Fifty years ago, Alan Lomax (folk music collector) recorded the first United States Sacred Harp Musical Association convention at Fyffe, Alabama. His recordings, published by the Library of Congress and later reissued by Rounder records, introduced Sacred Harp music to a wide audience outside the South. And, with the influx of many non-traditional singers since then, his recording is one of the best testaments to traditional Sacred Harp singing. This Saturday and Sunday, the United States Sacred Harp Musical Association returns to Fyffe. Get there early--it's going to be crowded. But check Youtube, Flickr and Facebook in the next few days--there's bound to be plenty of modern field recordings of the event. (Previously: Singing School, 'The Lost Tonal Tribe').
posted by wfitzgerald on Sep 11, 2009 - 10 comments

That's the Sound of the Man Working on the Chain Gang Among all genres of American folk music, prison songs may be the most viscerally compelling. They evolved from plantation songs and field hollers of slaves in the American South before the civil war (whose origins can in turn be traced to patterns found in the music of West Africa) but their tone and content is quite different. Limitless in length, bitter and pained, offering little hope of freedom or redemption, these songs were first heard during Reconstruction. Harsh and unevenly enforced laws incarcerated legions of black American men, consigning them to long sentences of labor for minor offenses like insult, fistfighting, and shoplifting. To shore up a tanking Southern economy, prisons leased convict labor to plantation owners as a low-cost replacement for slave labor. When reform efforts brought that to an end, state governments became the contractors. Sweetheart deals awarded lucrative contracts to prisons to provide labor for rebuilding the railroads and highways of the war-destroyed South. Slavery in all but name, these work conditions gave rise to a body of music that is one of the most significant antecedents of the blues. In hundreds of variants, cadenced to axe-fall, hoe stroke, or the drop of a maul, the songs set a working pace a man could sustain from dawn to dusk, while remaining fast enough to satisfy an armed 'Captain' on horseback.
posted by Miko on Aug 27, 2006 - 33 comments

Vera Hall was a black woman born near Livingston, Alabama at the turn of the century. She grew up in a supportive family and community, but in difficult, poor rural living conditions. At a young age, Hall became a respected and devout member of the church, and remained so for the rest of her years. But after leaving home, she also fell in with more worldly crowd, for whom blues, craps, and alcohol were the entertainments of choice. The tension between these two spheres-- that of spirituals and the church, on one hand, and that of blues and the juke-joint, on the other-- is a theme that recurred throughout her life and infused her music. She drew upon both perspectives to cope with and overcome her life's perennial difficulties; sadly, it was dotted with tragedy: she lost both parents, a sister, a husband, a daughter, and two grandchildren-- all before she herself passed away in 1964 at the age of 58.

The Vera Hall Project [+}
posted by y2karl on Sep 17, 2005 - 5 comments

"Now What a Time": Blues, Gospel, and the Fort Valley Music Festivals, 1938-1943
Approximately one hundred sound recordings, primarily blues and gospel songs, and related documentation from the folk festival at Fort Valley State College (now Fort Valley State University), Fort Valley, Georgia. The documentation was created by John Wesley Work III in 1941 and by Lewis Jones and Willis Laurence James in March, June, and July 1943. Also included are recordings made in Tennessee and Alabama by John Work between September 1938 and 1941. Audio Title Index

The John and Ruby Lomax 1939 Southern States Recording Trip
Folk singers and folksongs documented during a three-month trip through the southern United States. Audio Title Index

California Gold: Northern California Folk Music From the Thirties
Materials from the WPA California Folk Music Project Collection, including sound recordings, still photographs, drawings, and written documents from a variety of European ethnic and English- and Spanish-speaking communities in Northern California. The collection comprises 35 hours of folk music recorded in twelve languages representing numerous ethnic groups and 185 musicians. Audio Title Index (As Always, More Inside)
posted by y2karl on Apr 14, 2003 - 12 comments