth Mason, and fiddler Otha Willard, all from the coastal region of N.C.; Dorsey Dixon (1897-1968), Anglo-American singer and composer of textile and other songs from Richmond County; African-American gospel quartet the Golden Echoes of Granville County; Big Boy Henry (1921- ), African-American blues guitarist and singer from Beaufort County; Algia Mae Hinton (1929- ), African-American blues singer and guitarist and buck dancer from Johnston County; and John (“Frail”) Joines (1914- ), Anglo-American traditional storyteller from Brushy Mountain, Wilkes County.

Digital Folder DF-20402/1

A. R. Cole, Potter, 1969

Digitized version of F-20402/1 with added title cards and countdown. Digital Folder includes original DVD files and an access copy.

Processing information: The digital files were extracted from DVD-R. Original DVD files are dated October 2005. An access .mp4 file was made from the DVD files in August 2018 for viewing purposes.

Side view of blue, plastic film can for 16mm film, call number F-20402_1, with "Cole, the Potter" written in black markerThe twenty-five minute film, titled A. R. Cole, Potter, documents the artistic practice and pottery shop of Arthur Ray “A. R.” Cole, whose family has worked in the ceramic arts for more than three generations. The film is shot entirely at A. R. Cole’s pottery shop in Sanford, N.C. (Lee County, N.C.), and includes footage of A. R. Cole grinding clay and throwing a pot on the wheel, as well as scenes of A. R. Cole’s daughters, Celia and Neolia, storing and preparing pottery orders. The non-synchronous soundtrack of the film consists of audiotaped interviews with A. R. Cole and his daughters, who discuss the family’s long history with the ceramic arts, A. R. Cole’s use of natural, or raw materials, and the evolving business of the pottery shop. The collection contains a 16mm moving image print of the film, as well as a digitized version with added title cards and countdown.

  • From the Archie Green Papers (20002), Sarah Ogan Gunning “goes through a series of songs for potential educational use,” singing and speaking with Green at a union meeting at Solidarity House in 1964, possibly in Chicago.
SFC Audio Open Reel FT-20002/15344

(digitized)

Sarah Ogan Gunning at Solidarity House

1/4″ Open Reel Audio

7" open reel box for Burgess brand magnetic recording tape, call number FT-20002/15344.The Archie Green Papers also include correspondence, interviews, a discography, research notes, and other items relating to Green’s involvement in three performance events in Gunning’s life between 1964 and 1970. These include the production of a Folk-Legacy album, Girl of Constant Sorrow; Gunning’s performance at Carnegie Hall as part of the New York Folk Festival; and her appearance at the Newport Folk Festival. In his work with Gunning, Green collaborated to some extent with folklorist Ellen Stekert. Gunning was the half-sister of Aunt Molly Jackson and sister of Jim Garland.

SFC Audio Cassette FS-20024/1199

(digitized)

Interview with Lesley Riddle, 3 February 1973: tape 1 of 2

Format: Audiocassette

Recorded by Kip Lornell

An extensive interview with Riddles, a blues guitarist from Kingsport, Tenn. About his own music and his relationship with older blues musicians and early country performers in the Kingsport area during the 1930s.

A list of topics discussed by Riddles can be found in Folder 145 within the Southern Folklife Collection Field Notes Collection (#30025).

Cassette tape with handwritten label, Leslie Riddle, Rochester NY,The Kip Lornell Collection consists of audio recordings, 1932-1976, created and compiled by ethnomusicologist, Christopher “Kip” Lornell, while he was a graduate student of Folklore at the University of North Carolina at Chapel Hill. The recordings are primarily field tapes featuring performances and interviews with African American blues and pre-blues secular musicians from North Carolina. Music performed includes blues, old-time songs and tunes, boogie-woogie, and gospel songs, played on banjo, guitar, and piano. Performers featured in the field recordings include Jamie Alston, Wilbert Atwater, Pernell Charity, George Letlow, Arthur Lyons, Lesley Riddle, Dink Roberts, John Snipes, Leo Strowd, Joe Thompson (1918- ), Odell Thompson (1911- ), Willy Trice (1910-1976), and Clarence Tross (1884-1977). Also included in the collection are an interview with Guy B. Johnson, University of North Carolina at Chapel Hill sociologist who studied African American musical traditions; interviews with the Chapel Hillbillies, an African American string band in the 1920s and 1930s; a lecture on folk medicine by Wilbert C. Jordan, medical doctor and sixth generation voodoo priest; a re-recording of Primitive Baptist singing by Elder Golden Harris and others, ca. 1932; and performances by Anglo-American fiddler and hammered dulcimer player Virgil Craven (1902-1980).

16" Lacquer Disc on Turntable, the middle of the disc shows what the disc looked like prior to cleaning. Ralph Font, "Habanera," 25 June 1947

16″ Lacquer Disc on Turntable, the middle of the disc shows what the disc looked like prior to cleaning. Recording features pianist, Ralph Font, “Habanera,” 25 June 1947

  • And one last item from the Apollo Records Collection (20539). The Apollo Records Collection consists of 16″ master lacquer disc audio recordings, 1943-1958, affiliated with Apollo Records, a record company and label founded in New York City in 1944. Bess Berman, one of the few women executives in the recording industry, ran Apollo Records from 1948 until it closed in 1962. The company and label was known for their rhythm and blues, doo-wop, gospel, jazz, and rock and roll releases. Notable artists featured on the recordings found in the collection include jazz saxophonist and composer, Charlie Barnet; African American comedian and film actor, Stepin Fetchit; African American male vocal group, The Four Vagabonds; African American gospel singer, Georgia Peach; African American male vocal group, The Larks; female vocal group, The Murphy Sisters; country and western singer, Merle Travis; harmonica instrumentalists, The Three Harpers; and African American blues singer and guitarist, Josh White. The collection also includes scattered memos and tape logs found with the lacquer disc recordings. Conservators recently cleaned a number of discs for preservation and digitization, including this recording of the great pianist Ralph Font with his ensemble doing a wonderfully rhythmic version of “Habanera” from the opera “Carmen”
Instantaneous Disc FD-20539/112

(digitized)

Ralph Font, “Habanera,” 25 June 1947

16″ Lacquer Disc

Issue number: AP 3106

These clips offer but a glimpse into the Southern Folklife Collection’s preservation efforts. The public is encouraged to explore our finding aids for detailed inventories and description of archival collections and the UNC Libraries online catalog for materials of interest and request that they be preserved and made available for research. Feel free to contact the SFC with any comments or questions at wilsonlibrary@unc.edu. While you explore the content shared above, we hope think about institutions like the Southern Folklife Collection, Wilson Special Collections Library, the Library of Congress, and countless other archives and institutions that are working to preserve our aural and visual history in communities around the world. Southern Folklife Collection John M. Rivers, Jr. Studio. Photo by Dan Sears

78 of the week: “Droan Waltz”

Labels for 78 rpm disc, Grapevine Coon Hunters. "Droan Waltz" and "The Grapevine Waltz", Brunswick Recording Co. GrThere is not much information about the Grapevine Coon Hunters, a stringband out of Grapevine, Texas that operated in the late 1920s and early 1930s. A research request put us onto a 78 rpm disc released on the Brunswick label in 1932. The disc includes two recordings from a November 1930 recording session in Dallas, Texas, including the mysteriously named “Droan Waltz”

Close up on text from Page 839 from "Country Music Sources" a discography of commercially recorded traditional music, entry 77. Droan WaltzWe checked Country Music Sources: A Biblio-Discography of Commercially Recorded Traditional Music by Gus Meade, Douglas Meade, and Dick Spottswood for other recordings, but only came up with this single disc. The recording on the opposite side is “Grapevine Waltz” but the label interestingly includes a Spanish title as well, “El Vals de la Vida.”

In folder 457 of the Guthrie T. Meade Collection (20246) we found some handwritten notes about the Grapevine Coon Hunters and another related stringband, The Grapevine Rabbit Twisters. Meade’s notes are citations from local newspapers, The Grapevine Sun and Dallas Morning News, about upcoming radio broadcast appearances and the songs performed on the air. If any readers out there have more information about the Grapevine stringband scene ca. 1930, or if you want to do more research into the Meade Collection, please contact the Southern Folklife Collection or visit at Wilson Library. handwritten notes on yellow legal paper, citations from newspapers that included Grapevine Coon Hunters and Grapevine Rabbit Twisters

Field recordings and Folklife

cover of Jayme Stone's Lomax Project CD. A banjo, open reel tapes, photographs, and a folder of notes are viewed from above.

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.

cover of 2018 LP by Anna & Elizabeth, "The Invisible Comes to Us". Photo of the two artists leaning on each other with square designs superimposed.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.

Latest video roundup: From Tennessee to Hawaii

Image

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.

 

Babson gracefully executes advanced yoga pose in home movie, undated (VT-20018/2)

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).

 

VT-20379/20 part 1 and part 2: Gene Bluestein with Nona Beamer on Folk Sources in American Culture, 1986

Gene Bluestein tries out the gourd rattle, with guidance from Nona Beamer

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.

 

 

 

Martin Luther King, Jr. speaking from Birmingham, 1963

closeup of Martin Luther King, Jr. signature on Guy Carawan's banjo head 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:

Flyer for "Freedom Rally" with speaker Rev. Martin Luther King Jr. 20008_Folder17_FreedomRideFlyer_SFC006[Applause]

[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….!”
[laughter]
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”
[Applause]
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
[Applause]

[Speaking: Rev. Charles Billups]:

Now let us join hands and let us sing together, “We Shall Overcome”

[singing]
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) .signatures and autographs of leaders in the Civil Rights Movement, including Martin Luther King, Jr., Mahalia Jackson, Rosa Parks, Fred Shuttlesworth and more on Guy Carawan's banjo head

 

Documenting the origins of SNCC in the Guy and Candie Carawan Collection

The back of Guy Carawan singing to audience in auditorium at Shaw University, Durham, NC, 1960. Founding meetings of SNCC.

Our colleagues at Duke University are hosting a conference March 23-March 24 to honor the work of the Student Nonviolent Coordinating Committee and the creation of the SNCC Digital Gateway, a “documentary website tells the story of how young activists in SNCC united with local people in the Deep South to build a grassroots movement for change that empowered the Black community and transformed the nation.” [“About,” SNCC Digital Gateway]

In solidarity with the conference and the SNCC Legacy Project, we present these two images from the Guy and Candie Carawan Collection (20008).  The top image shows the back of Guy Carawan singing to the audience in an auditorium at Shaw University in Durham, April 1960. Brought together by the encouragement of SCLC Executive Director Ella Baker and Dr. Martin Luther King, Jr., the protest leaders founded SNCC at this meeting.

The image below shows the members of newly founded SNCC demonstrating the power of music and the movement at Fisk University. Guy Carawan is playing guitar, Candie Carawan is second from the left in the back row, and Congressman John Lewis is at the far right. These images serve as a powerful reminder that youth have been, and remain, at the forefront of activism advocating for social change.

Members of SNCC singing onstage at FIsk University, 1960, including Guy Carawan, Candie Carawan, and John Lewis, amongst others. PF20008_0058_0006_002. Guy and Candie Carawan Collection (20008).

Southern Folklife Collection & Yep Roc present Molly Tuttle: A Celebration of Doc Watson at Club Passim

Molly Tuttle, photo by Kaitlyn Raitz_Doc Watson_SFC_YepRoc

If y’all might find yourself in Cambridge in a week, please come to Club Passim on Tuesday, February 13 and join the Southern Folklife Collection and YepRoc Records to celebrate the release of Doc Watson, Live at Club 47 on the 55th Anniversary of the recording. Featuring IBMA Guitarist of the Year MOLLY TUTTLE in concert, this is going to be a truly special evening of music.

A virtuoso multi-instrumentalist and award winning songwriter with a distinctive voice, Molly has turned the heads of even the most seasoned industry professionals. She began performing on stage when she was 11, and recorded her first album, The Old Apple Tree, at age 13. Since then, she’s appeared on A Prairie Home Companion and at Hardly Strictly Bluegrass, was featured on the cover of Flatpicking Guitar Magazine, won first place in the prestigious Chris Austin Songwriting Competition at Merlefest, and, this fall, received a Momentum Award from the International Bluegrass Music Association in the instrumentalist category. Her lovely voice, impeccable guitar playing, and sensitive song writing make her a star on the rise. She has already received more than two million YouTube views and is currently gearing up to release her first solo EP.

Yep Roc Records and the Southern Folklife Collection at the University of North Carolina at Chapel Hill Libraries are excited to continue our collaboration to release music from the Archives. Doc Watson, Live at Club 47 is set for a February 9 release on CD and digital, nearly 55 years to the date of the original recording. The LP release will follow April 27. The album is now available for pre-order.

Recorded live February 10, 1963 at Club 47 in Cambridge, MA, today known as Club Passim, this never-before-heard album features four previously unreleased songs from Doc’s early repertoire, in addition to performances of Doc’s favorite songs of the Carter Family, Frank Hutchison, Charlie Poole, and Merle Travis. Doc is accompanied by John Herald and Ralph Rinzler of The Greenbrier Boys on five of the album’s tracks.

photo by Kaitlyn Raitz

Doc Watson, Live At Club 47 Out February 9, 2018

Doc Watson, Live At Club 47 (YepRoc, Southern Folklife Collection, 2018)Doc Watson, Live At Club 47 Out February 9, 2018

Yep Roc Records and UNC Libraries’ Southern Folklife Collection Release Never-Before-Heard Live Album Recorded At Club 47 (Club Passim) February 10, 1963

Pre-order Doc Watson, Live At Club 47 HERE!

Yep Roc Records and the Southern Folklife Collection at the University of North Carolina at Chapel Hill Libraries announce the release of Doc Watson, Live at Club 47, set for a February 9 release on CD and digital, nearly 55 years to the date of the original recording. The LP release will follow April 27. The album is now available for pre-order.

Recorded live February 10, 1963 at Club 47 in Cambridge, MA, today known as Club Passim, this never-before-heard album features four previously unreleased songs from Doc’s early repertoire, in addition to performances of Doc’s favorite songs of the Carter Family, Frank Hutchison, Charlie Poole, and Merle Travis. Doc is accompanied by John Herald and Ralph Rinzler of The Greenbrier Boys on five of the album’s tracks. Here is the schedule from Club 47 as printed in The Broadside of Boston, volume 1, no. 24, Feb. 8, 1963 from the Southern Folklife Collection Serials (30017)Schedule for Club 47, Boston, from p.6, The Broadside, vol. 1, no. 24, February 8, 1963

In celebration of the release, Club Passim, the UNC Libraries’ Southern Folklife Collection and Yep Roc Records present an evening with songwriter, multi-instrumentalist, and IBMA guitarist of the year Molly Tuttle February 13. Tickets are on sale and available here.

“This recording documents a pivotal moment in virtuoso Doc Watson’s early solo career,” notes Steven Weiss, director of the Southern Folklife Collection. “This is Doc, paying his dues and playing his heart out, performing two sets of classic, old-time country songs he learned as a child from his family and from old 78 RPM records.”

Friends of Old Time Music flier, Doc Watson, 20001_pf1912_01_0001_Mike Seeger Collection (20009) Southern Folklife Collection, UNC Chapel Hill

Friends of Old Time Music flier, 20001_pf1912_01_0001 in the Mike Seeger Collection (20009) Southern Folklife Collection, UNC Chapel Hill

Following the success of the Club 47 show, Doc was booked at the 1963 Newport Folk Festival and released his debut solo album on Vanguard Records in 1964. He went on to become America’s premier folk guitarist earning seven Grammy Awards, a Lifetime Achievement Award from the National Academy of Recording Arts & Sciences, and in 1997 was presented with the National Medal of Arts at the White House by then-President Bill Clinton, who introduced him saying, “There may not be a serious, committed baby boomer alive who didn’t spend at least some of his or her youth trying to learn to pick guitar like Doc Watson.”

Doc Watson, Live at Club 47 Track listing:

  1. Wabash Cannonball – A.P. Carter
  2. The House Carpenter — Traditional
  3.  I Wish I Was Single Again** – Traditional
  4. Little Darling Pal of Mine – A.P. Carter
  5. Train That Carried My Girl from Town – Doc Watson
  6. The Worried Blues –Traditional
  7. Old Dan Tucker** – Traditional
  8. Sweet Heaven When I Die – Claude Grant
  9. The Talking Blues – Chris Bouchillon
  10. Little Margaret**  — Traditional
  11. Sitting on Top of the World – Lonnie Carter and Walter Jacobs
  12. Don’t Let Your Deal Go Down – Doc Watson
  13. Blue Smoke – Merle Travis
  14. Deep River Blues – Doc Watson
  15. Way Down Town (w/ Ralph Rinzler and John Herald) – Doc Watson
  16. Somebody Touched Me (w/ Ralph Rinzler and John Herald) – Doc Watson
  17. Billy in the Low Ground (w/ John Herald) – Traditional
  18. Boil Them Cabbage Down – Traditional
  19. Everyday Dirt – David McCarn
  20. I Am a Pilgrim – Merle Travis
  21. No Telephone in Heaven – A.P. Carter
  22. Hop High Ladies the Cake’s All Dough** –Traditional
  23. Little Sadie – Doc Watson
  24. Black Mountain Rag (w/ John Herald) – Doc Watson
  25. Blackberry Rag (w/ John Herald) – Doc Watson
  26. Days of My Childhood Plays – Alfred G. Karnes

John Herald (guitar and harmony vocals). Tracks 15, 16 (second guitar) 17, 24, 25.

Ralph Rinzler (mandolin and harmony vocals). Tracks 15, 16.

**previously unreleased tracks.

Pre-order Doc Watson, Live At Club 47 HERE!

Katie Phar: Songbird of the Wobblies

Phar’s Autograph | Green 385

During my work cataloging the many editions of the IWW’s Little Red Songbook in the Archie Green Collection, one particular autograph stood out and intrigued me time and time again. The Green Collection holds 13 different items—all songbooks of some sort—with the autograph of Katie Phar. Little is known about her and not much has been written on her or her role in the IWW. Phar joined the Industrial Workers of the World around the age of 11. She was often referred to as the “IWW songbird” or the “Songbird of the Wobblies.” A young Katie Phar wrote to IWW martyr Joe Hill during his imprisonment about their shared love of music and its importance to the labor movement. A handful of images of Katie Phar have been digitized by the University of Washington Libraries, but the details on Katie Phar and her life remain relatively few.

Fifth edition of Little Red Songbook with Katie Phar’s autograph | Green 432d c.2

In the twenty-eighth edition of the Little Red Songbook, published in July of 1945, I found a page devoted to Katie Phar. With a short tribute and an image in memory of Katie Phar, published just after her death in 1943, the Little Red Songbook paid its respects to one of its most ardent supporters of its music. Using this information and with a little help from census records and city directories, I was able to create an authority record for the voice that inspired so many members of the IWW “with her songs, her high courage” (Songs of the workers, 1945, page 4). City directories for Seattle in the early 1900s revealed Katie’s steady employment as a cashier for a theater, before she later devoted herself to the entertainment industry, presumably referring to her many hours spent singing for Wobblies and adding to the morale of the labor movement.

Tribute to Katie Phar in the twenty-eighth edition of the Little Red Songbook, issued July, 1945 | Green 451

While these autographs may mark the songbooks as her own, or they may simply be autographs for those who heard her sing and lead the singing at many an IWW meeting, Wilson Library also holds some fascinating traces of Katie Phar in its archival holdings. In the Archie Green Papers of the Southern Folklife Collection, there are three song scrapbooks related to Katie Phar. Two of the scrapbooks were compiled by Katie Phar herself, and the third was compiled by Herbert (Herb) Tulin, a prolific songwriter and member of the IWW.

An example of a labor song written down by Katie Phar in her 1926 notebook. The tune designation was added in blue ink by IWW song scholar John Neuhaus | Archie Green Papers, 1944-2009, Folder 6583

Pages from an undated song scrapbook that belonged to Katie Phar. | Folder 6584

It is in Tulin’s scrapbook that the importance of Katie Phar to the labor movement can be seen. Herb Tulin compiled a scrapbook of clippings and mimeographs of his songs for Katie Phar as a Christmas present in 1928.

Herbert Tulin’s presentation inscription to Katie Phar. The scrapbook is filled with songs written by Tulin. | Folder 6585

He writes:

To Katie Phar,

As you turn the pages o’er to sing
May your spirits soar the higher
To let your heart be light and on the wing
Remembering those you helped inspire.

Songs written by Herbert Tulin about Katie Phar | Folder 6585

The two final pages of the scrapbook are filled with the songs that Tulin wrote for Katie and reveal much about her and her role in the labor movement. These songs describe Katie Phar as a “bright star,” “an inspiration,” “a Rebel-girl,” and one who “lift[s] your thots to nobler things.” Tulin writes in one song: “Her voice brings joy to all who hear her sing.” Katie Phar’s voice and song-leading was an inspiration to many in the IWW and the greater labor movement, as they aspired to be more like her and “make the world more fair,” with these scrapbooks revealing more about her life and her role in the Industrial Workers of the World.

Masters of Cajun Accordion, Sunday Oct. 1

Getting super excited for the Masters of Cajun Accordion event coming up this weekend at The ArtsCenter in Carrboro. Tickets are available now. Jo-El Sonnier and Steve Riley are two of the finest button box players around. Be sure to come early to hear Professor Barry Jean-Ancelet present You can also pickup the Southern Folklife Collection’s newest release, a remastered reissue of Goldband records classic Swampland Jewels.  More information below. Follow the SFC on Facebook and Instagram to get ready for the show and hear some deep cuts from Jo-El’s discography over the next couple days. We’ll see you on Sunday!

Concert is ticketed: $17.50 Public, $26.50 CD Bundle, $30.50 LP Bundle.
(CD/LP bundles include a copy of the record 
Swampland Jewels.)
Tickets available at artscenterlive.org or (919) 929-2787

 

 

Reception and lecture are free and open to the public.
5:30 p.m. Reception
6:00 p.m. Lecture: Professor Barry Jean Ancelet, University of Louisiana, Lafayette
7:30 p.m. Concert: Jo-El Sonnier with Steve Riley and the Mamou Playboys