Click on the headline to link to a YouTube film clip of the Cannon Jug Stompers performing Big Railroad Blues to give a flavor of the old-time jug music.
Cannon’s Jug Stompers: The Complete Works: 1927-1930, The Cannon Jug Stompers, Yazoo Records, 1989
So Jim Kweskin took a few jugs, a few washboards, a few kazoos, a penny whistle, maybe a couple of fiddles, and a washtub with a string and pole, got some friends like Geoff Muldaur, and Maria Muldaur (nee something else like Donato) to play the damn stuff (and sing too) and created jug music from scratch in the 1960s folk minute night. No, one thousand times, no. The folk minute was about “discovering” roots music. You know stuff from the hills and hollows of Kentucky, or some old labor songs from the 1930s hard class struggle, or some sea island s congregation spirituals from god knows where in outer Georgia (the United States Georgia, okay). So like Bob Dylan, Eric Von Schmidt, hell even Dave Von Ronk, they all torn up the backwoods, or at least the dusty Greenwich Village old records stores, and went hunting for some sound that would satisfy their roots needs (and provide a little cash in the coffeehouse crazed night). And Cannon’s Jug Stompers along with the Memphis Jug Band (and, as it turned out, about seven different state Sheik bands, you know the Mississippi Sheiks, and so on) were must hears if you wanted to replicate any old time jug sound.
Of course the Cannon Jug Stompers didn’t work the Cambridge folk scene back in the day, way back in the day, or some cozy Village club and certainly not some North Beach blow-out be-bop joint but worked the carny shows, the juke joints and the back road houses of the south to very segregated audiences. So while some black guys (and a few women) were wilding the joint up in café society New York or New Orleans with the latest high white not jazz riffs these brothers were working cheap street. So be it. Listen up to Big Railroad Blues, Cairo Rag, Pretty Money Blues and a few others and you won’t worry so much why you don’t miss the jazz notes. And be glad, glad as hell, that Harry Smith, the great American Folk Music anthologist whose anthology all the old folkies (including the afore-mentioned Jim Kweskin Jug Band members) knew by heart including them in his work.
Cannon’s Jug Stompers: The Complete Works: 1927-1930, The Cannon Jug Stompers, Yazoo Records, 1989
So Jim Kweskin took a few jugs, a few washboards, a few kazoos, a penny whistle, maybe a couple of fiddles, and a washtub with a string and pole, got some friends like Geoff Muldaur, and Maria Muldaur (nee something else like Donato) to play the damn stuff (and sing too) and created jug music from scratch in the 1960s folk minute night. No, one thousand times, no. The folk minute was about “discovering” roots music. You know stuff from the hills and hollows of Kentucky, or some old labor songs from the 1930s hard class struggle, or some sea island s congregation spirituals from god knows where in outer Georgia (the United States Georgia, okay). So like Bob Dylan, Eric Von Schmidt, hell even Dave Von Ronk, they all torn up the backwoods, or at least the dusty Greenwich Village old records stores, and went hunting for some sound that would satisfy their roots needs (and provide a little cash in the coffeehouse crazed night). And Cannon’s Jug Stompers along with the Memphis Jug Band (and, as it turned out, about seven different state Sheik bands, you know the Mississippi Sheiks, and so on) were must hears if you wanted to replicate any old time jug sound.
Of course the Cannon Jug Stompers didn’t work the Cambridge folk scene back in the day, way back in the day, or some cozy Village club and certainly not some North Beach blow-out be-bop joint but worked the carny shows, the juke joints and the back road houses of the south to very segregated audiences. So while some black guys (and a few women) were wilding the joint up in café society New York or New Orleans with the latest high white not jazz riffs these brothers were working cheap street. So be it. Listen up to Big Railroad Blues, Cairo Rag, Pretty Money Blues and a few others and you won’t worry so much why you don’t miss the jazz notes. And be glad, glad as hell, that Harry Smith, the great American Folk Music anthologist whose anthology all the old folkies (including the afore-mentioned Jim Kweskin Jug Band members) knew by heart including them in his work.
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