Smithsonian Folkways' Classic Appalachian Blues

As Jeff Place, who with Barry Lee Pearson compiled Classic Appalachian Blues (Smithsonian-Folkways) states, the ‘Classic’ series on Smithsonian Folkways aims to draw attention to significant recordings from the Folkways and Smithsonian collections. Classic Appalachian Blues “features musicians from the region known as the Southern Appalachians. It includes musicians from deep in the mountains as well as from the foothills leading up to them.” The Folkways label had a number of fine recordings in its catalog of performers in this tradition by the likes of Brownie McGhee, Sonny Terry and Pink Anderson and adding recordings from the Folklife Festival collection by John Jackson, Big Chief Ellis and others makes this a particularly valuable collection.

Tracks by Stick McGhee, whose voice and guitar is joined by the harmonica of Sonny Terry and J.C. Burris, open and close this CD. McGhee is heard on the upbeat My Baby’s Gone, as well as a spirited reprise of his hit recording Wine Blues (Drinkin’ Wine Spo-Dee-O-Dee). There is a fine performance by Stick’s brother, Brownie McGhee, on a 1945 recording Pawnshop Blues, an adaptation of a Blind Boy Fuller number. At the time of these recordings both had relocated to New York as had Reverend Gary Davis, certainly amongst the greatest acoustic blues guitarists, he is represented here by a stunning 1957 instrumental rendition of Hesitation Blues. Another Piedmont legend who established himself was Josh White who had gone from a singing evangelist and Piedmont Tom to Cafe Society by the time he performed the solid Move to the Outskirts of Town heard here.

Not all of the Appalachian masters moved to New York. Pink Anderson stayed in South Carolina and is heard on a fine You Don’t Know My Mind. Sonny Terry’s nephew, J.C. Burris moved to California . He is heard on Blues Around My Bed, with just his harp (sounding like his uncle) accompanying his strong vocal. Arhoolie issued a full album of his music. The lovely One Dime Blues is from a 1992 Barns of Wolf Trap performance by Etta Baker who charmed so many with her agile guitar picking and warm manner. Baby Tate, who was friends with Pink Anderson, was another artist influenced by Blind Boy Fuller, and his rendition of See What You Done Done, echoes Red River Blues and Crow Jane, in its accompaniment that is part of a first-rate performance.

The Washington DC area was a destination for many folks. Phil Wiggins and the late John Cephas met through Alabama pianist Big Chief Ellis who formed the Barrelhouse Rockers and back backing pianist Big Chief Ellis on Louise Blues, from the Smithsonian Folklife Festival in 1976 with Wiggins driving harp accompaniment contrasting with Ellis’ understated boogie piano. John Jackson was prominent in the Washington DC area for the last four decades of his life and is heard on a fine rendition of the bad-man ballad Railroad Bill. The late Archie Edwards was another Washington DC area treasure, and is represented by a 1978 Folklife Festival rendition of his signature song, My Road Is Rough and Rocky, his tribute to Mississippi John Hurt, his boyhood idol and later good friend. It is a performance with an affable vocal and wonderful rolling guitar.

The Appalachian area was one where there was considerable interaction between Black and White musicians despite the fact of segregation and Doc Watson is heard on a lively Sitting On Top of the World, taken at a bit brisker tempo than usual. I have fond memories of Watson and John Jackson playing at Folklife Festivals. Another performance crossing racial lines is Roscoe Holcomb who brings a mountain guitar approach to Mississippi Heavy Water Blues, originally recorded by Atlanta bluesman Barbecue Bob. Then there is E.C. Ball from Rugby, Virginia and mentor of guitarist (and luthier) Wayne Henderson. Ball is a marvelous player and heard on Blues in the Morning His cited influences include Riley Puckett, Chet Atkins, Sam McGee and Maybelle Carter.

John Jackson was among the greatest of the finger style guitarists along with Blind Blake and Reverend Gary Davis. Another on that level was Bill Williams, born in Richmond, Virginia but who moved to Kentucky and who actually teamed up with Blind Blake in Bristol, Tennessee. Williams was briefly ‘rediscovered’ and made some recordings (some for Yazoo’s Blue Goose subsidiary). His 1971 Folklife Festival, performance Don’t Let Your Deal Go Down, is a song that crossed racial lines, with Williams providing a driving accompaniment here. In contrast to many solo performances here, is a fine string band performance by Martin, Bogan and Armstrong with Carl Martin’s mandolin and vocal and Howard Armstrong’s violin standing out in their string band blues, Hoodoo Blues. 

Others heard on this include Leslie Riddle, who is best known as having been a friend of the Carter Family (Mother Maybelle Carter learned her guitar style from him). He is heard from 1976 on the Appalachian blues standard Red River Blues, with steady guitar and vocal. Also from 1976, was the veteran medicine show performer Peg Leg Jackson with just his vocal and harmonica on a spirited Walking Cane. The Foddrell Brothers, Marvin and Turner, were from Stuart, Virginia and were wonderful traditional blues performers as illustrated by their 1977 Folklife Festival rendition of I Got a Woman. Also from 1977 comes a nice performance from John Tinsley, Girl Dressed in Green. 

With twenty-one performances and about 66 minutes of music, Classic Appalachian Blues offers considerable value as well much excellent music. Inclusion of many artists who made few recordings which are often hard-to-find as well as a generous selection of performances from the Smithsonian’s Folklife Archives adds to the value as does the excellent and informative booklet by compilers Jeff Place and Barry Lee Pearson.

I was provided a download of a review copy from Smithsonian-Folkways from whom one can purchase this (as well as the booklet I refer to).

Ernie Hawkins Plays Those Rags & Bones

As you may be aware, I am a fan of Piedmont blues stylist Ernie Hawkins and earlier in 2012, I posted a review of his most recent recording, Whinin' Boy, while a few days earlier I posted a 2001 review of his CD, Bluesified. I recently discovered I never posted my 2006 review of his CD Rags & Bones which appeared in the March 2006 DC Blues Calendar and the May/June 2006 Jazz & Blues Report (Issue 282). I likely received my review copy from Ernie Hawkins or his management.

The masterful finerpicking guitarist, Ernie Hawkins, has a delightful new CD , Rags & Bones (Say Mo’ Music). The talented disciple of the legendary Rev, Gary Davis opens with a superb rendition (played on a 12-string guitar) of Davis’ Make Believe Stunt, a tune Davis derived from a lick of Scott Joplin’s Maple Leaf Rag. The bones of the title are heard backing another guitar rag from Davis, The Boy Was Kissing the Girl (and Playing Guitar at the Same Time).

There are enjoyable covers here including Mississippi John Hurt’s Avalon Blues, country music pioneer, Jimmie Rodgers’ TB Blues, Henry Thomas’ Texas Easy Street, and Mance Lipscomb’s G Rag, with Hawkins delivering relaxed, easy going vocals to go with his deft fretwork. Most interesting are guitar adaptations of three classics of twenties jazz, Louis Armstrong’s Potato Head Blues and Cornet Chop Suey, along with Singin’ the Blues which is adapted from the legendary Frankie Trumbauer/ Bix Beiderbecke recording and a George Gershwin piano roll.

Maria Muldaur guests with a wonderful vocal on Rev. Davis’ I Am the Light of This World, and the album closes with Hawkins handling an African tune Massanga. Its a delight listening to the music hear and how wonderfully the guitar sounds. For further information check www. erniehawkins.com or better mail order stores.

Here is a video of Ernie teaching how to play a Reverend Gary Davis number.

Reverend Gary Davis Celebrated O Glory

In the nineties, Gene Rosenthal was especially active in making available his recordings (some previously unissued) on compact discs. One of these was a very interesting and valuable album by the Reverend Gary Davis. The following reviewed appeared in the DC Blues Calendar at the time and the October 1997 Jazz & Blues Report (Issue 225). I likely received a review copy at the time.

Reverend Gary Davis’ O, Glory: The Apostolic Studio Session (Genes) is a valuable addition to the Genes’ Blues Vault Series, featuring one of the most extraordinary musicians of the Piedmont school of ragtime blues. After his conversion in the thirties, he would rarely perform or record secular lyrics, though few illustrate the commonality of blues and gospel as did Davis. This album is particularly valuable in that it contains some rare examples of Davis with accompaniment, vocal chorus, tracks on which he plays piano and banjo, and a harmonica solo (Birmingham Special, a train imitation with spoken asides). Most of these recordings date from March 1969 for what would prove to be his last studio album. They are augmented by four recordings that Stefan Grossman recorded in 1964 and 1965. His instrumental work is exemplary and, while I would not call these the greatest examples of his art, there are some typically spectacular moments, and the rare examples of his piano, banjo and harmonica which add to the album’s historical value. Not from this CD, but here is the late musical legend in performance.

Ernie Hawkins Ain't no Whinin' Boy

A new album by the fingerstyle guitarist Ernie Hawkins, Whinin’ Boy, represents a change in pace. Hawkins, a disciple of the the legendary Reverend Gary Davis, has distinguished himself as a masterful guitarist in the blues and ragtime vein pioneered by Davis, as well as a teacher of that and other acoustic blues styles. The present album has him playing material in the vein of early classic jazz and pop in small group settings with the contributions of Paul Consentino on clarinet, Joe Dallas on trombone and James Moore on trumpet worth mentioning.

The album has him in a variety of settings including the skittle jazz band format with clarinet, trumpet, trombone, tuba and washboard backing for Jelly Roll Morton’s title track that opens the album with his understated vocal and simple rhythmic guitar. Clarinet is spotlighted on a reworking of Song (of the Islands), associated with Bix Beiderbecke as Hawkins’ comps in a pianistic vein. There is a brief washboard break. Dallas quotes The Wedding March to open the rendition of Makin’ Whoopee, with its wry opening lyric about weddings and that its not so bad being the groom. Hawkins delivers a simply delivered vocal. The Southbound Sneak, is a slow original Hawkins’ rag-flavored original with tuba and trombone followed by a rendition of the venerable Basin Street Blues, with a fuller band.

The amusing My Poodle Has Fleas has Hawkins adept ukelele backed by tuba and washboard. It is followed by a rendition of Little Brother Montgomery’s Vicksburg Blues, with nice harmonica from Marc Reisman. It is interesting to listen to this piano blues transposed to guitar. I’m Coming Virginia, associated with Bix Beiderbecke and Frankie Trumbauer, is reworked into a pensive guitar feature for Hawkins. Louis Armstrong’s Weather Bird (Rag) is reworked to showcase Hawkins’ adept finger picking and clarinet from Consentino. Bill Bill Broonzy’s Shuffle Rag, has nice harmonica while Hawkins’ evokes Broonzy’s early 1930’s guitar style. The skiffle-jazz band treatment of Rev. Gary Davis’ There Is A Table In Heaven, with trombone and clarinet (and brass bass) provides a fresh take on this performance.

This is an entertaining recording although Hawkins’ guitar perhaps is not as prominent here as on other recordings.

I received a review copy from Ernie Hawkins’ publicist. He is scheduled to open for John Mayall at The Birchmere in Alexandria, Virginia tonight (February 21, 2012).

Ernie Hawkins is Bluesified

I have had the pleasure of seeing Ernie Hawkins perform a number of times over the years. He is a terrific blues guitarist and singer and among those who was influenced bib the great Reverend Gary Davis. I reviewed his album Bluesified back in early 2001 for the DC Blues Society newsletter and Ernie provided the review copy. At the time when he was touring with Maria Muldaur. Here is that review, with some minor changes.

Fingerstyle blues artist Ernie Hawkins has a delightful new album, Bluesified on SayMo Music. A student of Rev. Gary Davis, Hawkins also acknowledges Blind Willie McTell as a major influence. There are several gospel numbers mixed in with his blues and rag numbers which he plays and sings with charm and grace. Rev. Davis would be proud listening to Hawkins nicely executed rendition of Davis Slow Drag, along with a couple of Davis gospel tunes, one of which, I Belong to the Band, has a moving guest vocal from Maria Muldaur.

The title track is an acoustic small group number which seems to be based on the Walkin’ Blues melody with nice harmonica from Marc Reisman and bottleneck guitar from Hawkins. Lou Schreiber adds clarinet to two tracks, Riding on a Moonbeam, which is based on an African number, and Root Hog or Die, an old Harlem Hamfats number on which the clarinet and the almost marchlike rhythm section recast the song with a klezmer flavor.

His eclecticism in his sources is displayed on his heartfelt reworking of Merle Travis sacred song, I Am a Pilgrim, as well as Hawkins Rag, that derives from a song by Ted Hawkins, mandolin player for the classic string band, Gid Tanner and the Skillet Lickers. His indebtedness to Blind Willie McTell is heard on a fine rendition of McTell’s Broke Down Engine (with nice bottleneck guitar), and the concluding medley of Amazing Grace with three McTell numbers. If not a great singer, Hawkins natural and unforced delivery delivers lyrics with warmth and conviction.

Bluesified is a release that fans of acoustic blues will want to check out. I have also heard his Blues Advice, and Rags & Bones, both of which I recommend strongly. I have not heard his most recent record, Whinin' Boy. You can contact Ernie directly at: Ernie Hawkins, 6941 Blenheim Court, Pittsburgh PA 15208. His website www.erniehawkins.com has information on this and Ernie’s other recordings and his many instructional videos in blues and ragtime guitar styles. Better stores will be carrying this as well.

Ernie Hawkins is appearing in Washington, DC area on February 21, opening for John Mayall at The Birchmere in Alexandria, Virginia. Here is Ernie teaching a Reverend Gary Davis number.

Country Blues Classics by Ellis Elis and Cohen

Eleanor Ellis is a local DC treasure being perhaps the most gifted female purveyor of old time blues in the area. She has championed the likes of the late Flora Molton and Archie Edwards, helped found the DC Blues Society and similarly helped with the Archie Edwards Blues Heritage Foundation after Archie passed. She has recorded infrequently, often in a supporting role, so when long-unavailable recordings of her with Bill Ellis (no relation) and Andy Cohen became available, it was cause for celebration.


The CD is Preachin’ in the Wilderness, Country Blues Classics on Cohen’s Riverlark label was made possible after the widow of Larry McBride of Merimack (who issued these originally on cassette) provided the DAT source tapes. There are twenty two performances included with all three taking vocals. Cohen gets to display his mastery of Rev. Gary Davis’ fingerstyle guitar and other pre-war blues styles. Bill Ellis takes the lead on several as well as contributes originals. Eleanor handles Memphis Minnie’s In My Girlish Days, duets with Bill Ellis on Leroy Carr’s Midnight Hour Blues, and handles Sleepy John Estes’ Leaving Trunk.


Other performances on this derive from recordings by Casey Bill Weldon, Washington Phillips, Ragtime Texas Henry Thomas, Simmie Dooley & Pink Anderson, Larry Johnson, Brownie McGhee, Gus Cannon and the wonderful Hungry Blues, words by Langston Hughes and music from James P. Johnson and wonderfully sung by Eleanor with Bill on guitar and Andy on piano. The level of the musicianship is marvelous and perhaps the best known of these songs may be Spoonful, taken from Mance Lipscomb’s Arhoolie recording although it is familiar from renditions by John Hurt and Charlie Patton. Amazingly, or thankfully, there were no covers of Robert Johnson tunes although I suspect any could do one that would actually be worth hearing.


Cohen has other recordings on Riverlark while William Lee Ellis has a new release on Yellow Dog. Eleanor is still criminally underrepresented on disc, but alas we have this marvelous disc to savor.


Since writing this review, which appeared in the July-August 2006 DC Blues Calendar, then the Dc Blues Society’s newsletter. Eleanor finally has a terrific CD on Patuxent and Andy had a terrific CD in 2010 on Earwig. I have linked my reviews of those. I purchased this CD from cdbaby.com.

John Jackson's Superb Piedmont Blues

I was at John Jackson’s last performance on New Year’s Eve, 2001 as part of the City of Falls Church Virginia’s annual celebration. Alternating sets with an old time string band, John was his usual warm self and the vigor of his performances belied the fact that he would soon go into the hospital for treatment for cancer. Less than three weeks later he passed and the church where his funeral was held was full of his many friends, some who came from great distances to pay their respects to a wonderful musician but also one of the most wonderful persons one could ever meet. In the release of Jackson’s music, Rappahannock Blues, Smithsonian Folkways, the late Piedmont blues master is lovingly represented by 20 selections (18 previously unissued) that demonstrate his marvelous finger style playing, his untutored vocals and the warmth of his personality that comes out through the nearly hour of music here.

The performances, taken at various performances represent the breadth of his repertoire that extend from his interpretations of songs associated with his main influence, Blind Blake ( Too Tight Rag, Diddy Wah Diddy,” and West Coast Rag); standards of the Piedmont tradition such as Blind Boy Fuller’s Truckin’ Little Baby, and Step it Up and Go, along with Red River Blues; adaptations of country songs such as Tom T. Hall’s The Year Clayton Delaney Died, and the Delmore Brothers Brown’s Ferry Blues; and traditional songs and ballads like Cindy (played on banjo), and Railroad Bill. Also included are religious songs like Don’t You Want to Go Up There, and Just a Closer Walk With Thee, and Jackson’s adaptation of Candy Man, from his friend Mississippi John Hurt.

Frankie and Johnny has been performed numerous times by numerous folk, but listening to Jackson’s vocal and his nimble and precise picking, is like listening to this number afresh. Perhaps no better demonstration of John Jackson’s superb guitar playing is John Jackson Breakdown, a brilliant guitar tour de force that is proof that he was amongst the greats of the Piedmont style guitarists, and was on the same level as Blind Blake and Reverend Gary Davis. For further proof, one can listen to his sterling recreation of Blind Blake’s West Coast Rag with which this album closes.

There were only six albums by John Jackson issued during his lifetime. Fortunately two CDs on Arhoolie and one on Alligator are still readily available. “ Rappahannock Blues” is a terrific addition to this body of music. Anyone who has any interest in acoustic blues, especially the Piedmont tradition, will find this an essential purchase. Included is a booklet with copious notes on John and the songs from producers Barry Lee Pearson and Jeff Place that matches the quality of John jackson’s exquisite performances. For information on this release and others from Smithsonian Folkways, visit, http://www.folkways.si.edu/index.aspx. For this release follow this link: http://www.folkways.si.edu/albumdetails.aspx?itemid=3273. 


Smithsonian-Folkways provided me with a download of this CD.

Marie Knight's loving tribute to Rev. Gary Davis

Fans of Sister Rosetta Tharpe may be familiar with the name Marie Knight whose alto could be heard with Tharpe’s soprano and guitar on such records as Up Above My Head, I Hear Music, and Didn’t It Rain. Knight, who had her own gospel hit with Gospel Train, was located and participated in MC Records highly praised tribute to Tharpe, Shout, Sister, Shout, and is now featured on a stunning new MC records release, Let Us Get Together: A Tribute to Reverend Gary Davis. Produced by Larry Campbell, who played lead guitar and other instruments in Bob Dylan’s Band from 1997-2004 but has played with numerous acts such as Paul Simon and Willie Nelson. Campbell in the early 1970’s became obsessed with Rev. Gary Davis’ music and as he shows on this release, is a marvelous guitarist in the Piedmont finger style approach. His guitar is the foundation for Knight who still remains a vigorous vocalist that invests her renditions of Lord I Feel Like Goin' On, I Belong To The Band, Samson & Delilah, I Am The Light Of This World, 12 Gates, and Death Don't Have No Mercy, with such fervor. Perhaps her range is diminished a tad with age but her phrasing and delivery belies her age. Five selections are solo including Lord I Feel Like Goin’ On and Samson and Delilah, while several, including I Am the Light of the World, have a backing band that may get occasionally messy but do not detract from the exuberance and celebration. Catherine Russell contributes an effective backing vocal here while Kim Wilson adds harmonica in addition to the rhythm to Twelve Gates to The City, and Death Don’t Have No Mercy. The latter track is the recording’s longest and Knight is compelling on this spellbinding performance that is perhaps the highlight of a truly excellent disc. In addition, there is a short Quicktime video which gives Marie Knight a chance to tell us about herself and she is as vivacious as in her performances. Gary Davis’ memory is served well by this disc that is also a reminder that the magnificent Ms. Knight is alive and very well. One of the best discs in any genre this writer has heard this year.