Wednesday, December 18, 2024

Tiple and mandolin, together at last

I don't think I''ve stumbled on these recordings earlier in my searches for players of the 10-string Martin-style tiple... The Georgia Melody Boys of the 1920s (also identified as the Golden Melody Boys at Discogs and one of the links below, a case of using different names for different record labels, perhaps) are fairly new to me, but I'm glad that 78 RPM record collectors have preserved some of their recordings.. and even put them on youtube.

Goin' to have 'lasses in the morning (an Old Dan Tucker variation?):
https://youtu.be/-yaSvXgBCoE?si=JLCAaZC60UjeUted

When the Goldenrod is Blooming Once Again:

Discogs identifies the singers and players as Phil Featherstone on mandolin and sometimes harmonica, and Dempsey Jones on tiple, and as writer of their two-part dialog, "Uncle Abner and Elmer at the Rehearsal." 

I hope to find less scratchy transcriptions somewhere, but from what I can tell listening to these, the duet neatly illustrates my feelings about the two instruments... that the mandolin is better suited to melody playing while the Tiple works best as a rhythm-chord instrument, given its doubled and tripled strings and ukulele tuning. 

(Played at the same fret, the three lowest pitched double and triple-string courses make a major chord, the three highest pitched make a minor chord. Sliding those positions up or down the neck can be very satisfying.)

Since a ukulele playing friend of mine is learning the mandolin, and I have mandolins, ukes and a Tiple, maybe we can work up such a duet. 

Reminder to self: Put new strings on the tiple!  When the steel string bronze windings wear out, leaving little gaps, those nice sliding chords you hear on this recording slice through the calluses on my favorite left hand fingertips and can leave behind little splinters of bronze wire. Ouch!

Tuesday, November 19, 2024

Almost 1,374 hours in the kitchen making "Smiles" and other great music

Some wonderful songs here, including "Teddy Bears' Picnic," "I Told Them All About You," "Smiles" and more...  This is last night's episode, Number 1374 of Craig Ventresco and Meredith Axelrod's YouTube and Facebook streamed "KitchenCast," an almost-nightly live event that began when the pandemic cut into their local gigs in 2020.  Posting this episode here will help me share it, find it again, and -- as a bonus -- remind myself how to embed a YouTube video in Blogger, which I haven't been using very often recently. More examples and some extras from my Department of Compulsive Research below!  


Just to see if I've got that embedding technique down, here's a one-song YouTube post from Meredith and Craig, from before the start of their pandemic streaming show four and a half years ago, "The Cubanola Glide," which I like because the town I live in has old Cubanola Cigar advertising painted on the walls of a couple of downtown buildings. I also like Meredith's ukulele playing, and the fact that they make eye contact with each other more than they do when they are watching Facebook and YouTube comment streams like they do in the live Kitchen Cast.

If you'd like to sing along, I found the sheet music a while ago. It looks like Meredith and Craig are playing in the ukulele and guitar friendly keys of G and C, while the original (piano) sheet music has the verses in Bb and the chorus in Eb.




By the way, they are both right-handed, but their Facebook stream and occasional YouTube clips appear with the image reversed. This "Just Another Day Wasted Away" clip not only shows that phenomenon, it also has some lovely harmonizing and "voice trumpet" or "blue blowing" by Meredith.  





Meanwhile, for old-song fans, here are the "Second Hand Songs" pages for the tunes I've mentioned above:



Thursday, October 31, 2024

20 years on Virginia's Crooked Road, plus a contra dance

Cardinal News Oct 31 2024
 In a rare blogging crossover, it seemed appropriate to write in my other blog today about the Cardinal News article tracing the history of The Crooked Road, Virginia's Heritage Music Trail, and put a link to that "Other Journalism" blog here. That item turned into a personal collection of links and memories about Virginia newspaper websites, the Internet Archive, and a sneaky self-serving plug for a performance by "Bring the Feet," at the November 9 Floyd Contra Dance

In its opening photo, look for my mandolin waiting on my chair, at the right. I'm in the background, wearing a tan "Dittyville" cap and holding a cup of coffee, talking to Bring the Feet's hammered dulcimer and keyboard virtuoso, Randy Marchany, in a plaid shirt, bottle of orange soda in hand. 

We met at either that same Floyd Country Store jam or maybe its warm-weather counterpart, the Blacksburg Market Square Oldtime Jam, where I recognized him a dozen years ago from his previous band, "No Strings Attached."

More recently, when a Floyd fiddler was putting together a band for the (post-Covid) revived Floyd dance, she asked if I knew anything about New England contra dance music. I admitted to 30 years of dancing and a few occasions of sitting-in with legendary caller Ralph Sweet in Connecticut. More importantly, I tipped her off to Randy's "No Strings" past, and he mentioned that No Strings' bass player was also available. So a band was born... for at least one dance a year. (Actually, this is our fourth for  2024!)  

I just realized that the other blog post, while mentioning that Cardinal News reporter Ralph Berrier Jr. is an old-time and bluegrass fiddler, failed to mention his band, The Java Brothers, or his book about the bluegrass music careers of his grandfather and great-uncle, "If Trouble Don't Kill Me." Here's a YouTube copy of a Java Brothers concert ...





Thursday, August 29, 2024

Wildwood Flowering in 2024

 I just saw a comment on the 1928 recording of Wildwood Flower by the Carter Family that set me off researching so much that I have to share the results here to justify the time I spent in "SecondHandSongs.com" "Discogs.com" and "YouTube.com" -- all amazing resources!

The commenter who got my attention said they always thought the song was from the 1960s. (It's actually from the 1860s, as someone pointed out in the same discussion.)

My (expanded) reply:

It definitely "came back" in the early 1960s!

The New Lost City Ramblers and Maybelle Carter did it at a Newport Folk Festival, Flatt & Scruggs did it at Carnegie Hall, the Stanley Brothers and a dozen others (even Duane Eddy's twangy electric guitar!) recorded it, and almost every high school and college student learning to play "folk guitar" struggled with Maybelle's "Carter scratch" bass-and-chord thumb-pick guitar style.

(Search YouTube for her 1961 Grand Ol' Opry live video with closeups.)

Some learned the tune with different lyrics -- Woody Guthrie's c.1942 song, "The Sinking of the Reuben James," about the first U.S. ship sunk in World War II. The song was brought back c. 1960 in thousands of concerts and coffee house singalongs by Pete Seeger, the Kingston Trio and more.

And then there was the pot-farming parody, "Wildwood Weed"... Even the NLCR did that one in concert, minus Maybelle! (But with a cute reference by Mike Seeger to his brother Pete.) Author credits for the parody apparently belong to Texas songwriter and radio host Don Bowman around 1964. Fascinating that YouTube has all of these versions.

I'll put a couple of YouTube videos here if the computer doesn't crash, then get on with my day...


Tuesday, July 09, 2024

Old-time debates about old-time music. What's that?

I mentioned to one of my journalism classes 15 or so years ago that on the weekends I played "old-time" music. A student responded, "You mean, like, Sinatra?" 
No, I said, I meant, like Mike Seeger and perhaps his older half-brother Pete, and the older folks from North Carolina, Virginia and West Virginia that they learned from. 
Artist's rendition of old mandolin player with long beard, orange cap and 80-year-old mandolin

A Facebook discussion earlier this month has sent me down a compulsive-research rabbit hole to a Wikipedia page about "Old-Time Music," which by one of its definitions I still play every Sunday afternoon and Wednesday evening at southwest Virginia jam sessions, and which -- by other definitions -- has fascinated me since I bought my first Pete Seeger and New Lost City Ramblers albums during the 1960s "folk music revival" (Or "The Great Folk Music Scare," as Utah Phillips or someone else called it.)
The 20-year-old Wikipedia page has had numerous editorial additions and changes over the years, but its most prominent feature when I got there were a few prominent "citation needed" notices and a somewhat random use of Wikipedia's "references" feature.
My own "primary sources" for learning about "folk music" were big library books, but the phrases "old-time" or "old-timey" music in the 1960s and '70s came to me mostly from LP records and their liner notes, so I've added some of those as references on the Wikipedia page, as well as more recent books I've at least browsed through. A fine CD box-set that came out a few years ago made it very clear that New York's "Friends of Old-Time Music" or "FOTM" used that name as a broad umbrella for "authentic" or "traditional" folk music concerts and records, to avoid confusion with the commercialized singer-songwriter and "interpreter" artists being marketed under the "folk music" banner in the 1960s. The New Yorkers who ran FOTM, unlike the 1920s record companies that used the phrase "old time music," included black guitar players like Mississippi John Hurt under the heading, and older bluegrass bands that had roots in older fiddle and singing styles and perhaps less influence from Nashville record producers ideas of commercial country music. French Canadian and Louisiana Cajun fiddlers also appeared in "old-time" concerts.
Nowadays, "old-time music" is more specifically a fiddle-contest and music convention category to distinguish pre-bluegrass fiddle-and-banjo playing styles in Appalachia, the Ozarks and elsewhere. And today some young players are eager to point out the segregation-area exclusion of black fiddlers and banjo players from early 20th century "old time" records, and so have been reclaiming recognition for the black performance styles that influenced white players, as well as the black origins of the banjo -- an instrument with African antecedents that fell into white hands in the early 19th century and became an international fad after white-impersonators in black makeup created the "Minstrel Show," leading music-instrument factories to mass-produce banjos, and variations on the instrument found roles in Dixieland, Ragtime and Jazz bands, even crossing the Atlantic into Irish music on tenor banjos and British pop-songs accompanied by banjo-ukuleles.  Both the banjo and old-time fiddle have separate Wikipedia pages, by the way. I'm staying away from those.
Back to "old-time music"; those early U.S. record companies had separate "race" labels and catalogs, which presented black blues and gospel performers, but the producers appear to have left the old folksongs and fiddle tunes to whites, along with most 20th century banjo playing, all featured under headings including "hillbilly," "mountain music" and "old-time" and "country"... industry distinctions that got even more complicated with the later recording categories "country and Western)," "folk music," "rhythm and blues" and "rock 'n' roll." But that's another story.

The whole Wikipedia old-time-music page seemed to assume the definition of that phrase was written in stone somewhere, but so far I haven't turned over the right rock. The page was -- and still is -- weak on citations. Its history section gave a lot of weight to a 2021 website article from the state of Washington, about as far as you can get from Appalachia, but this music has been getting around for a couple of centuries or more, and the article itself seems quite good, even mentioning a few promising book titles. It's available online for free here: 
 
If you save the Wikipedia "page" as a PDF file, which I've finally done, it is 13 pages long. (The banjo page is 22; the old-time fiddle page is 9 more.) I've added a few more "old-time" references at various points, but I'm hoping others with both knowledge and a compulsive attitude toward footnotes and coding Wikipedia citation styles will also come to the page's rescue. For now, I've worked more than a half-dozen sources into sections of the page, but my citation style is an inconsistent mess, which I blame on Web cutting-and-pasting while just using a smartphone part of the time... 
Pasting them into this Blogger editing system will probably create another formatting mess, because I haven't used Blogger much in years, and won't have much time today to come back and clean things up after I hit "Publish." 

But here they are: 

Tuesday, July 02, 2024

John Prine & Steve Goodman

Another Bob S, from the 3rd Street Coffee House in Roanoke, just proposed the idea of naming a section of street there for John Prine.  I don't know much about Roanoke, and I've never made it to that coffee house, even though it's only an hour or so away, but the street-naming campaign it sounds like a fine idea...

I didn't get to John's last concert there in November, 2019. I forget why. And I forget whether I apologized for missing the show when I ran into him a month later at a guitar shop in Nashville. 

But we did talk about the first time I saw him forty-some years earlier, and the pictures I took of him and Leon Redbone that day. John died of covid a few months later, before I could get back to Nashville to give him one of those pictures. 

Meanwhile, if Chicago hasn't already done it, that City should name a bunch of places after the great singers and songwriters it has produced... They could start with two intersecting streets so folks can gather at the corner of Prine & Goodman ... Maybe put a diamond shaped park there, and make the opposite corner of the intersection of Sam Stone & Flag Decal. 

And Chicago should have a footstep trail named for Steve, leading from Wrigley Field, where he watched the Cubs play, to Union Station, where he boarded the City of New Orleans.

Maybe it already does.

Saturday, February 17, 2024

The Amazing 90 Minute Sextet

Just had to share this after writing it for a Facebook post ... 

Wow! Last Saturday, Feb. 10, 2024 -- Meredith Axelrod and Craig Ventresco  show 1190 happened while I was off playing for the Floyd Contra Dance... 
A whole week went by before youtube offered me this recording as Saturday breakfast music! 


An amazing 90-Minute Sextet (band name potential there!) with Meredith & Craig, in the bigger Bay Area  living room of Eric (off camera, but i hear his mandolin at times) and Suzy Thompson, and duo Valerie Kirchhoff (vocals) and Ethan Leinwand (piano), a.k.a. the StLouisSteadyGrinders (dotcom). 

Meredith, Suzy and Valerie ragtime-era blues harmonies are wonderful... but it's all wonderful...

Sunday, January 14, 2024

A Zithering Web search for a musician's research legacy

I posted part of this essay in a Facebook discussion among "old time" musicians who play the 20th or 21st century compositions of the late Midwestern fiddler Garry Harrison (1954–2012) -- but sometimes without getting the tunes exactly the way he wrote them. 

Jam session players' simplified versions of his tune "Red Prairie Dawn" set off a substantial rant recently by one of his fans, passionately requesting other players to preserve the intricacies of the tune. The discussion set me off on a compulsive morning of Internet research. I don't think I had ever heard Harrison's name before.

I was happy to find that tune on YouTube, and I think I have heard it in concerts or jam sessions,  although I never knew the name or attempted to learn it... (I primarily play the mandolin in sessions focused more on old Virginia and North Carolina tunes, not contemporary tunes written in an old-time style.) 

Here is the original "Red Prairie Dawn": 


Trying to find out who Harrison was turned out to be a little harder than finding his tunes. My first Google search discovered several websites about a similarly named, but entirely unrelated, South Park cartoon character ("Gary," not "Garry") ... 

Simply adding the word "fiddler" to the search quickly sorted that out, and also revealed that along with being a much loved fiddler and composer, Garry Harrison was also a collector and organologist studying "fretless zithers." 

I have known players of some of those, so I went looking for his research, and fell into another question that fascinates me... the preservation of access to creative websites.

Harrison built an impressive website, originally at "fretlesszithers dotcom," but apparently his heirs did not maintain the registration for the web domain, although they reportedly tried to saved his writing and photographs elsewhere. There is a mention in the memorial page linked below that his instrument collection and a copy of the website were donated to an Arizona Musical Instrument Museum, but my quick search for his name there proved unsuccessful.

However, more than one copy of the original Fretless Zithers website, was saved at the Internet Archive's Wayback Machine before its original and secondary addresses expired. I was pleasantly surprised that the archived home page from 2012 even plays the site's original background music, since archive copies often are unable to maintain multimedia data, depending on file formats and other technical details. Here it is:


Also preserved, sub-pages, including his research on 1920s zither player Washington Phillips.

Here's a YouTube sample of one of  Phillips' recordings -- which may inspire you to read Harrison's research revealing what ethereal "fretless zither" family instrument he was playing:

And here is the 2013 internet archive Wayback machine copy of the introduction to Harrison's FretlessZithers research.

For anyone else who had only heard his fiddle tunes without knowing Garry Harrison...  this memorial page by another expert on uncommon instruments was the most expensive biography I found.

My browsing the Internet Archive Wayback Machine for the pages above began simply because a link from that memorial to Harrison's "fretless zithers" no longer worked. 

The memorial page does provide biographical background and the names of Harrison's various musical ensembles and recordings, which can be found with a Web or YouTube search. A search of the record-collector resource, Discogs.com, also turned up a page about Harrison, with links to other music-related websites for more information. (Screenshot below.)


Personal Motivation

Some people get passionate about preserving fiddle tunes as originally played, before people forget the original composer, and for similar reasons. On the other hand, I get a bit obsessed about preserving access to creative work on the internet, such as Garry Harrison's fretless zither website. 

That's probably because 20 years ago or so I decided to focus more on writing web pages than writing for peer-reviewed academic journals or commercial publication. As a journalism professor who wrote a doctoral dissertation about early web production, I was also frustrated to see so much of the creative work of the first 10 years of the World Wide Web disappear because creative tools and design standards changed, and publishers simply abandoned the originals.

I wonder if, someday after I am gone, readers (you?) might be finding this essay in an internet archive copy of one of my my blogs, with links to or from my original stepno.com home page!?



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Jan.14, 2024, First draft, also an experiment in copying text from Facebook to an intermediary editor, and on to this "Blogger" software android app. I may have to come back with a browser-based page-editing system to correct errors, remove duplication, and make the YouTube video link turn into a video player. But so far, so good. I don't edit this blog very often, so it may be in the present condition for a good long while. But please drop me a line if you see major errors.