Coming Soon. Vintage Used. Sell Trade or Consign. The Repair Shop. Collectible Ephemera. Want File. Instruments Acoustic Guitars. Acoustic-Electric Guitars. Electric Guitars. Mandolin Family. Violin Family. Left-Handed Instruments. Vacuum Tubes. Electronic Tuners.
Power Supplies. Recording Equipment. Accessories Strings. Banjo Heads. Tuning Devices. Instrument Parts. I can remember Bob Norman, then Sing Out! That article became a key signal to young musicians about Tommy Jarrell; soon many began pilgrimages to him.
RA: Definitions make for a slippery slope; it is tricky to find words distinguishing that style from all others. Perhaps the best way to understand these differences would be to hear them on recordings.
The Round Peak banjo style was brought to its pinnacle with the playing of Charlie Lowe. Tommy Jarrell grew up hearing Charlie play with his father Ben. Comparing the Round Peak sound with the Library of Congress Bogtrotters recordings, the Galax sound is much more genteel and relaxed. The double noting style of Round Peak fills in gaps, adding a unique rhythmic component. Yet I feel they are all bound by an unswerving logic to a common source. I remember a Tommy Jarrell interview where he is asked about his style being regional and him responding no; he was the one who played that way.
And Kyle Creed feeling that at one time he was unique, but after younger folks started coming down, he was hearing himself play everywhere. RA: One might not be independent of the other. I think a regional style often originates and develops from the individual style of one or more influential local musicians.
In the early days before autos and paved roads, what a person heard came mostly from within the local community. Yet Kyle was bound to the same rock-steady timing and rhythmic power. It is possible some of this reflects the way music and dances evolved in the Round Peak community. Tommy told me that when the lead couple danced and everyone else was supposed to be inactive, no one could stand still, they all clogged in place, as if to punish the floor.
Just imagine the intensity of dances in a two room cabin, with only fiddle and banjo, jammed with people and the overpowering sound of clogging. RA: I was taken not only with the music, but as I came to know more about Southern culture and hospitality, I appreciated the warmth and acceptance of the people I encountered.
I often felt it easier to communicate with many Southerners, almost as a counterbalance to some of the aloofness I felt in the North. In a sense, I felt like a musical orphan who had been adopted by a wonderful group of people, not just musicians.
If it started as a mission, it soon became Tater Patch - Various - Clawhammer Banjo Volume 3 (Vinyl personal. BN: What about singing? BUT the younger folks seemed to be only interested in the instrumental tunes. How did this happen? A change occurred when Alan Jabbour and the Hollow Rock String Band began their playing and research, the music became all instrumental.
For myself, I love to hear the human voice and enjoy tremendously playing in that situation. Were you able to have any involvement with the southern music during the school year? We both had Revox tape recorders and made many reel to reel tapes of our visits.
Both Bob and Hank later came south with me to meet Tommy Jarrell. LP) began to change as new musicians entered the New York scene. I had just met James Leva in New Jersey and asked him to come in and join the band.
My old friend Bill Chaleff joined us. Then Paul Brown moved to the city after finishing at Oberlin College, and he joined up. It would have been one amazing group if we had then the knowledge and technique later acquired over the years. Almost everyone went on to become deeply involved with old time music. Jim later married Tara Nevins and now plays with her in Donna LP) Buffalo. This influenced Hank and Paul in diverse ways. On the other hand, Paul was influenced to move to the South, became an announcer for Mt.
Things were changing; it was a fluid time for the younger musicians and old time music in general, Tater Patch - Various - Clawhammer Banjo Volume 3 (Vinyl. Unfortunately for me then but fortunately for me now, I had on the golden handcuffs of a retirement system and continued teaching in NYC.
Al got free rent in return for LP) the place, which had been used to roost chickens for many years. InI got a spring term sabbatical from teaching and used the time to travel around and record young musicians. BN: Were there any commercial recordings released of the old timers you recorded? RA: The first work in the s was to record the old timers.
Fraley, and many others. But Fred encouraged it, and I was young and enthusiastic. RA: Yes, it did for me. It is wonderful that musicians Brad Leftwich, Bruce Molsky, Tom Sauber and Andy Cahan became comfortable enough to join with musicians from the South, and Southerners in turn with them. This helped fill a gap, since most children of old timers who continued with music usually did so with the currently more fashionable forms of bluegrass, country and rock.
RA: Their fresh approach to the music helped draw new young people into the old time community. Good this has happened, because many of us are getting to be old geezers fast. Previously, I had done work for Heritage and licensed recordings to Rounder.
USA band. Other CDs feature ethnic music of the metro NY area.
Hilos De Plata - Orquesta Típica Victor - 1926 - 1940 (CD), Les Quintuplés (Poussez-pas...), Focus - Soul Control (4) / I Rise - Soul Control / I Rise (Vinyl), 3. Ich Kanns Nicht Fassen, Nicht Glauben - Elisabeth Schumann - Sings German Songs By Schumann (Viny, Just For You (Album Version), Tramp - Various - Legends Of Soul - The Definitive Soul Album (CD), Nouri - DVAR - El Mariil (CD, Album), Man In The Box, Little Darlin - Various - Die Geschichte Der Popmusik - Teenage Idol (CD)