The Ray Alden Collection includes over 800 analog field recordings, studio recordings and video recordings as well as papers, documentation, photographs and born-digital materials including over 500 CDs and DVDs. The recordings feature primarily white old-time musicians, with a heavy presence of the Round Peak region of North Carolina and Galax, Virginia from the 1960s through the early 2000s. It also includes many recordings and documentation of younger generation old-time and bluegrass musicians from the 1970s through the early 2000s including the Horseflies, the Plank Road String Band, the Chicken Chokers, The Red Mules, the Agents of Terra, Bruce Molsky, Breakfast Special and the Johnson Mountain Boys. As a part of the larger New York folk music community, Alden became involved with the Seegers’ Great Hudson River Revival festival and recorded many of the live performances from the traditional music stage at the festival. These recordings feature a wide range of musical styles including blues, bluegrass, cajun, gospel, klezmer, son, old-time and more. Also included in this collection are recordings of live performances at New York City folk venues such as Izzy Young’s Folklore Center, Bernie Klay’s McBurney YMCA series and Loy Beaver’s home concerts. Other festivals appearing in the collection include the Smithsonian Folklife Festival, Brandywine Mountain Music Convention, Galax Old Fiddlers Convention, Union Grove and the Berryville Bluegrass Festival.
Ray Alden grew up in an Italian-American household in New York City and was introduced to the banjo through Pete Seeger and the Weavers. Seeing Tommy Jarrell, Fred Cockerham and Oscar Jenkins perform and jam at a show at Loy Beaver’s house in 1967 piqued his interest in older styles of playing, and especially the Round Peak styles. The following year, Alden took his first field recording trip to the Union Grove fiddlers convention, and later to visit old-time musicians Fred Cockerham, Tommy Jarrell and Kyle Creed. That was the beginning of 40 years of field recording and music making. From 1968 to 2009, Alden recorded old-time musicians including Tommy Jarrell, Kyle Creed, Fred Cockerham, Earnest East, Rafe Brady, the Shelor family, the Kimble Family and Clyde Davenport. He also developed a unique banjo style, often sitting in with the musicians he recorded. He became a part of the younger generation of old-time musicians including Brad and Linda Leftwich, Bruce Molsky, Carol Elizabeth Jones, Gary Harrison, Paul Brown, James Leva, Jim Miller, Judy Hyman, Tara Nevins and others. Alden put the same time and care into documenting his peers as he did the older musicians. Many of these recordings resulted in the 1984 album “The Young Fogies”. When he wasn’t playing music or on a field recording trip, Alden taught high school math, designed speakers and painted mathematical-inspired pieces of art.
Alden started the Field Recorders’ Collective in 2004 as an avenue for collectors such as himself to release recordings, make them accessible to younger generations of players and provide royalty payments to the families of the musicians. The Field Recorders’ Collective has released hundreds of recordings and continues to be an important resource for the old-time music community. This collection includes many of the original recordings that have been released by the FRC.
Since Alden’s passing in 2009, the Field Recorders’ Collective has remained strong, with multiple new releases every year. It is an important resource within the old-time music community, providing access to previously unheard recordings. It is unique in its community-centered approach and its emphasis on community knowledge and learning. Some of the releases from the last few years feature music from Galax fiddler Luther Davis, Gaspésie fiddler Yvon Mimeault, West Virginia banjo player Walter Hensley, and Texas fiddler Teodar Jackson. The website includes articles and album notes related to releases and options to purchase digital copies or the physical CDs and DVDs. You can also stream or download the FRC catalog on bandcamp. You can follow the FRC on instagram, twitter,facebook, and YouTube for updates on new releases and related videos, photos and audio clips.
Some highlights from processing the collection, from a fiddler’s perspective.
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.
The first film (Jarrell and Cockerham, 1971, by Blanton Owen) captures footage of legendary old-time fiddler and banjo players, Tommy Jarrell and Fred Cockerham, both of Surry County, NC, while the second film (A.R. Cole, Potter, 1969, by Terry W. Rushin) looks at the traditional ceramist and potter, A. R. Cole, and his family’s multi-generational pottery shop in the eastern Piedmont region of the state. The NFPF grant will support the production of new 16mm preservation prints and digital access copies of both films.
Both films present their local subjects directly and honestly, giving them the space to share their own stories, songs, and art, which they express through traditional creative practice. Both documentary projects also present exciting research opportunities, not just for folklorists, scholars, and students, but also for artists, musicians, filmmakers, and our region at large. The films complement and connect closely to other Wilson Special Collections Library materials, particularly those held by the Southern Folklife Collection- an archival resource dedicated to collecting, preserving and disseminating vernacular music, art, and culture related to the American South.
The National Film Preservation Foundation is a nonprofit organization created by the U.S. Congress to help save America’s film heritage. The Foundation supports activities nationwide to help organizations and institutions preserve American films and improve film access for study, education, and exhibition.
The grant-writing process was a cross-departmental effort at Wilson Library. Thanks to Anne Wells (that’s me, hi!) and Jackie Dean of Special Collection Technical Services; Steve Weiss, Erica Titkemeyer, Hunter Randolph, and Andrew Crook of the Southern Folklife Collection; and Aaron Smithers of Special Collections Research & Instructional Services.
We’ll be sure to keep you posted as the grant process proceeds. Please read on below to learn more about both films – their subjects and makers.
Jarrell and Cockerham (1971, by Blanton Owen, found in the in the Blanton Owen Collection #20027)
Back in the summer of 1970 Blanton Owen (1945-1998) traveled to Surry County in North Carolina’s Blue Ridge Mountains to document old-time musicians, Tommy Jarrell (1901-1985) and Fred Cockerham (1905-1980). Blanton was a folklorist, musician, and photographer. He studied folklore at Indiana University and for nearly three decades engaged in the documentation of folklore and music in Appalachia, other regions of the South, and in the West.
The outcome of Blanton Owen’s 1970 documentary project on Tommy Jarrell and Fred Cockerham resulted in close to thirty image and sound elements, including an edited workprint (F-20027/10) and a corresponding 16mm magnetic soundtrack (F-20027/9) created by Owen (if you frequent this site, you might remember Aaron Smithers’ post about these film elements back in spring 2016) – all of these elements are found in the Blanton Owen Collection #20027. Sadly, Owen never made or released a final composite print from his edited workprint and soundtrack (pictured below). The NFPF grant presents an exciting opportunity to merge the images and sounds created by Owen almost a half century ago, making this footage accessible to the public for the first time.
Tommy Jarrell and Fred Cockerham played their instruments in the Round Peak music traditions of Surry County. During the folk revival movement of the 1960s and 1970s, this regional style of playing gained popularity with outside audiences. Folklorists and old-time enthusiasts and musicians would flock to the region to hear and learn from Jarrell, Cockerham, and others, including Kyle Creed and Sydna Myers. Some of these visitors, like Blanton Owen, Alice Gerrard, Cece Conway, Les Blank, and Mike Seeger, would come to the region not just to listen and play, but also to document and record images and sound of these local musicians.
Fred Cockerham made a living playing the fiddle and banjo, performing on radio broadcasts and for medicine shows across the state. Cockerham was a member of The Camp Creek Boys, an old-time string from Surry County that was active from the 1930s-1960s. Banjo player, instrument maker, and Surry county native, Kyle Creed, was also part of this group. In the footage captured by Owen, we see Cockerham playing Kyle Creed’s handmade banjo with gold-flecked Formica fretboard – a banjo that is now housed at the Smithsonian’s National Museum of American History. Owen’s footage captures distinct personalities as well as the chemistry between Cockerham and Jarrell, who had that time had been playing together for many years. As folklorist and musician David Holt points out, “while Tommy Jarrell was outgoing and never met a stranger, Fred was more reserved and circumspect. But when he let loose on the fiddle or clawhammer banjo there was no one any better.”
Tommy Jarrell learned to play the banjo when he was just eight years old, learning most of his tunes before the influence of commercial recordings and radio broadcasts. As Cecelia Conway points out, “In addition to being a remarkable musician, Tommy was a singular vocalist with a powerful style; his repertory included many unusual fiddle and banjo songs, ballads, and Primitive Baptist hymns. An exceptional storyteller, he related family reminiscences and regional lore with a fine wit and was an inspired performer and transmitter of regional styles and repertory. To his last days he continued to add imaginative and subtle variations to his stories and tunes” . Jarrell dedicated himself to music after his retirement, gaining notoriety later in life by participating in fiddlers’ conventions and festivals across the United States. Almost a decade after Owen captured these two musicians playing together, Jarrell would receive the National Endowment for the Art’s National Heritage Fellow award in 1982. And a year later, Alice Gerrard, Cece Conway, and Les Blank would premiere, Sprout Wings and Fly, a short documentary film about Jarrell, at the Chicago International Film Festival (if you’re curious, we recommend checking out our post on Sprout Wings and Fly materials in the Alice Gerrard Collection).
I’ll end this section with a lovely photograph found in the J. Scott Odell folk music collection at the Smithsonian Center for Folklife and Cultural Heritage. It was taken in 1966 by musical instrument conservator and researcher of American music traditions, J. Scott Odell. I love how similar the scenes are between the film stills of Blanton Owen’s 1970 documentary project and Odell’s photograph – it’s like they’ve just been playing for four years straight on Cockerham’s front porch. I wonder if the geraniums are the same?
A.R. Cole, Potter(1969, by Terry W. Rushin, found in the the Terry W. Rushin Documentary on A. R. Cole #20402)
As the title suggests, this documentary film looks at the artistic practice and pottery shop of Arthur Ray “A. R.” Cole, whose family has worked in the ceramic arts in the eastern Piedmont for more than three generations. Filmmaker, Terry Wayne Rushin (1945-2012), made the film while he was a student at the University of North Carolina at Chapel Hill, where he took film courses under Professor Earl Wynn in the Department of Radio, Television and Motion Pictures.
The Southern Folklife Collection’s Terry W. Rushin Documentary on A. R. Cole #20402 contains a unique 16mm black and white composite print of the film. Terry W. Rushin shot the film entirely at A. R. Cole’s pottery shop in Sanford, North Carolina in the Seagrove area of the eastern Piedmont, one of three regions in the state known for its pottery production, with Catawba Valley and Buncombe County being the others. The film 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, making their own pottery and preparing orders for the shop.
North Carolina has a rich pottery tradition that reaches back centuries. As David M. Egner notes, archaeologists have documented nearly complete pots crafted by Cherokee and other indigenous makers that date from the early 1500s. After Europeans colonized the region in the eighteenth century, folk potters adapted techniques from their native England, Germany, and elsewhere. These potters took local clay, glazed their pieces with lead, wood ash, or salt, and fired them in wooden kilns to produce functional vessels for daily use. Through the nineteenth century, although functional use of folk pottery declined, the state’s potters continued to practice and refine their craft, passing it to subsequent generations. In time, folklorists, collectors, tourists, and others came to appreciate the distinctive forms of North Carolina pottery as artistic expressions .
A. R. Cole and his family are embedded in this statewide tradition. According to the News & Observer, the first Cole potter moved to North Carolina from Staffordshire, England, in the 1750s. The Coles settled by the rich clay beds of Seagrove, 75 miles west of Raleigh, and have been turning and firing pots ever since. They helped make the Piedmont into one of America’s centers for traditional, handmade pottery .
A. R. Cole was born 1890 in Asheboro and moved to Sanford in the mid-1930s to open his own pottery shop, A. R. Cole Pottery, to cater to tourists traveling alongside the busy Route 1. Terry W. Rushin’s film mostly depicts a day in the life of A. R. Cole, but we also see the traditions being passed down and practiced by Cole’s daughters, Celia and Neolia. Their voice-over provides essential family history and context from which to understand their family’s ties to the region’s ceramic arts. After A. R.’s death in 1974, Celia and Neolia took over the operation with grandson, Kenneth George, and renamed the shop, Cole Pottery. In 2003, Neolia Cole Womack received a North Carolina Heritage Award. Sadly, the shop closed ten years later, followed by Neolia’s death in 2016.
I’d like to end this post with a short film by UNC student and frequent Field Trip South contributor, Hunter Randolph, who was a tremendous help during the grant writing process. Hunter grew up in Sanford, where he and his family have close ties to the Cole Pottery shop and the local Railroad House Historical Association. Hunter’s film, Stories in the Clay: The Pottery and Poetry of Neolia Cole Womack, showcases the work and inscriptions of A. R. Cole’s daughter, Neolia Cole Womack, weaving together original footage of her pottery, video footage shot by Hunter’s father, Jimmy Randolph, and clips of a previously digitized version of Terry W. Rushin’s A.R. Cole, Potter.
Sprout Wings and Fly, a short documentary film about the life of old-time fiddler and banjo player, Tommy Jarrell, turns 35 this fall. To celebrate this coral milestone, we’ve gathered related materials found across the Alice Gerrard Collection (#20006) to share with you all.
In August 1977, Alice Gerrard approached Tommy Jarrell about her, Cece Conway, and Les Blank making a film about him. In a letter to Tommy, Alice wrote:
“We would like to make a short film about you and your music…we would like to make the movie with a man named Les Blank who has made 6 or 8 other films about musicians. He would do all the camera work and Cece and you and I would decide what goes in the movie.”
Tommy Jarrell’s response to Alice a month later:
“I have decided I will help you all make the movie if there is no commercial TV. You know how I feel about commercial TV. They will have to set the money bags down to me if they want a commercial TV…I am looking forward to seeing you all soon. Come on down as soon as you can and we will talk a lot, fiddle some, drink a little, have a hell of a good time.”
After securing funding from the National Endowment for the Arts, North Carolina Arts Council, and the English and Folklore Departments at the University of North Carolina at Chapel Hill, the Sprout Wings and Fly production team traveled to Tommy Jarrell’s home in the small unincorporated community of Toast, North Carolina, located just west of Mt. Airy in Surry County.
Like most documentary film projects, the film was a collaborative effort – directed and photographed by Les Blank, produced and co-directed by Alice Gerrard and Cece Conway, edited by Maureen Gosling, and sound by Mike Seeger. And let’s not forget about the contributions of those who appeared in the film: Tommy Jarrell (this one goes without saying); Tommy’s sisters, Julie Lyons, Togie McGee, Edith Hicks; Tommy’s brother, Earlie Jarrell; Tommy children, Wayne Jarrell, Ardena Moncus, and Benny Jarrell; Tommy’s friends and neighbors, including fiddlers, Robert Sykes and Art Wooten; and visiting admirers and musicians, including a brief appearance by Blanton Owen.
The film, which was originally shot and distributed on 16mm motion picture film, premiered in the fall of 1983 at the Chicago International Film Festival.
Tommy Jarrell became well known for his music late in life. Before Alice, Cece, Les, and company showed up in 1981 to begin filming (pictured above), musicians and admirers had already been taking advantage of Tommy’s open door policy to observe and learn from Tommy, who was known for his old-time clawhammer style and participating in the Round Peak music tradition of Surry County (more on Tommy and Round Peak music over on NCpedia).
One of the many admirers who reached out to Tommy for lessons included Alice Gerrard, who received this handwritten note from Tommy.
As mentioned and exhibited above, the Alice Gerrard Collection (#20006) contains a wide range of materials relating to the pre-production, production, and screening of Sprout Wings and Fly, including photographs, scrapbook clippings and ephemera, and two audio recordings.
Much of the scrapbook materials and both of the audio recordings relate to the film’s November 1984 screening at the Andy Griffith Playhouse in Mt. Airy. As the poster and ticket stub below announce, this was not just your typical film screening. It was also a stage show!
The two audio cassette recordings (FS-8685 and FS-8686, pictured below) document the stage show portion of the event, which included musical performances by Tommy himself, as well as The Pine Ridge Boys, Art Wooten, Robert Sykes, Bert Dickens (aka Bertie Dickens), Steve Haga (only 9 years old!), Mike Seeger, and Tommy’s sister, Julie Lyons, among others.
Mike Seeger: A woman that a lot of you know and that we worked with
in the film, Tommy's sister, Julie Lyons, I believe is going to sing
a song for you. Julie. Excuse me folks she's going to play the harp
[harmonica] for you. Why don't you give her a nice, warm welcome.
♪"Wildwood Flower" [instrumental]
Steve Haga, “Shuckin‘ the Corn” (FS-8685, side 2, 22:58-24:55)
Steve Haga: I'm going to play a little [?], "Shuckin' the Corn"
♪"Shuckin' the Corn" [instrumental]
Steve Haga: Thank you!
Robert Sykes and the Surry County Boys, “Black-eyed Susie” (FS-8685, side 2, 25:25–28:53)
Alice Gerrard: I'd like to introduce the next band. Robert Sykes has
been a member of this community for a real long time. He used to be a
fiddle player. I have an old picture of Robert when he played with
his brother, playing fiddle and guitar. He quit for a long time and
nobody ever thought he played the fiddle, or at least we didn't know.
He was in the movie, just briefly at the dance, as a dancer. We
didn't know he ever played the fiddle, although Tommy said he used
to play the fiddle. Well a little bit later, he started picking it
up again, and I believe it a lot of the reason he took the fiddle
back up was due to Tommy's encouragement to go ahead and try to get
back into playing again. And he certainly has. He's been going like
a house of fire ever since. And I'd like you to make welcome to
Robert Sykes and the Surry County Boys.
Robert Sykes: We're going to try one called "Black-eyed Susie"
♪"Blackeyed Susie" [instrumental]
Robert Sykes: Our next tune is a tune that I made up. I was mowing
the yard one day and a tune kept coming over my mind and I killed
the motor on the lawn mower and went into the house and played it.
I live about a quarter of a mile from Tommy Jarrell and I went up
there and "Tommy, I got a need a tune. I'll play it. If you don't
like it, tell me. And if you do, name it." And I played it for him
and he said, "I'll call that 'Robert Surly[?].'" He didn't say he
didn't like it.
Tommy Jarrell, “June Apple” (FS-8686, side 1, 00:00-04:40)
Tommy Jarrell: Does that sound right? I'm going to try and sing a
little a "June Apple", I don't guess I'll get the job done, but
I'll try it.
Wish I was a june apple
Hanging on a tree
Every time my true love pass
Take a big bite of me.
Can't you hear that banjo sing
I wish that gal was mine
Don't you hear that banjo sing
I wish that gal was mine.
I'm going 'cross the mountain
I'm going in my swing
It's when I get on the other side
I'm going to get my woman sing.
Charlie he's a nice young man
Charlie he's a dandy
Charlie is a nice young man
Feeds the girls on candy.
Goin down to the river to feed my sheep
Going down to the river Charlie
Going down to the river to feed my sheep
Feed them on Barley.
I wish I had a [?]
'Cuz every time it rains and snows
It's sun down on my fire.
Tommy Jarrell: Thank you
Tommy Jarrell,“Big Eyed Rabbit” (FS-8686, side 1, 09:50-12:57)
Andy Cahan: we got a request for "Big Eyed Rabbit"
Tommy Jarrell: "Big Eyed Rabbit". Alright, here we go...I don't
believe I can think of it.
♪ "Big Eyed Rabbit"
Yonder comes a rabbit,
Down skipping through the sand
Shoot that rabbit,
He don't mind
Fry him in my pan
Lord I fry him in my pan.
Yonder comes a rabbit,
Just as hard as he can run
It's yonder comes another one
Gonna shoot him with a double barrel gun,
Shoot him with a double barrel gun.
Rocking in a weary land,
I'm rocking in a weary land.
Yonder comes my darling,
It's how do you know?
I know her by her pretty blue eyes
Shining bright like gold,
Shining bright like gold.
Tommy Jarrell: I'm sorry about that singing. I just couldn't get up
there. One more?
We invite you to continue exploring materials found in the Alice Gerrard Collection (#20006) related to the production. And if you’re interested in viewing Sprout Wings and Fly over the long holiday weekend (highly recommended, of course!), it is available on DVD via Criterion Collection and as of November 2018, the film is streaming on Kanopy, a streaming service that is available for free to all UNC staff and students.
This morning, I had the great privilege of inspecting some 16mm film with AV Archivist Anne Wells and AV Conservator Erica Titkemeyer. The film is part of an unfinished documentary project created by folklorist Blanton Owen and features Tommy Jarrell and Fred Cockerham playing music and talking on the front porch at the Cockerham home in Low Gap, North Carolina on July 8, 1971. For more details see the Blanton Owen Collection (20027) finding aid. The collection includes an edited ten minute segment that Owen created from original elements. This unsynced segment consists of a 16mm magnetic soundtrack (F-20027/9) and a silent 16mm reversal print (F-20027/10), so we put the elements up on a Steenbeck flatbed editor to review the contents and shoot some quick cell phone video for documentation.
Owen recorded the image on 16mm film and recorded the audio on 1/4″ open reel using Nagra sync-sound. Owen then transferred these original 1/4″ open reels to 16mm magnetic soundtrack for editing purposes. The series includes both these original 1/4″ open reel audio recordings (FT-20027/16006-16011) and 16mm magnetic soundtrack film elements (F-20027/8-9) along with the original 16mm picture elements and outtakes (F-20027/1-7, F-20027/10), and field notes associated with the master 1/4″ open reel audio recordings (Folder 1).
The film is not currently digitized for access, however, the quality of the image and the sound recordings are such that we could not help but share.
Back in 2009 we wrote about a field recording, call no. FS8341 from the Alice Gerrard Collection, documenting the Christmas she and Andy Cahan spent with Tommy Jarrell and his daughter Dena in 1983. For those who are interested, they had chicken and “it was so fine.”
That’s not the only holiday recording in the Alice Gerrard Collection. FS8205 was made in 1981 when Alice and a few others, including old-time musician Rusty Neithammer, spent Thanksgiving with Tommy. They had ham, and also some corn, according to the tape.FS8205_Ham
How many other holiday menus and recipes were recorded in the process of doing field work that are now held in Wilson Library at UNC? These recordings and thousands more are available for research in the Southern Folklife Collection. There was quite a bit of music at that Thanksgiving celebration, listen to Jarrell’s solo banjo version of “Let Me Fall” and then Rusty Neithammer and Tommy Jarrell twin fiddle one of my favorites, “Rockingham Cindy.”FS8205_Let Me Fall_BanjoFS8205_Rockingham Cindy
The Southern Folklife Collection is thankful to be able to share this with all of you out there. Happy Thanksgiving.
Students, scholars, and fans of folklore often can’t help but romanticize the experiences of early field collectors, discovering lost tunes and musicians unknown outside their local communities. The music is just so compelling and raw and often very good, from the legendary Lomax (John and Alan) recordings of the 1930s to the astounding body of work collected by the scholar/musicians like Mike Seeger and John Cohen in the 1960s, and countless others whose collections remain tucked away in attics or housed in archives like the Southern Folklife Collection and in institutions across the country.
Hearing the music today offers glimpses to worlds of experience foreign to most listeners. The listener becomes a voyeur, peeking through the window into the homes and lives of the performers (and often the field recorders too) of a forgotten past. While the feeling of being “let in on a secret” is profound and exciting, regarding the documented performance as a “secret” or a private moment between a few individuals distances the listener, and the temporal difference between when the material was recorded to when it is shared with a larger listening audience only further emphasizes that distance. Instead of the field recording creating a cultural connection, it is exoticized to the point where such an experience (finding and recording lost or forgotten or ignored practitioners of a similarly lost, forgotten or ignored art form) seems impossible to replicate in the present, “modern” time. Thankfully there are those who refuse to relegate those experiences exclusively to the past. Instead, these individuals constantly seek to break down the barriers created by an Orientalized other represented solely by the sounds on a tape by finding the hands, faces, and minds behind the music.
Alice Gerrard and Andy Cahan spent many years in the late 1970s and early 1980s seeking out musicians in and around Galax, Virginia and Toast, North Carolina. They developed strong relationships with some of these regions’ greatest living musicians, including Luther Davis, Roscoe and Leone Parrish, and Tommy Jarrell. Cahan and Gerrard recorded hundreds of hours of interviews, lessons, jam sessions they shared with these musicians. They learned countless tunes these performers but they also became their very good friends, sharing meals, helping with chores when health problems interfered, and even sharing holidays with them like a family. In 1983, Cahan and Gerrard spent Christmas day with Tommy Jarrell and his daughter Ardena “Dena” Jarrell at her house in Toast, NC, eating, drinking eggnog and, of course, playing music. They had such a good time that the ensemble composed a song to commemorate the event, “Xmas 83 at Dena’s.”
I’m including 3 clips here: an introduction, a clip of the song itself, and a brief moment after the song when Tommy, Andy and Alice talk about composing fiddle tunes and recording. Please enjoy. Sounds like they did. Xmas83 at Dena’s_intro XMas at Dena’s Xmas83 at Dena’s_outro
All clips from audiocassette FS-8341: Tommy Jarrell with Alice Gerrard and Andy Cahan, recorded on 25 December 1983, in Toast, N.C. From the Alice Gerrard Collection. The ongoing digitization project Fiddles, Banjos and Mountain Music: Preserving Audio Collections of Southern Traditional Music, is made possible by a grant from the National Endowment for the Humanities.