Posts Tagged ‘old time music’

Memories of Eck Robertson

Saturday, December 26th, 2009

Recently, I traded e-mails with my friend David Holt of Ashville, NC, who still travels and performs with guitarist Doc Watson and others.  David had run across a reference in a book by British music historian and writer Tony Russell to Texas fiddler Eck Robertson, who is known as the person to make the first commercial recording of authentic country / old-time music.  David noted that a photograph I had taken in the 1960s was used in the book, and asked for a copy, along with any recollections of Eck when I met him.

Alexander Campbell "Eck" Robertson - Peter Feldmann photo

Alexander Campbell "Eck" Robertson - Peter Feldmann photo 1964.

Yes, I took that photo of Eck at UCLA in ’64, I believe. He was attending their 1964 folk festival with one of his sons. It was just
amazing to see him in person.  He was a true showman, and he loved to talk. He felt no compunction against telling everyone who would listen that he was the greatest fiddler, period. Actually, I still sort of agree with him on that (albeit that the concept “greatest” is a bit  absurd to my thinking). I have a mint copy of his Victor recording of “Sallie Gooden”. Every time I listen to it, I get this feeling of listening to a magic section of time; a miracle, if you will.  I am always transported to that early afternoon in New York City, July 1st, 1922, the day after he stormed the studio with his partner Henry Gilliland and demanded to be recorded.

Anyways, Eck did talk quite a bit, with great animation, about fiddling — demonstrating his lectures with short pieces of music. He was a bit frail, but when his fingers touched the fiddle, his bowing was still rock solid. He’d slowed down a bit, but the tone was still there. He had fashioned a leather strap that went from the end piece of the fiddle and circled around his neck — I suppose to help him hold it in place while he played. The thing is that, after playing a tune in demonstration, he would suddenly let go of his instrument and the fiddle would swing back and forth in front of his chest like the pendulum of a grandfather clock . . . while he continued his lecture — somewhat disconcerting to his listeners, though remaining oblivious to the impression he was creating for his audience! A real showman, as I mentioned.

My friend Byron Berline, who based his “Sally Goodin” on Eck’s version, met him at various contests that his dad would take him to. He recalled some of Eck’s antics (tossing the fiddle, balancing the bow on his nose, etc.) and mentioned that at one event, when Eck was due to perform on-stage in five minutes, Byron found him behind the stage with the fiddle completely disassembled; Eck was whittling on the bridge with a jackknife, completely unconcerned with the short time due before his performance.

I still consider Eck as one of the finest fiddlers that ever recorded, and still listen to his “Sallie Gooden” with amazement.

From Tom Dula to Tom Dooley – 50 years…

Tuesday, December 23rd, 2008

Visiting a bluegrass discussion list this week (“BGRASS-L, U. of KY>) reminded me that this year marks the 50th anniversary of the Kingston Trio’s hit Tom Dooley on Capitol Records.  Many use this event to mark the beginning of the so-called “Folk Revival”, but that actually goes back to at least another 25 years or so.

At any rate, the original song, Tom Dula, about a civil war veteran who murders for love, has long been claimed to be written by the grandfather of singer and instrument maker Frank Proffitt, who lived near a tiny town, Reese, NC. that doesn’t even exist any longer.  Frank farmed tobacco and built mountain dulcimers and fretless five-string banjos out of maple he often cut himself from the hills surrounding his farmland.

Frank Proffitt, 1962, Peter Feldmann, photo

Frank Proffitt, 1962, Peter Feldmann, photo

While I was working in Chicago at the Field Museum in 1962, Frank came up north for a 4-day visit and a concert at the Old Town School of Folk Music. I got to spend these four days with him, taking him on tours and learning a little about the way he picked banjo, guitar, and dulcimer.  Frank was a very gracious guest and especially enjoyed the Field Museum’s huge collection of wild animal skins from around the world, house in two large rooms on the 4th floor of the building, far away from the general public.  There was even a rinocerous skin, folded into a bale-sized lump and stiffend to woodlike hardness from the time it was contributed to the museum by Teddy Roosevelt in 1906.  Frank talked about using groundhog skin for his banjo heads, saying it was pretty good but that cat skin was by far the best — though his wife refused to let him use it!  Anyways, the story goes that Tom Dula, recorded by Proffitt via collector Frank Warner, was found by the Trio and used as a basis for their hit.  Alan Lomax also published the song in his “Folksongs of North America”.

Frank Proffitt & Flemming Brown, Chicago, 1962

Frank Proffitt & Flemming Brown, Chicago, 1962

Funny, fifty years doesn’t really seem like so long ago . . .

Old Time and Bluegrass Music

Tuesday, July 1st, 2008

My New Mexico friends Bruce Thompson and Wayne Shrubsall recently conducted a workshop dealing with string band music and the differences between old time anbd bluegrass music. They’ve given me permission to share their notes from this event, which are hereby posted for your edification.

The Difference Between Bluegrass and Old Time Music
Toby Adobe & Moby Adobe

BANJO:
An OT banjo is open-backed, with an old towel (probably never washed) stuffed in the back to dampen sound. A BG banjo has a resonator to make it louder.
An OT banjo weighs 5 pounds, towel included. A BG banjo weighs 40 pounds.
A BG banjo player has had spinal fusion surgery on all his vertebrae, and therefore stands very straight. If an OT banjo player stands, he slouches.
An OT banjo player can lose 3 right-hand fingers and 2 left-hand fingers in an industrial accident without affecting his performance.
A BG banjo needs 24 frets. An OT banjo needs no more than 5, and some don’t need any.
A BG banjo player puts jewelry on his fingertips to play. An OT banjo player puts super glue on his fingernails to strengthen them. Never shake hands with an OT banjo player while he’s fussing with his nails.

FIDDLE:
A BG fiddle is tuned GDAE. An OT fiddle can be in a hundred different tunings.
OT fiddlers seldom use more than two fingers of their left hand, and uses tunings that maximize the number of open strings played. BG fiddlers study 7th position fingering patterns with Isaac Stern, and take pride in never playing an open string.
An OT fiddle player can make dogs howl & incapacitate people suffering from sciatic nerve damage
“A good OT fiddle player?” now there’s an oxymoron
An OT fiddle player only uses a quarter of his bow. The rest is just wasted.
The BG fiddler paid $10,000 for his fiddle at the Violin Shop in Nashville. The OT fiddler got his for $15 at a yard sale.

GUITAR:
An OT guitarist knows the major chords in G and C, and owns a capo for A and D. A BG guitarist can play in E-flat without a capo.
The fanciest chord an OT guitarist needs is an A to insert between the G and the D7 chord. A BG guitarist needs to know C#aug+7-4.
OT guitarists stash extra picks under a rubber band around the top of the peghead. BG guitarists would never cover any part of the peghead that might obscure the gilded label of their $3,000 guitar.

MANDOLIN:
It’s possible to have an OT band without a mandolin.
Mandolin players spend half their time tuning their mandolin and the other half of their time playing their mandolin out of tune
OT mandolin players use “A” model instruments (pear shaped) by obscure makers. BG mandolin players use “F” model Gibsons that cost $100 per decibel.

BASS:
A BG band always has a bass. An old OT band doesn’t have a bass, but new time OT bands seem to need one for reasons that are unclear.
A BG bass starts playing with the band on the first note. An OT bass, if present, starts sometime after the rest of the band has run through the tune once depending on his blood alcohol content
A BG bass is polished and shiny. An OT bass is often used as yard furniture.

OTHER INSTRUMENTS
A BG band might have a Dobro. An OT band might have anything that makes noise including: hammered or lap dulcimer, jaw harp, didgeridoo, harmonica, conga, wash tub bass, miscellaneous rattles & shakers, or 1 gallon jug (empty).

INSTRUMENTATION:
All the instruments in an OT band play together all the time. BG bands feature solos on each instrument.
BG bands have carefully mapped-out choreography due to the need to provide solo breaks. If OT band members move around, they tend to run into each other. Because of this problem, OT bands often sit down when performing, while a BG band always stands.
Because they’re sitting, OT bands have the stamina to play for a square or contra dance.
The audience claps after each BG solo break. If anyone claps for an OT band it confuses them, even after the tune is over.

THE MUSIC:
OT songs are about whiskey and food.
BG songs are about God, mother and the girl who did me wrong.
If the girlfriend isn’t murdered by the third verse, it ain’t Bluegrass
OT bands have nonsense names like “Hoss Hair Pullers” “Fruit Jar Drinkers” and “Skillet Lickers”. BG bands have serious gender-specific name like “Bluegrass Boys,” “Foggy Mountain Boys,” and “Clinch Mountain Boys”
The most common OT keys are major and modal (i.e. minor). BG uses major, mixolydian, Dorian and minor keys
A BG band has between 1 and 3 singers who are singing about an octave above their natural vocal range. Some OT bands have no singers at all.
A BG band has a vocal orchestrator who arranges duet, trio and quartet harmonies.
In an OT band, anyone who feels like it can sing or make comments during the performance.
All BG tunes & songs last 3 minutes. OT tunes & songs sometimes last all night.

PERSONALITIES & STAGE PRESENCE:
BG band members wear uniforms, such as blue polyester suits and gray Stetson hats. OT bands wear jeans, sandals, work shirts and caps from seed companies.
Both the Stetsons and seed caps cover bald spots.
Chicks in BG bands have big hair and Kevlar undergarments. Chicks in OT bands jiggle nicely under their overalls.
A BG band tells terrible jokes while tuning. An OT band tells terrible jokes without bothering to tune.
BG band members never smile. OT band members will smile if you give them a drink.
You can get fired from a BG band for being obviously drunk on stage.
BG musicians eat barbecue ribs. OT musicians eat tofu.
BG musicians have high frequency hearing loss from standing near the banjo player. OT musicians have high frequency hear loss from standing near the fiddler.

FESTIVALS:
A BG band travels in an old converted Greyhound bus that idles all weekend with the air conditioner running full blast, and fumigates the county with diesel exhaust. The band’s name and Inspirational Statement are painted on both the side and front of the bus in script lettering.
An OT band travels in a rusted-out 1965 VW microbus that blows an engine in North Nowhere, Nebraska. It’s pretty evident that their vehicles don’t have air conditioning.
BG bumper stickers are in red, white and blue and have stars and/or stripes on them. OT bumper stickers don’t make any sense (e.g. “Gid is My Co-Pilot”)
BG musicians stay on the bus or at the nearest Motel 6. OT musicians camp in the parking lot.