John Jackson--Trouble in mind--Red River blues--John Jackson stomp--Candy man--My father's house; Doc Watson Family--Ain't no use working so hard--Card of pins--Froggy went a-courting--Teardrops falling in the snow
Track Information:
101 Blues Singer / John Jackson. Guitar.
102 Appalachian Folk Songs / Doc Watson Family (Musical group), Doc Watson. Guitar,Banjo.
General note:
DPA number 70.101.08
Local Numbers:
FP-1970-10RR2-0008
General:
CDR copy
70.101.08
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, July 2, 1970.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Copyright restrictions apply. Contact archives staff for information.
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
John Jackson--Trouble in mind--Red River blues--John Jackson stomp--Candy man--My father's house; Doc Watson Family--Ain't no use working so hard--Card of pins--Froggy went a-courting--Teardrops falling in the snow
Track Information:
101 Blues Singer and Guitarist / John Jackson. Guitar.
102 Appalachian Folk Songs / Doc Watson Family (Musical group), Doc Watson. Guitar,Fiddle.
General note:
DPA number 70.101.40
Local Numbers:
FP-1970-7RR-0040
General:
CDR copy
70.101.40
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, July 2, 1970.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Copyright restrictions apply. Contact archives staff for information.
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Wiregrass Sacred harp group--Sweet morning-Sweet bye and bye-There's a great day coming--Wondrous love; Arlie and Ora Watson- Matthew's 24-Unwanted mother; Almeda Riddle- How firm a foundation-Amazing grace; John Jackson- Down by the riverside-The devil he was-Just a closer walk with thee; Simmons Family--Little Moses-Tempted and tried-Old Time Religion-I am a pilgrim; Loving Sisters- Lord take my hand precious Lord-When the saints go marching in-Time is winding up--Oh, happy day
Track Information:
101 Sacred harp.
102 Guitarist and Fiddler / Arley Watson, Ora Watson. Guitar,Fiddle.
103 Ozark Ballad Singer / Almeda Riddle.
104 Blues Songster / John Jackson. Guitar.
105 Gospel singers / Loving Sisters (Musical group), Gladys McFadden, Josephine Dumas, Anna James, Lorraine Leeks, Leonard Givens. Organ (Musical instrument).
General note:
DPA number 70.101.74
Local Numbers:
FP-1970-7RR-0074
General:
CDR copy
70.101.74
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, July 5, 1970.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Copyright restrictions apply. Contact archives staff for information.
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
102 Old Time String Band / Roan Mountain Hilltoppers, Bill Birchfield, Creed Birchfield, Joe Birchfield. Guitar,Fiddle,Banjo,Washtub bass.
101 Old-Time String Band / Frazier Moss, Red Rector, Reece Shipley, Jack D. Sallee. Mandolin.
Local Numbers:
FP-1986-7RR-0101
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, July 6, 1986.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Recorded in: Washington (D.C.), United States, July 6, 1969.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Ellen Stekert-MC; Ballad workshop-- Buell Kazee--Barbara Allen; George Tucker--Were Up against it now; sara Ogan Gunning--House carpenter; George Tucker--State of Arkansas; Buell Kazee-- Little Mohea; Sarah Gunning--Pretty Mohea; George Tucker--Little Mohea--Jack Monroe--Must Jesus bear the cross alone (frag)
Track Information:
101 Ballad Singer / Sarah Ogan Gunning.
102 Ballad Singer / Buell Kazee, George Tucker. Banjo.
General note:
DPA number 69.101.39
Local Numbers:
FP-1969-7RR-0039
General:
CDR copy
69.101.39
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, July 4, 1969.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Ellen Stekert-MC; Buell Kazee- Lady Gay; Sarah Gunning- Poor pilgrim of sorrow; George Tucker- Wreck of the number 9--Wexford girl--Pretty Polly; Sarah Gunning- The cruel war; George Tucker-- The farmer's curst wife; Sarah Gunning--Loving Nancy; George Tucker--Omie Wise; Sarah Gunning--Butcher's boy; George Tucker- George Alley (Wreck of the C&O)-=Courting in the rain; Sarah Gunning--Letters from my father
General note:
DPA number 69.101.40
Local Numbers:
FP-1969-7RR-0040
General:
CDR copy
69.101.40
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, July 4, 1969.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Ballad Workshop: Ellen Stekert-MC; Sarah Gunning- Letters from my father; George Tucker--Little glass of wine; Sarah Gunning--A girl of constant sorrow; George Tucker-- Man of constant sorrow; Fiddler's convention- Ralph Rinzler and Gus Meade-MCs; Turkish band; Grant Rogers--Aunt Emily's tea party--McCloggin's reel (frag)
Track Information:
101 Ballad Workshop / George Tucker, Sarah Ogan Gunning.
102 Fiddler's Convention / Don Stover, Grant Rogers, Tex Logan. Banjo,Fiddle.
General note:
DPA number 69.101.41
Local Numbers:
FP-1969-7RR-0041
General:
CDR copy
69.101.41
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, July 4, 1969.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Norman Kennedy- Sixteen come Sunday; Sarah Gunning-- Wayworn traveler (Palms of victory)--God that lived in olden times--Dreadful memories--I hate the company bosses- Leave them alone; George Tucker-- Little preacher
Track Information:
101 Ballads and Broadsides / Norman Kennedy. English language,Scots language.
102 Ballads and Broadsides / Sarah Ogan Gunning. English language.
103 Ballads and Broadsides / George Tucker. English language.
General note:
DPA number 69.101.46
Local Numbers:
FP-1969-7RR-0046
General:
CDR copy
69.101.46
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, July 5, 1969.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Songs of the Coal Miners---Archie Green (MC); Merle Travis---Dark as a dungeon; Maybelle Carter--Reckless motor man--Coal miners blues; Dock Boggs-- Prayer of a miner's child
Track Information:
101 Songs of Coal Miners / Merle Travis. Guitar.
102 Songs of Coal Miners / Maybelle Carter, Mike Seeger. Guitar,Autoharp.
103 Songs of Coal Miners / Dock Boggs. Banjo.
104 Songs of Coal Miners / Sarah Ogan Gunning.
General note:
DPA number 69.101.62
Local Numbers:
FP-1969-7RR-0062
General:
CDR copy
69.101.62
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, July 6, 1969.
Restrictions:
Restrictions on access. continues on #63, #64, and #65.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
This collection contains 73 open reel tapes, made by Eric H. Davidson between 1958-1984, featuring the traditional music of Southern Appalachia.
Scope and Contents:
The Eric H. Davidson audio recordings consists of 73 open reel tapes dating from 1958-1984, featuring field recordings made by Davidson and his colleagues (including Caleb Ellicott Finch, Paul Newman, Lyn Davidson, and Jane Rigg) featuring the traditional music of Southern Appalachia. The recordings were collected primarily in Grayson and Carroll counties in Southwestern Virginia, and adjacent counties in North Carolina.
Arrangement:
The Eric H. Davidson audio recordings are arranged in chronological order. Each open reel tape was assigned a unique number by Eric Davidson.
Biographical / Historical:
Eric H. Davidson was born in 1937, in New York City. He was primarily known as a pioneering developmental biologist, who revolutionized the research of and theoretical framework behind "the gene regulatory networks that perform complex biological processes, such as the transformation of a single-celled egg into a complex organism. His work helped to reveal how the DNA sequences inherited in the genome are used to initiate and drive forward the sequence of steps that result in development." (1)
Davidson's work in biology began at the age of 16, when he began conducting research with cell physiologist L. V. Heilbrunn, a family friend, at the Marine Biological Laboratory (MBL) in Woods Hole, Massachusetts. He began as a dish washer at the MBL, but was informed by Heilbrunn that he was also expected to have a research project. This project resulted in a published abstract in the Biological Bulletin on clotting in sand dollars.
Davidson earned his bachelor of arts degree from the University of Pennsylvania in 1958 and his doctorate from Rockefeller University in 1963. After working as a postdoctoral researcher and faculty member at Rockefeller, he moved to Caltech, where he would spend the rest of his career, beginning as a visiting assistant professor. He was named Norman Chandler Professor of Cell Biology in 1982 and remained there until his death.
His interest in old time music arose at nearly the same time as his interest in biology. His father, a well-known abstract painter, and mother were connected to several people who were hired to do research for the Works Progress Administration (WPA) of the late 1930's and 40's. At 14, he began to play the 5-string banjo after being introduced to the instrument through his exposure to recordings of Southern Appalachian music recorded as a part of the WPA, held at the Library of Congress.
In college, he played music in cafes. He also got a hold of the log of WPA recordings that were so influential to him. He began to stick pins in maps wherever the recordings were made, and began to notice that most of the pins were clustered in two counties in Southwestern Virginia--Grayson and Carroll counties--and adjacent counties in North Carolina.
In 1956, he began to take trips down to these areas during breaks from school to record musicians that had learned songs and skills through oral tradition, as opposed to the radio or records. He continued to go every year for many years, until the last person he knew had learned by oral tradition passed away. He formed close relationships with many notable musicians during these trips, including Wade Ward (from whom he learned the clawhammer banjo playing technique), Tommy Jarrell, Paul Joines, Glen Neaves, Vester Jones, Ed Spencer, Glen Smith, Cullen Galyean, and Bobby Harrison. He often recorded with his longtime collaborators Caleb Ellicott Finch, Paul Newman, Lyn Davidson, and Jane Rigg. Many of these recordings were released by Moses Asch as Folkways Records albums, produced by Davidson and his collaborators between 1962-1986.
Davidson was interested in the personal, musical, structural, traditional, and historical aspects of Southern Appalachian music. His fieldwork style was to continue to record a musician until they got tired or he'd run out of tape. Then he'd come back the next day, and the next year, and the year after that, until he had recorded everything that musician knew. This gave his work the characteristic of what he described as, borrowing from his scientific background, a longitudinal study. He was able to observe changes in the musical tradition of the region: the transition of traditional ballad singing from a cappella to string band accompaniment, the incorporation of the guitar into the string band ensemble, and the shift from clawhammer to three-finger banjo picking. In an oral history interview with Davidson conducted by the Ralph Rinzler Folklife and Collections in 2015, Davidson said that in his research, he could see how "ballads combine and recombine like genetic organisms in biology."
Davidson was also an accomplished banjo musician in his own right. He formed the Iron Mountain String Band together with Caleb Finch (fiddle), and Peggy Haine (guitar), releasing an album (FA 2473) on Folkways Records in 1973 consisting of songs and tunes learned from his many recording trips into Grayson and Carroll counties.
Eric Davidson died on September 1, 2015 at the age of 78.
1. "Developmental Biologist Eric H. Davidson Passes Away," Caltech News, September 4, 2015, accessed January 5, 2016, http://www.caltech.edu/news/developmental-biologist-eric-h-davidson-passes-away-47772.
Disclaimer:
Please note that some language in this collection is culturally insensitive or offensive to viewers. It is presented as it exists in the original material for the benefit of research and the historical record. The material reflects the culture and context in which it was created and not the views of the Smithsonian Institution.
Related Materials:
An oral history with Eric H. Davidson was conducted by the Ralph Rinzler Folklife Archives and Collections on April 26, 2015. Both the video and transcript is available for researchers. Contact archives staff for information.
Provenance:
Donated by Eric H. Davidson.
Restrictions:
Access by appointment only. Contact the Ralph Rinzler Folklife Archives and Collections at rinzlerarchives@si.edu or (202) 633-7322 for additional information.
Rights:
Copyright restrictions apply. Contact archives staff for information.
Topic:
Fiddle tunes -- Appalachian Region, Southern Search this
Folk music -- Appalachian Region, Southern Search this
Banjo music -- Appalachian Region, Southern Search this
Mike Seeger--Shady grove; Bill Williams--John Henry--Old Joe Clark--Don't let the deal go down; Sam Bowles--I don't love nobody--Cripple creek; Ernest Hodges-- Cumberland gap--Coal Creek march
Track Information:
101 Appalachian / Mike Seeger.
102 Country Blues / Bill Williams.
103 null / Sam Bowles.
104 Old Time Banjo and Fiddle / Ernest Hodges. Banjo,Fiddle.
General note:
DPA number 71.101.1
Local Numbers:
FP-1971-10RR-0001
General:
CDR copy
71.101.01
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, July 2, 1971.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Topic:
Appalachian Region, Southern -- Songs and music Search this
unk female- Do you want to go to that land; Florence Reece- Which side are you on?; Jim Garland and Sarah Ogan Gunning--Bashful buffalo boy (Mountaineer's courtship); Varney Watson--Song for grandpa; Utah Phillips--Goodnight-Loving trail; Hazel Dickens--Black lung; Ralph Rinzler and others- Preacher and the slave (Pie in the sky)--Big Texas (frag)
General note:
DPA number 74.701.30
Other number 7413.L2
Local Numbers:
FP-1974-7RR-0424
General:
CDR copy
74.701.30
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, July 12, 1974.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Art Thieme was a noted folk singer who recorded many traditional ballads and folk songs from midwestern states. This collection is a series of 459 color slides documenting folk musicians and folk music, in both concert settings and informal portraiture, all taken by the donor.
Scope and Contents:
459 35mm color slides documenting folk musicians and folk music, in both concert settings and informal portraiture, all taken by the donor, Art Thieme, a noted folksinger. Subjects include such well-known performers as Stephen Wade, the New Lost City Ramblers, Mike Seeger, Pete Seeger, Peggy Seeger, Jack Elliott, Ike Everly, B.B. King, Dave Edmonson, Ray Harris, Kenny Baker, Tom Paxton, John Hammond, Bill Monroe, Justin Bishop, Steve Goodman, Cathy Fink, Wes Asbury, Ron F. Kirkpatrick, Doc Watson, Jim Kweskin, and Lightnin' Hopkins, and other notables such as oral historian Studs Terkel. The collection also contains a CD with Thieme's recordings and a folder of newspaper clippings, a program, and a map of local folk singers across the country. The slides are unarranged, but most slides have names, places, and dates.
Arrangement:
The collection is arranged into one series.
Biographical / Historical:
Art Thieme was born on July 9, 1941 in Chicago, Illinois. He becamea noted folk singer. He launched his career at a Hyde Park, Chicago club, the Limelight, in 1959 and went on to perform for many years at a coffeehouse called No Exit, also in Chicago. Touring all over the country, he photographed and recorded many folk singers and concerts, documented in this collection. At the end of his career, he performed on the steamboats Julia Belle Swain, Twilight on the Mississippi, and Illinois Rivers. He has recorded traditional folk songs rendered by himself for Folk Legacy Records. Thieme died on May 26, 2015.
Provenance:
The collection was donated by Art Thieme in 2012.
Restrictions:
The collection is open for research. Gloves must be worn when handling unprotected photographs and negatives.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
