*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."

***North Carolina Picking- Elizabeth Cotten and Etta Baker

Elizabeth Cotton

Etta Baker
CD REVIEWS

Freight Train and Other North Carolina Folk Songs and Tunes, Elizabeth Cotton, Smithsonian-Folkways, 1989




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 Cotton, 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. Cotton 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.


One-Dime Blues, Etta Baker, Rounder Records, 1991

Recently I mentioned in reviewing Elizabeth Cotton’s Freight Train album from Folkways that there was something appealing about these North Carolina style guitar pickers. It is different from the Delta pick, for sure. They pick cleanly, simply but with verve. The Delta is a little more heavy-handed reflecting, I think, the woes of picking that cotton all week. Damn, I would be guitar picking like Keith Richards under those conditions. Ms. Baker shows her stuff here on this almost exclusively instrumental album from Rounder Records. The one vocal that she does do here –Broken-Hearted Blues- makes me wish that she had done more vocals but the guitar can carry her through on this album- no problem. Highlights here include some old country blues classics-John Henry, Crow Jane, Railroad Bill, Spanish Fandango and so on. Nice, nice touch. Nice, nice music.

*Singing The Blues For His Lord- The Reverend Gary Davis Is On Stage

Click On Title To Link To YouTube's Film Clip Of Reverend Gary Davis Performing On Pete Seeger's "Rainbow Quest".

CD Review

Twelve Gates To The City: Reverend Gary Davis: In Concert 1962-1966, Shanachie Records, 2000

I have mentioned many of the old time black male country blues singers in this space, for example, Son House, Bukka White and Skip James. I have also mentioned the close connection between this rural music, the routine of life on the farm (mainly the Mississippi Delta plantations or sharecropping) and simple religious expression in their works. The blues singer under review meets all of those criteria and more. The Reverend Gary Davis, although not as well known in the country blues pantheon, has had many of his songs covered by the denizens of the folk revival of the 1960's and some rock groups, like The Grateful Dead, looking for a connection with their roots. Thus, by one of the ironies of fate his tradition lives on in popular music. I would also mention here that his work was prominently displayed in one of the Masters Of The Blues documentaries that I have reviewed in this space. That placement is insurance that that the Reverend's musical virtuosity is of the highest order. As an instrumentalist he steals the show in that film. Enough said.

Stick out songs here are the much-covered "Samson and Delilah", "Cocaine Blues" (from when it was legal, of course), "Twelve Keys To The City" and the gospelly "Blow Gabriel" and “Who Shall Deliver Poor Me”

Some Biographical Information From the Back Cover

Durham, North Carolina in the 1930's was a moderate sized town whose economy was driven by tobacco farming. The tobacco crop acted somewhat as a buffer against the worst ravages of the Depression. During the fall harvest, with its attendant tobacco auctions, there was a bit more money around, and that, naturally, attracted musicians. Performers would drift in from the countryside and frequently took up residence and stayed on. Two master musicians who made Durham their home, whose careers extended decades until they become literally world famous, were Reverend Gary Davis and Sonny Terry.

REV. GARY DAVIS

Reverend Gary Davis was one of the greatest traditional guitarists of the century. He could play fluently in all major keys and improvise continually without repetition. His finger picking style was remarkably free, executing a rapid treble run with his thumb as easily as with his index finger and he had great command of many different styles, representing most aspects of black music he heard as a young man at he beginning of the century. Beyond his blues-gospel guitar, Davis was equally adept at ragtime, marches, breakdowns, vaudeville songs, and much more. Born in Lawrence County, South Carolina in 1895, Davis was raised by his grandmother, who made his first guitar for him. Learning from relatives and itinerant musicians, he also took up banjo and harmonica. His blindness was probably due to a congenital condition. By the time he was a young man he was considered among the elite musicians in his area of South Carolina where, as in most Southern coastal states, clean and fancy finger picking with emphasis on the melody was the favored style. Sometime in the early 1950's, Davis started a ministry and repudiated blues. In 1935, he recorded twelve gospel songs that rank among the masterpieces of the genre. In 1944, he moved to New York where he continued his church work, and sometimes did some street singing in Harlem. By the early 1960's, with the re-emergence of interest in traditional black music, Davis finally received the recognition and prominences he so richly deserved.

*******


- Blow, Gabriel, Blow Lyrics


[RENO]
Brothers and sisters, we are here tonight to fight the devil...
Do you hear that playin'?

[COMPANY]
Yes, we hear that playin'!

[RENO]
Do you know who's playin'?

[COMPANY]
No, who is that playin'?

[RENO]
Well, it's Gabriel, Gabriel playin'!
Gabriel, Gabriel sayin'
"Will you be ready to go
When I blow my horn?"

Oh, blow, Gabriel, blow,
Go on and blow, Gabriel, blow!
I've been a sinner, I've been a scamp,
But now I'm willin' to trim my lamp,
So blow, Gabriel, blow!

Oh, I was low, Gabriel, low,
Mighty low, Gabriel, low.
But now since I have seen the light,
I'm good by day and I'm good by night,
So blow, Gabriel, blow!

Once I was headed for hell,
Once I was headed for hell;
But when I got to Satan's door
I heard you blowin' on your horn once more,
So I said, "Satan, farewell!"

And now I'm all ready to fly,
Yes, to fly higher and higher!
'Cause I've gone through brimstone
And I've been through the fire,
And I purged my soul
And my heart too,
So climb up the mountaintop
And start to blow, Gabriel, blow

[ALL]
Come on and blow, Gabriel, blow!

[RENO]
I want to join your happy band
And play all day in the Promised Land.
So blow, Gabriel, blow!
Come on you scamps, get up you sinners!
You're all too full of expensive dinners.
Stand up on your lazy feet and sing!

[ALL]
Blow, Gabriel, blow, (Blow, Gabriel!)
Go on and blow, Gabriel, blow. (Blow, Gabriel!)
I've been a sinner, I've been a scamp,
But now I'm willin' to trim my lamp,
So blow, Gabriel, blow.

I was low, Gabriel, low, (Low, Gabriel!)
Mighty low, Gabriel, low.
But now since that I have seen the light
I'm good by day and I'm good by night
So blow, Gabriel, blow.

[RENO]
Once I was headed for hell,
Once I was headed for hell;
But when I got to Satan's door
I heard you blowin' on your horn once more,
So I said, "Satan, farewell!"

And now I'm all ready to fly,
Yes, to fly higher and higher!
'Cause I've gone through brimstone
And I've been through the fire,
And I purged my soul
And my heart too,
So climb up the mountaintop
And start to blow, Gabriel, blow

[ALL]
Go on and blow, Gabriel, blow!

[RENO]
I want to join your happy band
And play all day in the Promised Land.
So blow, Gabriel!

[ALL]
Go on and...
Blow, Gabriel, blow
Blow, Gabriel, blow
Blow, Gabriel, blow
I wanna join your happy band
And play all day in the Promised Land,
So blow, Gabriel, blow, Gabriel, blow, Gabriel, blow!

*Going Up Country, Blues Country That Is- Reverend Gary Davis And Sonny Terry Are In The House

Click on title to link to YouTube's film clip of Reverend Gary Davis performing "Children of Zion" on Pete Seeger's 1960s television show "Rainbow Quest"

DVD Review

Masters of the Country Blues: Reverend Gary Davis & Sonny Terry, Reverend Gary Davis, Sonny Terry, Yazoo/Shanachie Productions, 2001

The names Reverend Gary Davis and Sonny Terry are no strangers in this space. Anytime one wants to speak “country blues” those names along with those of Son House, Bukka White and Sonny’s long time, if estranged, playing partner come easily to mind. I first heard the Reverend Gary Davis at one of the early Newport Folk Festivals. Now listen up. I didn’t like him that much them. Of course in those days it was Son House, Mississippi John Hurt and Skip James that got my attention. But Reverend Gary Davis grows on you, especially when he gets a righteous song to tear into for about ten minutes like “Twelve Gates Of The City” (actually performed by Sonny here in his segment). Here “If I Had My Way” (aka "Samson and Delilah"), although not that long fills the bill. As for Sonny, needless to say when he is hot on his harmonica, as he is here on “Hootin’ The Blues”- watch out. Hey, the producers who went back to the 1960s vaults in putting together this DVD knew these guys were the masters, Taj Mahal, a great bluesman in his own right, who introduces the segments, knew they were masters, I know they are the masters and now you will too? Enough said.


Reverend Gary Davis lyrics

Death Don't Have No Mercy

Death don't have no mercy in this land
Death don't have no mercy in this land
He'll come to your house and he won't stay long
You'll look in the bed and somebody will be gone
Death don't have no mercy in this land

Well Death will go in any family in this land
Well Death will go in every family in this land
Well he'll come to your house and he won't stay long
Well you'll look in the bed and one of your family will be gone
Death will go in any family in this land

Well he never takes a vacation in this land
Well old Death never takes a vacation in this land
Well he'll come to your house and he won't stay long
Well you'll look in the bed and your mother will be gone
Death never takes a vacation in this land

Talk
Great God
Yeah

Well he'll leave you standin' and cryin' in this land
Well Death will leave you standin' and cryin' in this land
Well he'll come to your house and he won't stay long
You'll look in the bed and somebody will be gone
Death will leave you standin' and cryin' in this land

Old Death always in a hurry in this land
Old Death always in a hurry in this land
Well he'll come to your house and he won't stay long
You'll look in the bed and your mother will be gone
Death always in a hurry in this land

Well he won't give you time to get ready in this land
Well he won't give you time to get ready in this land
Well he'll come to your house and he won't stay long
Well you'll look in the bed and somebody will be gone
Death won't give you time to get ready in this land

Make your last talk
Talk to me Death
Talk to me


transcribed by Cheryl Rhodes, who wrote, "from Blind Gary Davis/Harlem Street Songs recorded in Englewood Cliffs, NJ August 24, 1960 (according to the liner notes) and released on CD under the Prestige/Bluesville Records (Fantasy) label



Samson and Delilah

by Reverend Gary Davis
©Chandos Music

(From the album - Gospel, Blues and Street Songs)



If I had my way
If I had my way
If I had my way
I would tear this old building down

Well Delilah, she was a woman fine and fair
She had good looks, God knows and coal black hair
Delilah, she came to Samson's mind
The first he saw this woman that looked so fine
Delilah, she set down on Samson's knee
Said tell me where your strength lies if you please
She spoke so kind, God knows, she talked so fair
'til Samson said 'Delilah, you can cut off my hair
You can shave my head, clean as my hand
And my strength 'come as natural as any a man'

If I had my way
If I had my way
In this wicked world
If I had my way
I would tear this old building down

Talk, Yeah
Yeah, Talk to me
Yeah, Yeah, talk to me
Yeah, what happened then?

If I had my way
If I had my way
If I had my way
I would tear this old building down

Yeah you read about old Samson, told from his birth
He was the strongest man that ever had lived on Earth
So one day while Samson was-a-walkin' along
He looked on the ground and saw an old jawbone
He stretched out his arm, God knows, it broke like flint
When he got to movin' ten-thousand was dead, Mmm

If I had my way
If I had my way in this wicked world
If I had my way
I would tear this old building down

Well old Samson and the lion got attacked
Samson he jumped up on the lion's back
So you read about this lion had killed a man with his paws
But Samson got his hand in the lion's jaws
He rid that beast until he killed him dead
And the bees made honey in the lion's head

Good God!

If I had my way
If I had my way
If I had my way
I would tear this old building down

If I had my way
If I had my way in this wicked world
If I had my way
I would tear this old building down

Good God

Let Us Get Together

by Reverend Gary Davis
©Chandos Music


Let us get together
Right down here 4x

Let us walk together
Right down here 4x

Let us do our living
Right down here 4x

Let us have our heaven
Right down here 4x

break

Let us walk together
Right down here 4x

Let us do our rejoicing
Right down here 4x

"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.