We reached back to explore medieval troubadours in the south of France, wandering minstrels who fanned out across Europe, and Scottish ballad collectors, composers, singers, and fiddlers. Above all, though, our book is primarily about the nameless families—across many generations—who held onto the one thing that cost nothing, took up no space in their travel trunks, and was perhaps their most valuable symbol of identity: the songs and tunes they carried over centuries and the miles. In particular, we spent years researching these intrepid wayfarers: Scottish emigrants to Ulster in the north of Ireland, who blended their musical traditions with the Irish in their new home and transported these on their Atlantic crossing to America. They often seemed drawn to the distant horizon and their journeys have been a carrying stream of music, fed by so many sources and in turn feeding out along countless tributaries. As Scots-Irish, many found Appalachian homes and new ways of sharing their long-held musical traditions. To tell the truth, at times it felt as if we were traveling along with them, and we developed a real affinity for their unshakeable spirit and their incredible persistence in keeping their music and traditions alive.comments
Tag Archives: appalachian music
Rediscovering the Roots of Bluegrass: Historically Significant Recordings from the Great Smoky Mountains Released
According to Olson, the recordings he discovered, made in Haywood County, NC, by folklorist and linguist Joseph S. Hall in the 1950s, represent “the missing link between old-time string music and bluegrass, two music genres . . . whose connections are not widely understood.”These historically significant recordings, featuring music performances by the late five-string banjo master Carroll Best and some of his friends, document that Best was a pioneer of the melodic, three-finger banjo style.
Used today by numerous banjo players, including Bill Keith, Bela Fleck and Tony Trischka, the melodic style allows the banjo player to play more melody notes than the more widely known “Scruggs-style” bluegrass banjo. A new CD, “Carroll Best and The White Oak String Band: Old-Time Bluegrass from the Great Smoky Mountains, 1956 and 1959,” is a collection of informal jam sessions that occurred during Hall’s postwar forays into the Smokies.
In 1956, Hall recorded such local musicians as Best, destined to become one of the most significant banjo players of his generation, along with his wife, Louise Best, S.T. Swanger and Don Brooks, while in 1959, he recorded Best, Raymond Setzer, Billy Kirkpatrick and French Kirkpatrick.comments
“There were only four kinds of country music. One is your gospel songs, your religious songs. The others were your jigs and reels, like we spoke of a while ago at fiddler’s conventions. Your third were your heart songs, sentimental songs that came from the heart, and the fourth, which has passed out to a […]comments
The banjo is frequently associated with Appalachia, appropriately in some regards, but many people still believe, wrongly, that the banjo originated there. Thomas Jefferson, in Notes on the State of Virginia (1781), correctly pointed out that the banjo had its roots in Africa: “The instrument proper to them [enslaved African Americans] is the Banjar, which they brought hither from Africa.”comments
But Johnny did not limit his playing to Clay County and dances on Tusquittee. No Sir! When he was in his early twenties he took off to Canton, OH, and got a good paying job at Timken Roller Bearing Company. That was exactly what his older brother, Joseph David (1900-1992), had done when he was 22 years old. I always thought if my daddy, (Joseph) had not gone up to Canton to find work, Johnny might never have left the mountains. But you never know what life will hand out to you!comments