Showing posts with label elizabeth cotten. Show all posts
Showing posts with label elizabeth cotten. Show all posts

Saturday, August 03, 2019

The Centennial Of Pete Seeger’s Birthday (1919-2014)- *In Pete Seeger’s House- Judy Collins And Elizabeth Cotten

Click on title to link to YouTube's film clip of Judy Collin's performing Joni Mitchell's "Both Sides Now". For Elizabeth Cotten also mentioned below check my archives as I have previously reviewed her work extensively.

DVD Review

Rainbow Quest, Pete Seeger, Judy Collins, Elizabeth Cotten, Shanachie, 2005


In a year that has featured various 90th birthday celebrations it is very appropriate to review some of the 1960’s television work of Pete Seeger, one of the premier folk anthologists, singers, transmitters of the tradition and “keeper” of the folk flame. This DVD is a “must see” for anyone who is interested in the history of the folk revival of the 1960’s, the earnest, folksy style of Pete Seeger or the work of folksinger Judy Collins, especially doing her renditions of a couple of early Bob Dylan songs (and how they were reworked by him from older traditional tunes) and her classic cover of Joni Mitchell’s “Both Sides Now”.

Also included on this DVD is the legendary Elizabeth Cotton, a musician that I have reviewed extensively elsewhere in this space, showing us her unusual guitar-picking style and regaling us with “Wilson’s Rag” and her own classic, make that super-classic, folk song, Freight Train”. Additionally, Pete, as an early exponent of what is now called “world music” brings in some lesser known Spanish guitarists and assists them in singing the well-known Spanish song written by the Cuban nationalist Jose Marti, “Guantanamera”

This DVD contains some very interesting and, perhaps, rare television film footage from two of Pete Seeger shows, packaged in one DVD, entitled “Rainbow Quest”. Each show is introduced (and ends, as well) by Pete singing his old classic “If I Had A Golden Threat” and then he proceeds to introduce, play guitar and banjo and sing along with the above-mentioned artists.

One final note: This is a piece of folk history. Pete Seeger is a folk legend. However, the production values here are a bit primitive and low budget. Moreover, for all his stature as a leading member of the folk pantheon Pete was far from the ideal host. His halting speaking style and almost bashful manner did not draw his guests out. Let’s just put it this way the production concept used then would embarrass a high school television production class today. But, Pete, thanks for the history lesson.

Thursday, August 01, 2019

*The Centennial Of Pete Seeger’s Birthday (1919-2014)- Pete Seeger's "Rainbow Quest" Series- A Summary From "Wikipedia"

Click on title to link to Wikipedia's entry for Pete Seeger's 1960s television series "Rainbow Quest". Twelve of those episodes (two per DVD I have reviewed in this space today,August 1, 2009). Many of the rest can be viewed individually on YouTube. "Wikipedia" is sometimes a suspect source, especially for "hot" political topics, given its collective editorial policy but on for providing details on this subject-kudos.


RAINBOW QUEST TELEVISION SERIES (1967)

Shanachie has released selected episodes of Rainbow Quest on DVD, two episodes per DVD:
Johnny Cash and June Carter / Roscoe Holcomb with Jean Redpath
The Clancy Brothers and Tommy Makem / The Mamou String Band
The Stanley Brothers with Cousin Emmy / Doc Watson with Clint Howard and Fred Price
The New Lost City Ramblers / The Greenbriar Boys
Judy Collins / Elizabeth Cotten
Sonny Terry and Brownie McGhee / Mississippi John Hurt


The series is no longer available on VHS. Norman Ross, who made the videos available through his companies Clearwater Publishing, Norman Ross Publishing, and Academic Microfilms, over a twenty year period, no longer produces the VHS tapes. The only current source for the series, other than the DVD's listed above, would be used copies. For historical purposes, here is a complete list of the series:


1.Tom Paxton, The Clancy Brothers and Tommy Makem
The Clancy Brothers and Tommy Makem from Ireland sing traditional and contemporary Irish songs, including "Butcher's Boy." Seeger joins Tom Paxton, a singer/songwriter, on his song "Ramblin' Boy."

2."Leadbelly"
This is a solo performance by Seeger in which he sings some of the songs composed by the famous black folksinger Huddie Ledbetter. He also performs his well-known allegorical story about the power of music, "Abiyoyo." Rare films of Leadbelly are included.

3.Elizabeth Cotton, Rosa Valentin and Rafael Martinez
Seeger and Elizabeth Cotton sing her famous song, "Freight Train" and she demonstrates her left-handed guitar playing. Rosa and Rafael sing songs from their native Puerto Rico, including "Las Popules de la Tierra" (The Poor People of the World).

4.Ruth Rubin
Ruth Rubin is America's foremost collector of Yiddish folk music and the translator of countless Yiddish songs. Here she performs several well-known Yiddish songs including "Chanuke O Chanuke" and "Tumbalalayka."

5.Jean Ritchie and Bernice Reagon
Jean Ritchie, long-time collector of Cumberland Mountain songs, sings from her extensive repertoire and plays the dulcimer. She also displays several folk toys. Bernice Reagon sings gospel and freedom songs a cappella.

6.Malvina Reynolds and Jack Elliott
Malvina Reynolds, who made up songs almost daily from stories she read in the newspapers, sings her famous "Little Boxes" among others. Jack Elliott, a protege of Woody Guthrie, sings some of Guthrie's songs including "Talking Dust Bowl" and "Talking Sailor Blues."

7.Bessie Jones and Children from the Downtown Community School
Bessie Jones and the children sing and dance a number of children's play-party songs such as "Thread & Needle" and "Drawing a Bucket of Water." Seeger sings Bob Dylan's "A Hard Rain's A-Gonna Fall" and several children's songs.

8.New Lost City Ramblers
The group includes Pete Seeger's brother Mike, his brother-in-law John Cohen, and Tracy Schwartz. Among them they play fiddle, guitar, banjo, mandolin and autoharp on such songs as "Maid of Constant Sorrow," "Cuckoo Bird" and "Arkansas Sheik." Mike shows films of a Japanese fiddle band.

9.The Beers Family
Robert Beers, his wife and daughter, sing in a hauntingly beautiful style including their own "Dumbarton's Drums." Mr. Beers plays the Psaltry, an ancient instrument that is plucked with feathers.

10.Herbert Manana
South African singer, dancer, songwriter Herbert Manana sings and dances several African songs including "Zula", "Wimoweh" and "Tinasizsw" (We Africans).

11.Martha Schlamme
German-born Martha Schlamme, accompanied by Abraham Stockman on piano, sings several songs in German including the Brecht/Weill songs "Bilboa Moon" and "Pirate Jenny." She also sings several songs in Yiddish and Spanish and joins Pete in the World War II concentration camp song "Peat Bog Soldiers."

12.Doc Watson, Clint Howard and Fred Price
Three legendary figures of country folk music join Seeger with their guitars and fiddle in a long list of traditional songs, including "Old Dan Tucker" and "My Mother Chose My Husband."

13.Norman Studer and Grant Rogers
Scholar Norman Studer talks about the folklore of upstate New York and introduces composer-fiddler-guitarist-quarry worker Grant Rogers. Rogers and Seeger trade songs, including "Down by the Glenside," "Bessie the Heifer" and "My Dirty Stream," one of Seeger's recent songs about the Hudson River.

14.Pete Seeger: Solo
With his songs and a display of cartoons and unusual documents, Seeger traces the history of political satire from the early days of the U.S. He sings such songs as "John Brown's Body,", "Casey Jones," "We Shall Overcome" and his own anti-Vietnam War song "King Henry."

15.Lino Manocchia, Ralph Marino and Federico Picciano
Italian folk music is the subject of the program, including a film of a group sing in an Italian village. His guests, with two of their friends, accompanying themselves on guitars and accordion, sing songs from both northern and southern Italy, including "Eh Volla Volla" and "Manuela." Seeger sings "D-Day Dodgers," a song about the Italian campaign in World War II.

16.Mimi and Richard Farina
This program was taped a short time before Richard Farina's death in an auto accident on April 30, 1966, and contains many of the songs he wrote including "Celebration for a Grey Day," "Bold Marauder" and "Pack Up Your Sorrows." Richard plays harmonica and dulcimer (in a style all his own) and Mimi plays guitar.

17.Roscoe Holcomb and Jean Redpath
Seeger and Roscoe trade traditional American songs including "John Hardy" and "Birdie, Pretty Birdie." Jean Redpath sings several songs from her native Scotland: "The Beggar Laddie," "The Sky Fisher's Song," I Lost Ma Love" and "The Branca's Gotten Loose and Etten all the Corn."

18.Clinch Mountain Boys and Cousin Emmy
The Clinch Mountain Boys, which includes the well-known Stanley Brothers, sing a number of old-time favorites, including "Worried Man Blues," "The Clinch Mountain Backstep" and "I'm Thinking Tonight of My True Love."

19.Sonia Malkine
Ms. Malkine specializes in songs from France, especially those from the Auvergne, a mountainous area in southern France whose songs are well-known in America. She sings "Baylero", a shepherd's song, accompanying herself on an unusual 6-string lute (with a simultaneous translation in subtitles on the screen). She also provides a French rendition of Seeger's "Where Have All the Flowers Gone?" and Seeger counters with a German translation.

20."Woody Guthrie"
This is a solo performance by Seeger, in which he sings some of the hundreds of songs composed by Woody, including "Philadelphia Lawyer," "Roll on Columbia" and "Put Your Finger in the Air," the popular children's song. Rare film footage and photos of Woody are included.

21.Pat Sky and the Pennywhistlers
A combination of recent and traditional songs, including Pat Sky's well-known "Separation Blues" and Seeger's "Where Have All the Flowers Gone?" The Pennywhistlers perform songs from Bulgaria, Russia and South Africa in the original languages, including the original Russian song on which Seeger's "Where Have All the Flowers Gone?" is based.

22.Len Chandler
Seeger and Chandler trade songs they have written, including Chandler's "Keep on Keeping On," "Beans in My Ears" and "Move on Over" and Seeger's "Walking Down Death Row," Seeger also sings such traditional songs as "Mrs. McGrath" (Irish) and "Die Gedanken Sind Frei" (Thoughts are Free) in German.

23.Donovan and Rev. Gary Davis
Donovan, the British recording star, sings a number of songs, accompanied on the sitar by Shawn Phillips, who also demonstrates the Indian instrument in detail. Rev. Gary Davis plays his guitar and sings some gospel songs including "I'm Feeling More Like Shouting" and "Oh Glory, How Happy I Am."

24.Alexander Zelkin
A young Russian emigré living in Canada, Alexander Zelkin trades songs from all over the world with Seeger. Sometimes they sing two songs to the same melody in two different languages. Seeger discusses the use of the tune to "Twinkle Twinkle Little Star" in different cultures. Zelkin sings "Sylvestrik," a French song, and "Oy Tumani," and Seeger sings his song "Bells of Rhymney," which is based on a Welsh poem.

25.The Cajun Band
Descendants of the Acadians who moved to Louisiana when the British made the French leave Nova Scotia, the Cajun Band shares its traditions and music. They sing a number of songs in their native language including (titles are translated) "I Passed Your Door and Didn't See Any Light" and "While Your Mother's Not Here Let's Dance Real Close." Seeger demonstrates his style of banjo playing and sings several "play-party" songs, including "Skip to My Lou," "Big Mammoo" and "Colinda."

26.Frank Warner
Seeger and his guest Frank Warner sing songs of the Adirondack Mountains and reminisce about Yankee John and Frank Proffit. Proffit is seen in a film as he performed at the Newport Folk Festival. Included in the show are Frank Proffit's most famous song, "Tom Dooley," as well as "Little Men," "Little Phoebe" and "Hudson River Steamboat."

27.Paul Draper
Paul Draper, the famous dancer, improvises to music played by his accompanist Coleridge Perkinson and to several songs and rhythms played by Seeger. Illustrating the importance of dance to a country's musical life, Seeger shows films of schoolchildren in Samoa, Indonesia and an East African Village.

28.Penny and Sonya Cohen
The subject of this show is work songs and lullabies, the latter occasionally being the former, as when sung by a babysitter. We hear and see films of men singing as they work: boatmen in Ghana and woodsmen at Texas State Prison. Seeger welcomes to the show his sister Penny and her infant daughter Sonya, and mother and uncle sing a medley of lullabies, including "Hush Little Baby," "By and By" and "All the Pretty Little Horses." After the prisoners in the film sing "Long Gone," "Jody" and "Down by the Riverside," Seeger himself reprises "Down by the Riverside."

29.Theodore Bikel and Rashid Hussain
Israeli and Arabic music and poetry are presented in their original language and in translation. Seeger demonstrates how to make a shepherd's flute out of bamboo. Seeger on banjo and Bikel on guitar join together on the Israeli song popularized in this country by the Weavers, "Tzena,
Tzena."

30.Steve Addiss and Bill Crofut with Phan Duy
Addiss and Crofut, American folksingers who have traveled extensively in the Far East singing under U.S. Department of State auspices, together with Phan Duy, "the Woody Guthrie of Vietnam," explore the Vietnamese musical traditions. With Seeger joining in they sing several of the 350 songs Duy has written. They also sing the well-known American song "Clementine" in Vietnamese.

31.The Greenbriar Boys
The fiddle and banjo are featured instruments in the Greenbriar Boys' repertoire of Blue Grass Music. Seeger joins in with his 12- string guitar and they sing "Wabash Cannonball," "The Midnight Special," "Danville Girl," "Dink's Song," and the Mexican song "La Feria Das Flores" (The Flower Fair).

32.Judy Collins
Seeger relates three parables and then trades songs with the popular singer Judy Collins. Together they sing "Daddy You've Been on My Mind," Bob Dylan's "Fare Thee Well," "Wild Mountain Thyme," "Tim Evans" and Seeger's "Turn! Turn! Turn!" Photos made during Seeger's visit to a guitar-maker in Mexico are shown.

33.Jim and Hazel Garland
The Garlands tell about life in Kentucky in the days when the mineworkers' union was struggling to be a force in the mines. Jim Garland, a former mineworker himself, sings his "I Don't Want Your Millions Mister." Jim plays the jews harp to Seeger's banjo on "Turkey in the Straw." Seeger sings the union song "Which Side are You on?"

34.Sonny Terry and Brownie McGhee
Sonny Terry, the blind harmonica player, and Brownie McGhee, on guitar, trade songs with Seeger, including "Rock Island Line," "I'm a Burnt Child," "Down by the Riverside" and many more.

35.Bessie Jones and Children from the Downtown Community School
In this return visit, Ms. Jones and the children sing and dance with Seeger playing "Skip to My Lou," "Beans in my Ear," "Cumberland Mountain Bear Chase" and "This Land is Your Land."

36.Paul Cadwell and Mississippi John Hurt
Paul Cadwell plays several banjo solos including a cakewalk, "Georgia Camp Meeting." Mississippi John Hurt, a singer who had faded from public view, was rediscovered in his eighties and began a whole new career, sings "Lonesome Valley," "John Henry" and "Goodnight Irene."

37.Herbert Levy, K.L. Wong and Hi-Landers Steel Band
Playing their steel drums, the Hi-Landers sing songs of their native Trinidad, mostly in the Calypso tradition. Songs include "Mary Ann," "Love, Love Alone," "Yellow Bird," "Walk Around" and "When the Saints Go Marching In." Seeger shows a film on the making of steel drums from large oil
containers.

38.Buffy Sainte-Marie
Composer, singer, guitarist Buffy Sainte-Marie, through song and conversation expresses the American Indians' mixed feelings of love of country and bitterness at the unfair treatment they have received. Buffy demonstrates the mouth-bow and sings some of her own songs, "My Country 'Tis of Thy People You're Dying" and "Little Wheel Spin and Spin."

Thursday, September 15, 2016

*The Fire Next Time- Bluegrass Variety- Carolina Chocolate Drops

Click On Title To Link To YouTube's Film Clip Of Carolina Chocolate Drop Doing "Cornbread And Butterbeans"

CD Review

Dona Got A Ramblin’ Mind, Carolina Chocolate Drops (Dom Flemons, Rhiannon Giddens, Justin Robinson and the spirit of fiddler Joe Thompson), MusicMaker, 2006.




Recently I posed a question in this space about who would continue the blues tradition today, now that most, if not all, of the famous old blues singers are dead or retired. One answer that I came up with was the talented Keb’ Mo’. There are others I am sure. I have also posed that same question here in regard to the folk music movement that now is seeing more than its fair share of old time performers pass from the scene, most recently the likes of Odetta and Utah Phillips. One answer that I came up with was the talented Woody Guthrie devotee Alastair Moock. Again, there are others I am sure. Here I pose the same question in regard to another important form of American music, bluegrass (or more generally, mountain music). As previously, the role of succession begs an important question now that many of the best of this genre have also passed or retired. Who would, if anyone, continue that old tradition?

That is where the artists under review, Carolina Chocolate Drops, come into the picture. When I think about Carolina, in this case North Carolina, I think of the famous black women virtuoso blues guitarists, Elizabeth Cotton and Etta Baker, whom I have previously reviewed in this space. More generally though I think of Ralph Stanley, Doc and Merle Watson and other white musicians from the mountains. I admit my error. That is not nearly inclusive enough. I have noted previously that in the 19th century the closeness of black and white variations of rural music were quite common and, in some cases, mutually shared. I then gave, as an example, the classic song “John Henry” done by both races in many variations. Thus, for these talented young black musicians to take up the struggle for continuity is a natural. And this CD proves the point. Enough said.

So what is good here? Obviously the classic “Sally Ann” that like “John Henry” has had a million incarnations. Hats off also to “Little Sadie” and “Black Annie”. However, if you only have time to listen to one give a listen to the title track “Dona Got A Ramblin’ Mind” then you will know why the old bluegrass tradition like the blues and folk ones are still in capable hands. Kudos, Drops.

*********************

Sally Ann

SALLY ANN [1]. AKA and see “Beano,” “Darneo,” "Dineo." Old‑Time, Breakdown. USA; West Virginia, Virginia, North Carolina. D Major. Standard tuning. AABB. One version of the tune was recorded for the Library of Congress by musicologist/folklorist Vance Randolph from Ozark Mountain fiddlers in the early 1940's. See also related tunes "Big Sweet Taters in Sandy Land," "Great Big Tater(s) in Sandy Land/Lot," "Sandy Land," "Sail Away Ladies" (Kentucky/Tennessee), "Wish(ed) I Had My Time Again" (Ky.). One version of the tune goes by the name "Dineo" in the Franklin/Floyd County area of southwestern Virginia, and it was recorded as “Darneo” by the Blue Ridge Highballers (Yazoo CD 2046). Among the many early recordings of the tune was a version by the Ashe County, North Carolina, string band Frank Blevins and His Tar Hell Rattlers, a name made up on the spot at the 1927 Columbia recording session in Atlanta for 16 year old fiddler Frank Blevins, his older brother and guitarist Ed Blevins and banjo player Fred Miller. The band’s playing was inspired by a few shots of corn liquor from a convenient jug. The Hill Billies, a Galax, Va., area band, recorded an influential version in 1925 (re-released on Document DOCD-8039). Fiddler Joe Birchfield (1911-2001) of Roan Mountain, Tennessee, played a version of “Sally Ann” in the key of C.

***

Cecil Sharp noted the following set of words from Mrs. Dellie Hughes of Crane River, Burnsville, North Carolina, in 1918:

***

O where are you going Sally Anne (x3)

I’m going to the wedding, Sally Anne.

***

O shake that little foot, Sally Anne (x3)

You’re a pretty good dancer, Sally Anne.

***

These are from another traditional source (from Mudcat):

***

Ever see a muskrat, Sally Ann,

Draggin' his thick tail through the sand,

Pickin' a banjo, kickin' up sand?

I'm gonna marry you, Sally Ann.

***

Chorus:

I'm gonna marry you, Sal gal,

I'm gonna marry you, Sally Ann.

I'm gonna marry you, Sal gal,

I'm gonna marry you, Sally Ann.

***

Make my livin' in sandy land,

Make my livin' in sandy land,

Make my livin' in sandy land,

Raise them taters, Sally Ann.

***

So, y'ever see a muskrat, Sally Ann,

Draggin' his thick tail through the sand,

Pickin' a banjo, kickin' up sand?

I'm gonna marry you, Sally Ann.

***

Source for notated version: John Ashby (Virginia) [Brody, Phillips]. Brody (Fiddler’s Fakebook), 1983; pg. 244. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 209. County 405, "The Hillbillies." County 727, John Ashby‑ "Old Virginia Fiddling." Document 8039, “The Hill Billies/Al Hopkins and His Buckle Busters: Compoete Recorded Works in Chronological Order, vol. 1” (reissue). Folkways FA2434, Norman Edmonds and the Old Timers ‑ "The 37th Old‑Time Fiddlers' Convention at Union Grove, North Carolina" (1961). Library of Congress (2741-B-1), 1939, J.W. 'Peg' Thatcher (Franklin County, Virginia). Musical Traditions MTCD321-2, Pug Allen (et al.) – “Far on the Mountain: vol’s. 1 & 2” (re-release, 2002). OKeh 40336 (78 RPM), The Hillbillies (1925). Old Hat Enterprises CD, “Music from the Lost Provinces” (1997). Revonah RS‑932, The West Orrtanna String Band ‑ "An Orrtanna Home Companion" (1978. Learned from Henry Reed via the Hollow Rock String Band). Rounder 0058, Clell Caudill‑ "Old Originals, vol. II" (1978). Rounder CD0262, Mike Seegar - "Fresh Old-Time String Band Music" (1988. Appears as "Pork Fat Makes My Chicken Tan," an unusual variation by the Horseflies and the Agents of Terra, Ithaca, N.Y., string bands in which the fiddle is tuned EDad). Yodel-Ay-Hee 020, Rafe Stefanini & Bob Herring - "Old Paint."

Friday, June 01, 2012

What Joyell Found Out About Herself-Elizabeth Cotten Is In The House –A CD Review

Click on the headline to link to a YouTube film clip of Elizabeth Cotten performing her famous road song blues, Freight Train.

Freight Train and Other North Carolina Folk Songs and Tunes, Elizabeth Cotten, Smithstonian Folkways, 1989


Freight train, freight train going so fast,
Freight train, freight train going so fast,
Please don’t say what train I’m on,
So they won’t know where I’ve gone.

-Chorus from ancient folk blues artist Elizabeth Cotton’s Freight Train.

As this story unfolds the song, in an upbeat Peter, Paul and Mary-style version, is being covered just now near the well-stocked, well-stoked fireplace of the great room in a rural New Hampshire hard winter snow former religious order assembly hall by some upstart urban folkie a long way from his home and a long way from that 1960s folk revival minute that had had even jaded aficionados from the generation of ’68 clamoring for more.

And in the front hall entrance adjacent to that great room where that old-time folkie and his old-time tune are being heard by a small early-bird arrival gathering crowd who never tire of the song, and who this night certainly do not tire of being close by the huge well stocked, well-stoked fireplace where the old brother, hell, let’s give him a name, Eric, Eric from Vermont, okay, is holding forth. The place, for the curious: the Shaker Farm Peace Pavilion (formerly just plain vanilla Shaker Farms but the trust fund babies who bought and donated the site, ah, insisted in their, of course, anonymous way on the added signature) the scene of umpteen peace conferences, anti-war parlays, alternative world vision seminars, non-violent role-playing skits, personal witness actions worked out, hospice for worn-out ideas, ditto frustrations, and an off-hand small victory or two.

That last part, that desperate last part, is what keeps the place afloat, afloat in this oddball of a hellish anti-war year 1971 when even hardened and steeled old-time peace activists against the Vietnam War are starting to believe they will be entitled to Social Security for their efforts before this bloody war is over. Hence this particular great room fireplace warm, complete with booked in folkie singer, umpteenth conference. But onward brothers and sisters and let us listen in to the following conversation overheard in the front hall just to the left of the great room:

“Hi, Joyell, glad you could make it to the conference. Are you by yourself or did you bring Steve with you?” asked Jim Sweeney, one of the big honchos, one of the big organizational honchos and that is what mattered these dog days when all hope appears to have been abandoned, these now fading days of the antiwar movement trying yet again to conference jump start the opposition to Nixon’s bloody escalations and stealthy tricky maneuvers.

“Good to see you too, Jim,” answered Joyell, who said it in such a singsong way that she and Jim Sweeney, obviously, had in some mystic time, maybe some summer of love time before everything and everybody needed twelve coats of armor, emotional armor, just to move from point A to point B, been more than fellows at one of those umpteen peace things. Joyell knew, knew from some serious reflection last summer, that she had put on a few coats herself and she was just a self-confessed rank and filer. And then their “thing” just faded for lack of energy, lack of high “ism” politics on Joyell’s part unlike frenetic Jim, and for the cold, hard fact that Jim at the time wanted to devote himself totally to the “movement” and could not “commit” to a personal relationship.

Jesus, can’t any guy commit to anything for more than ten minutes Joyell thought to herself. From the weathered look on his face Jim was still in high thrall to “saving the earth” although rumor had it that Marge Goodwin, ya, that Marge Goodwin, the “mother” of organizers every since she almost single-handedly called out the national student strike in 1970, almost had her hooks into him, into him bad from all reports.

“No, Steve and I are not together anymore since he split to “find himself” on some freight train heading west, heading west fast away from me, I think. But you don’t want to hear that story, and besides we have to push on against this damn war, Steve or no Steve and his goddamn freight smoke-trailing dreams.” What Joyell didn’t say was that she was half-glad, no quarter-glad, Steve had split since they last couple of months had been hell. A fight a day it seemed, two a day at the end.

Reason: Steve too was not ready to “commit” to a personal relationship what with the whole going to hell in hand basket (his expression). Besides they all had plenty of time, a life-time to get “serious” and, forbidden words, “settle down.” And here is where the quarter-glad part comes in. Steve was getting in kind of heavy with some Weathermen-types and while that did not cause an argument a day between them it didn’t help. Joyell half expected to hear that Steve, Steve the meek pacifist, a freaking meek Catholic Worker guy, just a couple years before blew up something, or got blown up. Jesus, she thought, was I that hard to take, hard to get along with.

“I’m sorry to hear that Joyell. Maybe when we get a break later we can talk.” Of course, and maybe for the same Steve smoke-trailing-freight-dream-escape-seeking-the-great-American be-bop night reason, or maybe a heroic end traced out since boyhood redemptions reason, Jim and Joyell never would meet later, as Jim would be tied up, well, tied up in whatever organizational thing he was honcho of these days. Their time too had irrevocably passed. And now, and from here on in, this is Joyell’s time, her story, her voice as she enters the spacious but cold, distant from the well-stoked fireplace cold, conference room to the left of the great room with its rickety elongated table weighted down with timeless banging against ten thousand flickered night dreams, scarecrow chairs that caused more than one modern arched back to falter helplessly, and unhealthy air, air make rank from too many spent speeches, and spent dreams.
*******
“Who is that guy over in the corner, that green corner coach, the guy with the kind of wispy just starting to fill out brown beard, and those piercing blue eyes, that I just passed I’ve not seen him around before,” Joyell asked herself and then Marge Goodwin, expecting Marge the crackerjack organizer of everything from antiwar marches to save the, and you can fill in the blank, to know all the players. Moreover Marge and Joyell got along well enough for Joyell to ask such a question, “girl talk,” they called it between themselves although to the “men” this was a book sealed with seven seals since the “correct” thing was to put such girlish things back in prehistoric times, four or five years ago okay. Joyell also sensed that since Marge’s “thing” with Jim hadn’t worked out they had something in common, although nothing was ever said. Nor would it be.

“Oh, that’s Frank Jackman, the anti-war GI who just got out of the stockade over at Fort Shaw last week and he is ready to do some work with us,” volunteered Marge, who Joyell later that evening heard had gotten, or had tried to get, very familiar with the ex-army soldier resister. Marge had a thing for “heroic” guys. Heroic guys being guys like Jim, Joan Baez’s hubby, David Harris, who had refused draft induction, the Berrigan Brothers who were getting ready to do time (although she couldn’t get that damn Catholic trick part that drove their actions) and now this Frank Jackman who had done a year, a tough soldier non-soldier year, some of it in solidarity, in the stockade for refusing go to Vietnam (and refusing to wear the military uniform at one point). Joyell also heard from another source that evening that it was no dice between Marge and Frank. The source though it was that Marge always getting what Marge wanted when it came to “movement men” thought this guy would just cave in and take the ride. Not this guy, no way, not after taking on the “big boys.” No dice, huh. That’s a point in his favor.

“Oh, that’s why his beard is so wispy and he is wearing those high top still polished black boots and that size too big Army jacket with those bell-bottomed jeans. He certainly has the idea of what it takes to fit in here. ” Joyell figured out, figured out loud. Marge just nodded, nodded kind of dismissively that she was right. And then left to do some organization business setting up the evening’s work.

And then suddenly, she, Joyell David, freshly-damaged in love’s unequal battles but apparently not ready to throw in the towel, got very quiet, very quiet like she always did when some guy caught her eye, well, more than her eye tonight, now that Steve was so much train smoke out in the cornfields somewhere. Maybe it was the armor New York City brashness, hell Manhattan grow-up hard and necessary brashness required in a too many people universe, and learned from her very opinionated father, that her quietness tried to rein in at times like this so guys, guys like this Frank, wouldn’t be thrown off. But whatever it was that drove her quietness she was taking her peeks, her quiet half- peeks really, at this guy. With Steve, and a few other guys, it was mostly full steam ahead and let the devil take the hinter post. This time her clock said take it easy, jesus, take it easy.

And as she found herself catching herself taking more and more of those telltale peeks she noticed, noticed almost by instinct, almost by some mystical sense that he was “checking” her out, although their dueling eyes had not met. All of a sudden, after Jim had finished giving the opening address about what the conferees were trying to do, this Frank Jackman stood up quickly without introduction and started talking, in a firm voice, about the need to up the ante, to create havoc in the streets, and in the army camps. And do it now, and with some sense of urgency. But he said it all in such way that everybody in the room, all forty or fifty of them, knew, or should have known, that this was not some ragtag wispy–bearded fresh “days of rage” kid spirit, freshly bell-bottom pants minted, but some kind of revolutionary, some kind of radical anyway, who had thought about things a lot and wasn’t just a flame-thrower like she had seen too many of lately, including Steve, before he went to find himself.

When Frank was done he looked, half-looked really, quickly in her direction like he was seeking her, and just her, approval. And like he needed to know and know right this minute that she approved. She blushed, and hoped it did not show. And hoped that she had read his look in her direction correctly. But before that blush could subside she blushed again when out of no where this Frank gave her a another look, a serious checking out look if she knew her “movement” men, not a leer like some drunken barroom guy, or “come on honey,” like a schoolboy but a let’s talk high “ism” talk later, and see what happens later, later. Maybe this umpteenth conference would work out after all.

So our Joyell was not surprised, not surprised at all, when during the break, the blessed break after two non-stop hours of waiting, Francis Alexander Jackman (that’s what he was called from when he was a kid and it kind of stuck but he preferred simple Frank) came up behind, tapped her gently on the shoulder to get her attention, introduced himself without fanfare or with any heroic poses, and thanked her for her work on his behalf.

“What do you mean, Frank?” she asked, bewildered by the question. “Oh, when your Peace Action committee came up to Fort Shaw and demonstrated for my freedom,” he replied in kind of a whisper voice, very different from his public voice, a voice that had known some tough times recently and maybe long ago too, but that soft whisper what was she needed, needed to hear from a righteous man, just now. The shrill of Steve’s voice, and a couple of other in her string of forgotten luck, still echoed in her brain.

“That was you? I didn’t make the connection. I didn’t know that was you, sorry, that was about a year ago and I have been going non-stop with this antiwar march and that women’s lib things. Were you in the stockade all that time?” she continued.

“Ya,” just a ya came in return, not forlorn or anything like that but just a simple statement of fact, of the fact that he had needed to do what he did and that was that, next question, came that soft reply like this Frank and she were on some same wave-length. She was confused, confused more than a little that he had that strong effect on her after about five minutes of just general conversation.

Just then Marge, super-organizer but, as Joyell had already gathered intelligence on, not above having the last say in her little romances with the newest heroes of the movement, or trying to, called to Frank that Stanley Bloom, the big national anti-war organizer, wanted his input into something. But before he left soft -whispering still, calm still, unlike when he talked, talked peace action talk, he mentioned kind of kid-like, bashful kid-like, maybe they could meet later. Joyell could barely contain herself, and although she usually acted bashfully at these times, kind of a studied bashfulness starting out, even with Steve and some of the movement guys, she just blurted out, “We’d better.” He replied, a little stronger of voice than that previous whisper, “I guess that is a command, right?” And they both laughed, laughed an adventure ahead laugh.

Later came, came, evening session complete, as they were sitting across from each other in the great room, the great fireplace room where Eric was going through his second rendition of Freight Train to get the room revved up for his big stuff. Frank came over and asked, back to whisper asked, if Joyell would like to go outside for a breath of fresh winter air. Or maybe somewhere else, another room inside, if she didn’t like the cold or snow. No second request was necessary, and no coyness on her part either with this guy, as she quickly went to the coat rack and put on her coat, scarf, and boots. And so it went.

They talked, or rather she talked a blue streak, a soft-spoken blue streak like Frank’s manner was contagious and maybe it was, and then he would ask a question, and ask it in such a way that he really wanted to know, know her for her answer and not just to ask, polite ask. As they walked, and walked, and as the snow got deeper she kind of fell, kind of helpless on purpose fell. On purpose fell expecting that he might kiss her. But all he did was pick her up, firmly, held her in his arms just a fraction of a second, but a fraction of a second enough to let her know, and let her feel, that they had not seen the last of each other. And just for that cold, snow-driven February night, as war raged on in some distance land, and as she gathered in her tangled emotions after many romantic stumbles and man disappointments, that thought was enough.

Thursday, February 09, 2012

To Joyell Davin In Lieu Of A Letter- With J.E.D. In Mind

To Joyell Davin In Lieu Of A Letter- With J.E.D. In Mind

Freight train, freight train going so fast,
Freight train, freight train going so fast,
Please don’t say what train I’m on,
So they won’t know where I’ve gone.

-Chorus from ancient folk blues artist Elizabeth Cotten’s Freight Train.

As this story unfolds, Elizabeth Cotten’ s Freight Train, in an upbeat Peter, Paul and Mary-style version complete with Bleecker Street reference, is being covered just then near the well firewood- stocked, well-stoked fireplace of the great room in a hard winter, February version, snow-covered rural New Hampshire old time religious order assembly hall by some upstart urban folkie a long way from his home and a long way from that 1960s folk revival minute that then had had even jaded aficionados from the generation of ’68 clamoring for more.

Meanwhile, the front hall entrance adjacent to that great room where that old-time folkie and his old-time tune are being heard by a small early-bird arrival gathering crowd who never tire of the song, and who this night certainly do not tire of being close by the huge well stocked, well-stoked fireplace where the old brother, hell, let’s give him a name, Eric, Eric from Vermont, okay, is holding forth is starting to fill with more arrivals to be checked in and button-holed. The place, for the curious: the Shaker Farms Peace Pavilion (formerly just plain vanilla Shaker Farms Assembly Hall but the “trust fund babies” who bought and donated the site, ah, insisted in their, of course, anonymous way on the added signature) the scene of umpteen peace conferences, anti-war parlays, alternative world vision seminars, non-violent role-playing skits, and personal witness actions worked out. A handy hospice for worn-out ideas, ditto frustrations, and an off-hand small victory or two.

That very last part, that desperate victory last part, is what keeps the place afloat, afloat in this oddball of a hellish anti-war year 1971 when even hardened and steeled old-time peace activists against the Vietnam War are starting to believe they will be entitled to Social Security for their efforts before this bloody war is over. Hence the urgency behind this particular great room fireplace warm, complete with booked-in urban folkie singer, umpteenth anti-war conference. But onward brothers and sisters and let us listen in to the following conversation overheard in that now crowded front hall:

“Hi, Joyell, glad you could make it to the conference. Are you by yourself or did you bring Steve with you?” asked Jim Sweeney, one of the big honchos, one of the big organizational honchos and that is what matters these dog days when all hope appears to have been abandoned, these now fading days of the antiwar movement trying yet again to conference jump start the opposition to Nixon’s bloody escalations and stealthy tricky maneuvers.

“Good to see you too, Jim,” answered Joyell, who said it in such a singsong way that she and Jim Sweeney, obviously, had been in some mystic time, maybe some summer of love time before everything and everybody needed twelve coats of armor, emotional armor, just to move from point A to point B, more than fellows at one of those umpteen peace things. Joyell knew, knew from some serious reflection last summer, that she had put on a few more armor coats herself and, hell, she was just a self-confessed rank and filer. Their “thing” had just faded though for lack of energy, lack of high “ism” politics on Joyell’s part unlike frenetic Jim, and for the cold, hard fact that Jim at the time wanted to devote himself totally to the “movement” and could not “commit” to a personal relationship.

“Jesus, can’t any guy commit to anything for more than ten minutes,” Joyell thought to herself. From the weathered look on his face Jim was still in high thrall to “saving the earth” although rumor had it that Marge Goodwin, ya, that Marge Goodwin, the “mother” of organizers every since she almost single-handedly called out the national student strike in 1970, almost had her hooks into him, into him bad from all reports.

“No, Steve and I are not together anymore since he split to “find himself” on some freight train heading west, heading west fast away from me, I think. But you don’t want to hear that story, and besides we have to push on against this damn war, Steve or no Steve and his goddamn freight smoke-trailing dreams.” What Joyell didn’t say was that she was half-glad, no quarter-glad, Steve had split since the last couple of months had been hell. A fight a day it seemed, two a day at the end.

Reason: Steve too was not ready to “commit” to a personal relationship what with the whole world going to hell in hand-basket (his expression). Besides they all had plenty of time, a life-time to get “serious” and, forbidden words, “settle down.” Here is where the quarter-glad part comes in. Steve was getting in kind of heavy with some Weathermen-types and while that did not cause an argument a day between them it didn’t help. Joyell half expected to hear that Steve, Steve the meek pacifist, a freaking meek Catholic Worker guy just a couple years before, blew up something, or got blown up. Jesus, she thought, was I that hard to take, hard to get along with.

“I’m sorry to hear that Joyell. Maybe when we get a break later we can talk.” Of course, and maybe for the same Steve smoke-trailing-freight-dream-escape-seeking-the-great-American be-bop night reason, or maybe a heroic end traced out since boyhood redemptions reason, Jim and Joyell never would meet later, as Jim would be tied up, well, tied up in whatever organizational thing he was honcho of these days. Their time too had irrevocably passed. And now, and from here on in, this is Joyell’s time, her story, her voice as she enters the spacious but cold, distant from the well-stoked fireplace cold, conference room to the left of the great room with its rickety elongated table weighted down with timeless banging against ten thousand flickered night dreams, scarecrow chairs that caused more than one modern arched-back to falter helplessly, and unhealthy air, air make rank from too many spent speeches, and spent dreams.
*******
“Who is that guy over in the corner, that green corner coach, the guy with the kind of wispy just starting to fill out brown beard, and those fierce piercing goy blue eyes, that I just passed? I’ve not seen him around before,” Joyell asked herself and then Marge Goodwin, expecting Marge the crackerjack organizer of everything from antiwar marches to save the, and you can fill in the blank, to know all the players. Moreover Marge and Joyell got along well enough for Joyell to ask such a question, “girl talk,” they called it between themselves although to the “men” this was a book sealed with seven seals since the “correct” thing was to put such girlish things back in prehistoric times, four or five years ago okay. Joyell also sensed that since Marge’s “thing” with Jim hadn’t worked out they had something in common, although nothing was ever said. Nor would it be.

“Oh, that’s Frank Jackman, the anti-war GI who just got out of the stockade over at Fort Shaw last week and he is ready to do some work with us,” volunteered Marge. Later that evening Joyell would hear from a reliable source that Marge had gotten, or had tried to get, very familiar with the ex-army soldier resister. Marge had a thing for “heroic” guys. Heroic guys being guys like Jim, Joan Baez’s hubby, David Harris, who had refused draft induction, the Berrigan Brothers who were getting ready to do time for draft board record destruction (although she, Marge, couldn’t get that damn Catholic trick part that drove their actions) and now this Frank Jackman who had done a year, a tough soldier non-soldier year, some of it in solidarity, in the stockade for refusing go to Vietnam (and refusing to wear the military uniform at one point). Joyell also heard from another source that evening that it was no dice between Marge and Frank. This source thought it was that Marge, always getting what Marge wanted when it came to “movement men,” figured this guy would just cave in and take the ride. Not this guy, no way, not after taking on the “big boys” over at Fort Shaw. No dice, huh. That’s a point in his favor. But that was later fuel.

“Oh, that’s why his beard is so wispy and he is wearing those silly high top polished black boots and that size too big Army jacket with those bell-bottomed jeans. He certainly has the idea of what it takes to fit in here,” Joyell figured out, figured out loud. Marge just nodded, nodded kind of dismissively that she was right. And then left to do some organization business setting up the evening’s work.

And then suddenly, she, Joyell Davin (suitably Americanized, naturally, a couple of generations back), freshly-damaged in love’s unequal battles but apparently not ready to throw in the towel, got very quiet, very quiet like she always did when some guy caught her eye, well, more than her eye tonight, now that Steve was so much train smoke out in the cornfields somewhere. Maybe it was the New York City armor-coated brashness, hell Manhattan grow-up hard and necessary brashness required in a too many people universe, and learned from her very opinionated father, that her quietness tried to rein in at times like this so guys, guys like this Frank, wouldn’t be thrown off. But whatever it was that drove her quietness she was taking her peeks, her quiet half- peeks really, at this guy. With Steve, and a few other guys, it was mostly full steam ahead and let the devil take the hinter- post. This time her clock said take it easy, jesus, take it easy.

And as she found herself catching herself taking more and more of those telltale peeks she noticed, noticed almost by instinct, almost by some mystical sense that he was “checking” her out, although their dueling eyes had not met. Then, after Jim had finished giving the opening address about what the conferees were trying to do, this Frank Jackman stood up quickly without introduction and started talking, in a firm voice, about the need to up the ante, to create havoc in the streets, and in the army camps. And do it now, and with some sense of urgency. But he said it all in such way that everybody in the room, all forty or fifty of them, knew, or should have known, that this was not some ragtag wispy–bearded fly-by-night “days of rage” kid spirit, freshly bell-bottom pants minted, but some kind of revolutionary, some kind of radical anyway, who had thought about things a lot and wasn’t just a flame-thrower like she had seen too many of lately, including Steve, before he went to find himself.

When Frank was done he looked, half-looked really, quickly in her direction like he was seeking her, and just her, approval. And like he needed to know and know right this minute that she approved. She blushed, and hoped it did not show. And hoped that she had read his look in her direction correctly. But before that blush could subside she blushed again when out of nowhere this Frank gave her a another look, a serious checking out look if she knew her “movement” men, not a leer like some drunken barroom guy, or “come on, honey,” like a schoolboy but a let’s talk high “ism” talk later, and see what happens later, later. Maybe this umpteenth conference would work out after all.

So our Joyell was not surprised, not surprised at all, when during the break, the blessed break after two non-stop hours of waiting, Francis Alexander Jackman (that’s what he was called from when he was a kid and it kind of stuck but he preferred simply Frank) came up behind, tapped her gently on the shoulder to get her attention, introduced himself without fanfare or with any heroic poses, and thanked her for her work on his behalf.

“What do you mean, Frank?” she asked, bewildered by the question. “Oh, when your Peace Action committee came up to Fort Shaw and demonstrated for my freedom,” he replied in kind of a whisper voice, very different from his public voice, a voice that had known some tough times recently and maybe long ago too, but that soft whisper was what she needed, needed to hear from a righteous man, just now. The shrill of Steve’s voice, and a couple of others in her string of forgotten luck, still echoed in her brain.

“That was you? I didn’t make the connection. I didn’t know that was you, sorry, that was about a year ago and I have been going non-stop with this antiwar march and that women’s lib things. Were you in the stockade all that time?” she continued.

“Ya,” just a ya, not forlorn or anything like that but just a simple statement of fact, of the fact that he had needed to do what he did and that was that, next question, came that soft reply like this Frank and she were on some same wave-length. She was confused, confused more than a little that he had that strong effect on her after about five minutes of just general conversation.

Just then Marge, super-organizer but, as Joyell had already gathered intelligence on by then, not above having the last say in her little romances with the newest heroes of the movement, or trying to, called to Frank that Stanley Bloom, the big national anti-war organizer, wanted his input into something. But before he left soft -whispering still, calm still, unlike when he talked, talked peace action talk, he mentioned kind of kid-like, bashful kid-like, maybe they could meet later. Joyell could barely contain herself, and although she usually acted bashfully at these times, kind of a studied bashfulness starting out, even with Steve and some of the movement guys, she just blurted out, “We’d better.” He replied, a little stronger of voice than that previous whisper, “I guess that is a command, right?” And they both laughed, laughed an adventure ahead laugh.

Later came, evening session complete, as they were sitting across from each other in the great room, the great fireplace room where Eric was going through his second rendition of Freight Train to get the room revved up for his big stuff. Frank came over and asked, back to whisper asked, if Joyell would like to go outside for a breath of fresh winter air. Or maybe somewhere else, another room inside perhaps if she didn’t like the cold or snow. No second request was necessary, and no coyness on her part either with this guy, as she quickly went to the coat rack and put on her coat, scarf, and boots. And so it went.

They talked, or rather she talked a blue streak, a soft-spoken blue streak like Frank’s manner was contagious, and maybe it was. Then he would ask a question, and ask it in such a way that he really wanted to know, know her for her answer and not just to ask, polite ask. As they walked, and walked, and as the snow got deeper as they moved away from the pavilion she kind of fell, kind of helpless on purpose fell. On purpose fell expecting that he might kiss her. But all he did was pick her up, gently but firmly, held her in his arms just a fraction of a second, but a fraction of a second enough to let her know, and let her feel, that they had not seen the last of each other. And just for that cold, snow-driven February night, as war raged on in some distance land, and as she gathered in her tangled emotions after many romantic stumbles and man disappointments, that thought was enough.

Tuesday, February 17, 2009

"Freight Train" Coming Home- The Picking Of Elizabeth Cotten

DVD Review

February Is Black History Month

Elizabeth Cotton: In Concert: 1969, 1975 &1980, Elizabeth Cotten, Vestapol Productions, 2004

Most of the points that I made in a previous review, the first paragraph of which is reposted below, of Elizabeth Cotten’s CD album for Folkways apply here as well.

“There is something about these North Carolina style guitar pickers that is very appealing. And here I am thinking not only of the artist under review, the legendary Elizabeth Cotten, but also another female picker extraordinaire Etta Baker, as well. It is different from the Delta pick, for sure. They pick cleanly, simply but with verve. Ms. Cotten shows her stuff here on her first album from Folkways. Here we have the folk classic, no super-classic, “Freight Train” that was a rite of passage for every one from Peter, Paul and Mary to Dave Van Ronk to Tom Rush to record in the early 1960’s. Along with that tune we have some nice renditions of “I Don’t Love Nobody” and a few medleys like “Sweet Bye and Bye” combined with “What A Friend You Have in Jesus” (that I believe Blind Willie Johnson first recorded, or variation of it at least). Listen away but also save your money up to get the album with “Shake Sugaree’’ (get the one with her granddaughter singing along) on it. That’s the ticket.”

The same can be said here of Ms. Cotten’s work as Stefan Grossman, who has produced several other videos featuring legendary country blues singers and instrumentalists, grouped together several concerts and/or interviews that Ms. Cotton gave in 1969, 1975 and 1980. Moreover, this subtly engaging and seemingly modest performer is fairly forthcoming in describing her long struggle to become one of the great guitarists, male or female, of this genre. Parts of this material are slow, parts are repetitious (especially of repeated versions of “Freight Train”) but overall one can learn about folk history. Or about guitar playing for those so inclined. At the end of the last concert where she does a little different rendition of "Shake, Sugaree” with verve is worth the price of admission here.