Old Joe Clark (Wade Ward) -- Poor Ellen Smith (Estil C. Ball) -- Sourwood Mountain (Hobart Smith) -- The girl I left behind (Spencer Moore) -- John Henry (Glen Stoneman) -- Three little babes (Texas Gladden) -- Bonaparte's retreat (Norman Edmonds) -- June apple (Charlie Higgins & Wade Ward) -- Peg an' awl (Hobart Smith) -- Sally Anne (George Stoneman) -- The fox chase (Wade Ward, Bob Carpenter) -- The banks of the Ohio (Ruby Vass) -- Willow garden (Charlie Higgins, Wade Ward) -- Graveyard blues (Hobart Smith) -- Uncle Charlie's breakdown (Charlie Higgins & Wade Ward) -- The burglar man (Bob Carpenter) -- Fly around my blue-eyed girl (Hobart Smith) -- Single girl (Ruby Vass) -- Parson Burrs (Hobart Smith) -- Piney Woods gal (Charlie Higgins & Wade Ward) -- Hicks' farewell (Texas Gladden) -- Black Annie (Hobart Smith) -- The little schoolboy (Hobart Smith) -- Breaking up Christmas (Norman Edmonds) -- Whole heap a little horses (Texas Gladden) -- Cluck old hen (Wade Ward).
Track Information:
101 Three Nights Drunk (Child No. 274) / Carolyn Mainer Helmes, Glen Mainer, J. E. (Joseph E.) Mainer. Guitar,Fiddle,Banjo.
102 Sally Anne / George Stoneman. Banjo.
103 The House Carpenter (Child No. 243) / Almeda Riddle.
206 Sally Goodin / Neil Morris, Charlie Everidge. Mouth bow.
207 The Banks of the Ohio / Ruby Vass. Guitar.
Local Numbers:
FW-ASCH-LP-1686
Prestige/International.25003
Publication, Distribution, Etc. (Imprint):
Bergenfield, N.J. Prestige International 1961
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Merry golden tree -- Juice of the forbidden fruit -- Buffalo gals -- Willow green -- My pretty little gal is gone -- Alan Bain -- Eighth of January -- The soldier and the lady -- Cotton Eye Joe -- Turkey in the straw -- Lonesome dove -- Turnip greens -- Nancy's got a purty dress on -- Rock all the babies to sleep.
Track Information:
101 Merry Golden Tree (Child No. 286) / Almeda Riddle.
102 Juice of the Forbidden Fruit / Neil Morris. Guitar.
103 Buffalo Gals / Carlos Shannon. Banjo.
104 Willow Green / Ollie Gilbert.
105 My Pretty Little Gal is Gone / Ashley Morrison. Fiddle.
106 Alan Bain / Almeda Riddle.
107 The Eighth of January / Carlos Shannon. Banjo.
201 Soldier and the Lady, The (Laws P14) / Neil Morris. Guitar.
202 Cotton Eyed Joe / Carlos Shannon. Banjo.
203 Turkey in the Straw / Neil Morris, Charlie Eldridge. Guitar,Mouth bow.
204 Lonesome Dove / Almeda Riddle.
205 Turnip Greens / Neil Morris. Guitar.
207 Rock All the Babies to Sleep / Neil Morris. Guitar.
206 Nancy's Got a Pretty Dress On / Ashley Morrison. Fiddle.
Local Numbers:
FW-ASCH-LP-1688
Prestige/International.25006
Publication, Distribution, Etc. (Imprint):
Bergenfield, NJ Prestige International 1961
General:
Additional imprint on container: Prestige/International. "Southern journey: a collection of field recordings from the South." Program notes by Alan Lomax on container.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Battle of New Orleans --Unfortunate man --Fair Rosamond's bower --Soldier's joy --Country boy --I'm too young to marry -- Pretty Mary --Sailor man --Zelma Lee --Rattlesnake song -- Old Joe Clark.
Track Information:
101 The Battle of New Orleans / Guitar. English language.
102 Unfortunate Man.
103 Fair Rosamond's Bower.
104 Soldier's Joy.
105 Country Boy.
201 I'm Too Young to Marry / Mouth bow.
202 Pretty Mary.
203 Sailor Man.
204 Zelma Lee.
205 Rattlesnake Song.
206 Old Joe Clark.
Local Numbers:
FW-ASCH-LP-2404
RCA Victor.1635
Publication, Distribution, Etc. (Imprint):
New York RCA Victor 1958
General:
Folk songs. Biographical and historical notes by Paul Ackerman, and comments on the songs by Jimmie Driftwood on container. Performer(s): Jimmie Driftwood, vocals; with vocal and instrumental ensemble.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Tshisaasj, sanza type --Dibung, sanza type --Kadad, mouth-bow --Mpwit, friction drum --Mishi, pan-pipe --Orchestra of the Mwant Yaav's court --Ubwang, ceremony for twins --Atulemb, songs of the sorcerers --Mwingonyi, warrior's songs --Kananda, dance by young men --Wandumb, dance by women --Katamba, dance by women.
Local Numbers:
FW-ASCH-LP-3558
Koninklijk.10
Publication, Distribution, Etc. (Imprint):
Koninklijk 1974
General:
At head of title: Joe Gansemans. Notes by J. Gansemans in Dutch, with French and English translations (68 p. illus.) issued with recording. Production notes: Recorded in the Republic of ZaiÈ^re, Kapanga Zone, June to Sept. 1972.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Ugubhu -- musical bow: Instrumental solo. Siqom' abant' abahle (antiphonal song). Babulal' imvan' engenacala (religious song). Unomagundwane (traditional narrative song)--Umtshingo -- transverse flute: Instrumental solo--Umakhweyana -- musical bow: Gugu lami (topical song). Maye, maye babo! (love song). Wogijime, lashona (topical song). Izinkomo (topical song)--Ngibambeni (Zulu love song accompanied by ugubhu bow)--Helele! Yisliphi leliyana? (a young girl's song)--Three solos on the Swazi makhweyane bow--Ingcagca (Swazi topical song)--Ngindzindze (Swazi topical song)--Two solos on the Xhosa umrubhe friction-mouth-bow--Kalobelo (Swazi)--Ngiyamesab' uLangwenya (Swazi)--Solo on the jews-harp (Xhosa)--Elukhalweni (Swazi)--Lutsandvo luphelile (Swazi)--Solo on the Xhosa isigankuri resonated bow--Ye Make uLangwenya (Swazi).
Local Numbers:
FW-ASCH-LP-3886
Koninklijk.3
Publication, Distribution, Etc. (Imprint):
Koninklijk 1969
General:
Instrumental music and vocal music sung in Zulu, Swazi and Xhosa. Title on side 1: Zulu-, Zwazi- en Xhosamusiek. Title on side 2: Musique Zulu-, Swazi et Xhosa. Notes (in English and Flemish with summaries in French and German) by David Rycroft bound separately (54 p. : ill., map, music). Production notes: "The recordings were made in 1964 during a research project under the auspices of the School of Oriental & African Studies, University of London."--Booklet, p.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Tom Wisner collection, Ralph Rinzler Folklikfe Archives and Collections, Smithsonian Institution.
National Museum of American History (U.S.). Division of Musical History Search this
Extent:
18 Cubic feet
Type:
Collection descriptions
Archival materials
Field notes
Audiotapes
Posters
Reports
Correspondence
Photographs
Place:
Appalachian Region
North Carolina
Virginia
Vermont
Date:
1964-1977
Summary:
The J. Scott Odell folk music collection (1945-2016, inclusive) contains AV recordings, photographs, correspondence, writings, and other materials relating to Odell's career at the Smithsonian as a musical instrument conservator and researcher of American music traditions. The collection largely consists of materials relating to Odell's research trips (often combined with personal visits) throughout the Eastern United States. Research strengths of the collection include the history of the Appalachian dulcimer and banjo, the Smithsonian Folkways project "Black Banjo Songsters," musician and poet Burt Porter, and the Bread and Puppet Theater.
Scope/Contents note:
The J. Scott Odell Folk Music Collection, which includes materials dating from 1945-2016, documents the research, professional work, and personal relations of J. Scott Odell (b. 1935). Odell worked at the Smithsonian National Museum of American History (NMAH) as a musical instrument conservator and traveled throughout the Eastern United States documenting a variety of musical instruments and traditions. The collection reflects his research trips and other travels; the development of exhibits and performance of music and dance at the Smithsonian; and the relationships Odell developed with the musicians, craftspeople, informants, and other people he worked with throughout his career.
Research strengths of this collection include notes, photographs, and recordings from Odell's fieldwork; extensive documentation of Odell's work on the Smithsonian Folkways project Black Banjo Songsters, in collaboration with folklorist Cecelia Conway; and materials pertaining to the Bread and Puppet Theater (based in Glover, Vermont). Significant places documented include southwest Virginia (Galax), nearby North Carolina (Shelton-Laurel), the surrounding tri-state area, and Vermont (Glover). Significant individuals represented in the collection include Odell, Burt Porter, Ralph Rinzler, and other well-known musicians. The most prominent instrument information in the collection relates to the banjo and the Appalachian dulcimer, although the American fiddle tradition and other instruments are also represented. Materials include photographs (negatives and prints), field notes, trip reports, correspondence, slides, writings, and AV materials. This collection may also be of interest to researchers of AV history and evolution. The wide variety of formats found in the collection maps the development of popular recording media. The collection includes open-reel tapes, Hi-8 tapes, DATs, mini-DV tapes, Betacam and Betacam SP tapes, VHS and SVHS tapes, cassettes, optical discs, mini-discs, and Zip discs.
This collection was initially established in 2008, when it was transferred from Archives Center at the Smithsonian National Museum of American History (NMAH) to the Ralph Rinzler Folklife Archives & Collections (RRFAC), Center for Folklife and Cultural Heritage (CFCH). (NMAH Archives Center had received the collection from the Division of Musical History.) Since 2008, the collection has been significantly expanded, more than doubling in size between 2008 and 2016. (These additional materials can be found in Series 8, Accruals.) With these deposits, the scope of the collection expanded beyond Odell's Appalachian dulcimer research and instrument conservator duties to include his banjo research, travels, relationships with musicians (particularly Burt Porter), and involvement with the Bread and Puppet Theater.
Arrangement note:
The collection is arranged in eight series as follows: (1) Correspondence, 1963-1978; (2) Folk Instruments Research; (3) Collected Publications and Ephemera; (4) Collecting Trips; (5) Publications; (6) Sound Recordings; (7) Oversize Materials; and (8) Accruals. Within each series and subseries, folders are arranged thematically, alphabetically, and/or chronologically.
Series 1-7 reflect the order of the original transfer from the Archives Center, National Museum of American History. Series 8 (Accruals) encompasses several deposits made by Scott Odell of additional materials between 2011 and 2017. Ralph Rinzler Folklife Archives staff, in collaboration with Odell, imposed order upon Series 8.
Researchers should note that, when performing research in Series 8 (Accruals), they might need to consult multiple boxes, even when working within a single subseries where the intellectual arrangement in the finding aid does not always align with the physical arrangement of the materials. This separation between the intellectual and physical arrangement is due in part to the order in which RRFAC received each deposit, the format of the materials (i.e., papers vs. photographs vs. AV items), and earlier digitization efforts.
Biographical/Historical note:
Jay Scott Odell (b. 1935) was born in St. Paul, Minnesota, to Adalberta Lavoie Odell and Jay Geddes Odell. The family moved frequently throughout his childhood, resulting in Odell having lived at fourteen different addresses and attending seven different schools by the time he graduated high school in 1953. When the family settled in Mamaroneck, New York, in 1950, Odell met poet Peter Kane Dufault, and musician and poet Burt Porter, two figures who would go on to strongly influence his personal and professional development. It was on the advice of Dufault, for example, that Odell apprenticed with harpsichord-maker William Dowd after college.
Odell attended Middlebury College where he met his future wife, Dorothy "Dottie" Hiebert. After graduating in 1957, Hiebert moved to France and Odell took a position on the boat of Dutch writer Jan DeHartog before joining Hiebert to travel Europe. By 1959, they had returned to the United States (Boston, Massachusetts) and married. It was at this point in their lives that they became active in the peace movement and the early Folk Revival. Odell's relationship with Burt Porter continued, and he developed contacts with other musicians including Peter and Polly Gott, Tom "Tom Banjo" Azarian, Mike Seeger, and Tracy Schwartz. The Odells also became involved with the Bread and Puppet Theater group, founded by Peter and Elka Schumann, which established its primary location in Glover, Vermont, near Porter's property.
Odell is particularly notable for his work in musical instrument conservation at the Smithsonian Institution and his involvement in the development of the Smithsonian Folklife Festival. In 1963, following his harpsichord apprenticeship with William Dowd, Odell was hired by the Smithsonian as a musical instrument conservator. Under Cynthia Hoover and C. Malcolm Watkins, he established a restoration workshop for musical instruments at the National Museum of History and Technology, now the National Museum of American History. Over the course of his career, Odell served not only as a conservator but also as head of a technical laboratory and, eventually, as the first director of conservation at the National Museum of American History.
Odell was a key figure in the shifting philosophy of the musical instrument department regarding its collections and acquisition practices. With Hoover, Odell helped establish and facilitate a concert series with the mission of "[taking] the instruments out of their cases and [letting] them sing" – a major innovation in museum programming. Odell's commitment to bringing music history and traditions to life manifested in the expansion of the Smithsonian concert series, his relationship with Ralph Rinzler, and his early involvement with the Festival of American Folklife, now the Smithsonian Folklife Festival.
Although his professional training was in working with historical keyboard instruments, Odell's lifelong interest in traditional and regional music had a significant impact on his career. Between 1964 and 1977, when Odell was head of the laboratory at the Smithsonian Institution's Division of Musical Instruments, he undertook a series of collecting trips throughout the Eastern United States to expand the Division's collection of traditional American instruments.
In 1964, Odell and Porter attended the Annual Galax Old Time Fiddlers Convention. Following this initial trip, Hoover and Watkins supported Odell's efforts to, in addition to acquiring objects for the collection, research and record the cultural contexts of those instruments. Over the course of these trips, Odell built personal relationships with many of the musicians and craftspeople with whom he worked, including the Melton-Russell family, Tommy Jarrell, and Fred Cockerham.
Odell retired in 1993, but continued contract work at the Smithsonian. Working for the National Museum of American History, he assisted with the care and description of the Museum's banjo collection, as well as the acquisition of the Grimes and Jeffries dulcimer collection. He has also maintained associations with the Smithsonian Center for Folklife and Cultural Heritage. In 1998, Odell co-produced a record through Smithsonian Folkways with folklorist Cecelia Conway titled "Black Banjo Songsters," which focused on the African American banjo tradition and featured many of the artists with whom Odell had built relationships.
Shared Stewardship of Collections:
The Center for Folklife and Cultural Heritage acknowledges and respects the right of artists, performers, Folklife Festival participants, community-based scholars, and knowledge-keepers to collaboratively steward representations of themselves and their intangible cultural heritage in media produced, curated, and distributed by the Center. Making this collection accessible to the public is an ongoing process grounded in the Center's commitment to connecting living people and cultures to the materials this collection represents. To view the Center's full shared stewardship policy, which defines our protocols for addressing collections-related inquiries and concerns, please visit https://doi.org/10.25573/data.21771155.
Related Materials note:
Materials relating to Odell's career at the Smithsonian can also be found in the Smithsonian Institution Archives (SIA), particularly in the records of the NMAH Musical History Division.
Materials relating to the Bread and Puppet Theater can also be found in the archives of the Bread and Puppet Theater (via the Internet Archive); the University of Vermont; and the University of California, Davis.
Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
102 Accordion Styles/Songs / Daniel Blajda, Sam Zondi. Fiddle,Accordion.
Local Numbers:
FP-1999-CT-0424-7
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, July 1, 1999.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Jimmie Driftwood (MC); Ollie Gilbert--Plant sweet flowers on my grave--Go wash in that beautiful pool; Bookmiller Shannon and Seth Mize--Fort Smith--Ozark Mountain rag; Phyllis Whitfield--Way down in deep holler--Amazing grace; Jimmie Driftwood--mouth bow; Sherman Ward and Dean Hensley--Arkansas traveller skit; Dean Hensley--Preacher and the bear; Violet and Sandra Hensley--Take me back to Tulsa--unk
106 String Band / Bob Blair, Dean Hensley, Wesley Blair.
General note:
DPA number 70.101.18
Local Numbers:
FP-1970-10RR2-0018
General:
70.101.18
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:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Jimmie Driftwood (MC); Ollie Gilbert--Plant sweet flowers on my grave--Go wash in that beautiful pool; Bookmiller Shannon and Seth Mize--Fort Smith--Ozark Mountain rag; Phyllis Whitfield--Way down in deep holler--Amazing grace; Jimmie Driftwood--mouth bow; Sherman Ward and Dean Hensley--Arkansas traveller skit; Dean Hensley--Preacher and the bear; Violet and Sandra Hensley--Take me back to Tulsa--unk
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:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
101 Going to Georgia / Lawrence Eller, Ross Brown, Vaughn Eller. Mouth bow,Fiddle,Guitar,Banjo.
102 Shout Lulu / Lawrence Eller, Ross Brown, Vaughn Eller. Mouth bow,Fiddle,Guitar,Banjo.
103 Cindy in the Summertime / Lawrence Eller, Ross Brown, Vaughn Eller. Mouth bow,Fiddle,Guitar,Banjo.
104 Poor Ellen Smith / Lawrence Eller, Ross Brown, Vaughn Eller. Mouth bow,Fiddle,Guitar,Banjo.
105 Weepin' Willow / Lawrence Eller, Ross Brown, Vaughn Eller. Mouth bow,Fiddle,Guitar,Banjo.
106 Count the Days I'm Gone / Lawrence Eller, Ross Brown, Vaughn Eller. Mouth bow,Fiddle,Guitar,Banjo.
107 John Henry / Lawrence Eller, Ross Brown, Vaughn Eller. Mouth bow,Fiddle,Guitar,Banjo.
108 Lonesome Valley / Lawrence Eller, Ross Brown, Vaughn Eller. Mouth bow,Fiddle,Guitar,Banjo.
201 Dance All Night / Lawrence Eller, Ross Brown, Vaughn Eller. Mouth bow,Fiddle,Guitar,Banjo.
202 Little Red Shoes / Lawrence Eller, Ross Brown, Vaughn Eller. Mouth bow,Fiddle,Guitar,Banjo.
203 Cripple Creek / Lawrence Eller, Ross Brown, Vaughn Eller. Mouth bow,Fiddle,Guitar,Banjo.
204 My Home's In Charlotte, North Carolina / Lawrence Eller, Ross Brown, Vaughn Eller. Mouth bow,Fiddle,Guitar,Banjo.
205 Barbara Allen (Child No. 84)/ Lawrence Eller, Ross Brown, Vaughn Eller. Mouth bow,Fiddle,Guitar,Banjo.
206 Don't Go Riding Down That Old Texas Trail / Lawrence Eller, Ross Brown, Vaughn Eller. Mouth bow,Fiddle,Guitar,Banjo.
207 Fly Around My Blue-Eyed Girl / Lawrence Eller, Ross Brown, Vaughn Eller. Mouth bow,Fiddle,Guitar,Banjo.
208 Little Maggie / Lawrence Eller, Ross Brown, Vaughn Eller. Mouth bow,Fiddle,Guitar,Banjo.
209 Short Life of Trouble / Lawrence Eller, Ross Brown, Vaughn Eller. Mouth bow,Fiddle,Guitar,Banjo.
Local Numbers:
FP-RINZ-LP-0242
Flyright.546
Publication, Distribution, Etc. (Imprint):
U.K. Flyright 1978
Date/Time and Place of an Event Note:
Recorded in: Georgia, United States.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
205 Don't Put Off Salvation Too Long / Southland Ladies' Quartet.
206 Been a Long Time Traveling Here Below / Isom Ritchie.
207 I'm on My Journey Home / Denson Quartet.
208 I Am O'ershadowed by Love / Stamps-Baxter Music & Printing Co..
Local Numbers:
FP-RINZ-LP-0286
New World.223
Publication, Distribution, Etc. (Imprint):
New York New World 1978
Date/Time and Place of an Event Note:
Recorded in: San Antonio (Tex.), Texas, Richmond (Ind.), Indiana, New Orleans (La.), Louisiana, Atlanta (Ga.), Georgia, California, Boyd's Cave (N.C.), Timbo (Ark.), Arkansas, Springfield (Mo.), Missouri, Virginia, Montréal (Québec), Québec (Province), Canada, Kentucky, North Carolina, United States.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
101 Macizón-Gangue / Juan Escobar, Henry Blanco, Venancio Bolívar, Enrique León, Otilia Bolívar, Enrique, Jr. León, Temistocle Blanco, Eduardo Montes, Alexis Laya, Julián Blanco, Roger Cardona, Ruder Bolívar, Nina Sojo, Petra Eleuteria. Conch shell,Drum.
102 Mono-Perra / Juan Escobar, Henry Blanco, Venancio Bolívar, Enrique León, Otilia Bolívar, Enrique, Jr. León, Temistocle Blanco, Eduardo Montes, Alexis Laya, Julián Blanco, Roger Cardona, Ruder Bolívar, Nina Sojo, Petra Eleuteria. Conch shell,Drum.
103 Cántica / Elias Chourio, Dixie Pirela, Angel Pulgar, Escolástico Pulgar, Norman Rasabe, Victor Mesa, Dixon Rivera. Drum.
104 Golpe chocho / Elias Chourio, Dixie Pirela, Angel Pulgar, Escolástico Pulgar, Norman Rasabe, Victor Mesa, Dixon Rivera. Drum.
105 Aje-Benito-Aje / Elias Chourio, Dixie Pirela, Angel Pulgar, Escolástico Pulgar, Norman Rasabe, Victor Mesa, Dixon Rivera. Drum.
106 Chimbangalero vaya / Elias Chourio, Dixie Pirela, Escolástico Pulgar, Norman Rasabe, Victor Mesa, Dixon Rivera. Drum.
107 Songorongome vaya / Elias Chourio, Dixie Pirela, Angel Pulgar, Escolástico Pulgar, Norman Rasabe, Victor Mesa, Dixon Rivera. Drum.
108 Misericordia / Elias Chourio, Dixie Pirela, Angel Pulgar, Escolástico Pulgar, Norman Rasabe, Victor Mesa, Dixon Rivera. Drum.
109 Yiyivamos / Fernando Trinidad Rodríguez Silva, Aquiles Florez, Ricardo Rafael Silva Rodríguez, Rafael Antonio Pargas, Gary Antonio Pargas, Pilar Antonio Rodríguez Rodríguez, José Epifanio Silva Florez, Lino Antonio Báez, Fermín Antonio Pérez. Cavaquinho,Sticks (Musical instrument).
110 La Bella / Fernando Trinidad Rodríguez Silva, Aquiles Florez, Ricardo Rafael Silva Rodríguez, Rafael Antonio Pargas, Gary Antonio Pargas, Pilar Antonio Rodríguez Rodríguez, José Epifanio Silva Florez, Lino Antonio Báez, Fermín Antonio Pérez. Cavaquinho,Sticks (Musical instrument).
111 Juluminga / Fernando Trinidad Rodríguez Silva, Aquiles Florez, Ricardo Rafael Silva Rodríguez, Rafael Antonio Pargas, Gary Antonio Pargas, Pilar Antonio Rodríguez Rodríguez, José Epifanio Silva Florez, Lino Antonio Báez, Fermín Antonio Pérez. Cavaquinho,Sticks (Musical instrument).
112 Poco a poco / Fernando Trinidad Rodríguez Silva, Aquiles Florez, Ricardo Rafael Silva Rodríguez, Rafael Antonio Pargas, Gary Antonio Pargas, Pilar Antonio Rodríguez Rodríguez, José Epifanio Silva Florez, Lino Antonio Báez, Fermín Antonio Pérez. Cavaquinho,Sticks (Musical instrument).
201 Barlovento e la tierra del cacao / Aureliano Huice, Miguel Urbina, Jhonny Rudas, Agustín Blanco, Jesús Abello, Jesús García, Erasmo Llasmosa, Bernardo Sanz, Agustín Rivas, Chucho Garda, Celsa Duarte, Jorge Palma, Jesús Duarte, Carlos Colina, Carlos Martinski, Belén Palacios, Calixta Palacios, Yamile Pérez, Heidi Rondan, Chucho Abello, Chucho García, Ursulino Velázquez, Hilario Guache, Pedro Aguiar, José Gregorio Guache, Pedro Pablo Arteaga, Angel Purroy, Santiago Muñoz. Cavaquinho,Friction drum,Bombo (Drum),Percussion instruments,Mvet,Mouth bow,Mbira.
202 Rajuñao / Aureliano Huice, Miguel Urbina, Jhonny Rudas, Agustín Blanco, Jesús Abello, Jesús García, Erasmo Llasmosa, Bernardo Sanz, Agustín Rivas, Chucho Garda, Celsa Duarte, Jorge Palma, Jesús Duarte, Carlos Colina, Carlos Martinski, Belén Palacios, Calixta Palacios, Yamile Pérez, Heidi Rondan, Chucho Abello, Chucho García, Ursulino Velázquez, Hilario Guache, Pedro Aguiar, José Gregorio Guache, Pedro Pablo Arteaga, Angel Purroy, Santiago Muñoz. Cavaquinho,Friction drum,Bombo (Drum),Percussion instruments,Mvet,Mouth bow,Mbira.
203 Yo vengo regando flores / Aureliano Huice, Miguel Urbina, Jhonny Rudas, Agustín Blanco, Jesús Abello, Jesús García, Erasmo Llasmosa, Bernardo Sanz, Agustín Rivas, Chucho Garda, Celsa Duarte, Jorge Palma, Jesús Duarte, Carlos Colina, Carlos Martinski, Belén Palacios, Calixta Palacios, Yamile Pérez, Heidi Rondan, Chucho Abello, Chucho García, Ursulino Velázquez, Hilario Guache, Pedro Aguiar, José Gregorio Guache, Pedro Pablo Arteaga, Angel Purroy, Santiago Muñoz. Cavaquinho,Bombo (Drum),Percussion instruments,Mvet,Mouth bow,Mbira,Friction bow.
204 Décima al muchacho / Aureliano Huice, Miguel Urbina, Jhonny Rudas, Agustín Blanco, Jesús Abello, Jesús García, Erasmo Llasmosa, Bernardo Sanz, Agustín Rivas, Chucho Garda, Celsa Duarte, Jorge Palma, Jesús Duarte, Carlos Colina, Carlos Martinski, Belén Palacios, Calixta Palacios, Yamile Pérez, Heidi Rondan, Chucho Abello, Chucho García, Ursulino Velázquez, Hilario Guache, Pedro Aguiar, José Gregorio Guache, Pedro Pablo Arteaga, Angel Purroy, Santiago Muñoz. Cavaquinho,Bombo (Drum),Percussion instruments,Mvet,Mouth bow,Mbira,Friction bow.
205 Bocón / Aureliano Huice, Miguel Urbina, Jhonny Rudas, Agustín Blanco, Jesús Abello, Jesús García, Erasmo Llasmosa, Bernardo Sanz, Agustín Rivas, Celsa Duarte, Jorge Palma, Jesús Duarte, Carlos Colina, Carlos Martinski, Belén Palacios, Calixta Palacios, Yamile Pérez, Heidi Rondan, Chucho Abello, Chucho García, Ursulino Velázquez, Hilario Guache, Pedro Aguiar, José Gregorio Guache, Pedro Pablo Arteaga, Angel Purroy, Santiago Muñoz. Cavaquinho,Friction drum,Bombo (Drum),Percussion instruments,Mvet,Mouth bow,Mbira.
206 Cantos a Barlovento / Aureliano Huice, Miguel Urbina, Jhonny Rudas, Agustín Blanco, Jesús Abello, Jesús García, Erasmo Llasmosa, Bernardo Sanz, Agustín Rivas, Chucho Garda, Celsa Duarte, Jorge Palma, Jesús Duarte, Carlos Colina, Carlos Martinski, Belén Palacios, Calixta Palacios, Yamile Pérez, Heidi Rondan, Chucho Abello, Chucho García, Ursulino Velázquez, Hilario Guache, Pedro Aguiar, José Gregorio Guache, Pedro Pablo Arteaga, Angel Purroy, Santiago Muñoz. Cavaquinho,Friction drum,Bombo (Drum),Percussion instruments,Mvet,Mouth bow,Mbira.
207 Gallina no tiene teta / Aureliano Huice, Miguel Urbina, Jhonny Rudas, Agustín Blanco, Jesús Abello, Jesús García, Erasmo Llasmosa, Bernardo Sanz, Agustín Rivas, Chucho Garda, Celsa Duarte, Jorge Palma, Jesús Duarte, Carlos Colina, Carlos Martinski, Belén Palacios, Calixta Palacios, Yamile Pérez, Heidi Rondan, Chucho Abello, Chucho García, Ursulino Velázquez, Hilario Guache, Pedro Aguiar, José Gregorio Guache, Pedro Pablo Arteaga, Angel Purroy, Santiago Muñoz. Cavaquinho,Friction drum,Percussion instruments,Mvet,Mouth bow,Mbira,Bomba (Drum).
208 Adiós puebla cantadores / Aureliano Huice, Miguel Urbina, Jhonny Rudas, Agustín Blanco, Jesús Abello, Jesús García, Erasmo Llasmosa, Bernardo Sanz, Agustín Rivas, Chucho Garda, Celsa Duarte, Jorge Palma, Jesús Duarte, Carlos Colina, Carlos Martinski, Belén Palacios, Calixta Palacios, Yamile Pérez, Heidi Rondan, Chucho Abello, Chucho García, Ursulino Velázquez, Hilario Guache, Pedro Aguiar, José Gregorio Guache, Pedro Pablo Arteaga, Angel Purroy, Santiago Muñoz. Cavaquinho,Friction drum,Bombo (Drum),Percussion instruments,Mvet,Mouth bow,Mbira.
209 [Untitled] / Aureliano Huice, Miguel Urbina, Jhonny Rudas, Agustín Blanco, Jesús Abello, Jesús García, Erasmo Llasmosa, Bernardo Sanz, Agustín Rivas, Chucho Garda, Celsa Duarte, Jorge Palma, Jesús Duarte, Carlos Colina, Carlos Martinski, Belén Palacios, Calixta Palacios, Yamile Pérez, Heidi Rondan, Chucho Abello, Chucho García, Ursulino Velázquez, Hilario Guache, Pedro Aguiar, José Gregorio Guache, Pedro Pablo Arteaga, Angel Purroy, Santiago Muñoz. Cavaquinho,Friction drum,Bombo (Drum),Percussion instruments,Mvet,Mouth bow,Mbira.
210 El araguato / Aureliano Huice, Miguel Urbina, Jhonny Rudas, Agustín Blanco, Jesús Abello, Jesús García, Erasmo Llasmosa, Bernardo Sanz, Agustín Rivas, Chucho Garda, Celsa Duarte, Jorge Palma, Jesús Duarte, Carlos Colina, Carlos Martinski, Belén Palacios, Calixta Palacios, Yamile Pérez, Heidi Rondan, Chucho Abello, Chucho García, Ursulino Velázquez, Hilario Guache, Pedro Aguiar, José Gregorio Guache, Pedro Pablo Arteaga, Angel Purroy, Santiago Muñoz. Cavaquinho,Friction drum,Bombo (Drum),Percussion instruments,Mvet,Mouth bow,Mbira.
212 Viene saliendo la luna / Leonardo Machado, Luis Valle, Ursula Lapez, Eloy Sevilla, Andre Avelina Graterol, Herson Landfnez, Juana Landfnez, Nancy Estanga, Ismael Hernández, Sergio Meza. Drum.
213 Cantos a San Juan / Leonardo Machado, Luis Valle, Ursula Lapez, Eloy Sevilla, Andre Avelina Graterol, Herson Landfnez, Juana Landfnez, Nancy Estanga, Ismael Hernández, Sergio Meza, Librada Hernández, Bernabela Hernandez.
214 No hay suegra coma la mía / Leonardo Machado, Luis Valle, Ursula Lapez, Eloy Sevilla, Andre Avelina Graterol, Herson Landfnez, Juana Landfnez, Nancy Estanga, Ismael Hernández, Sergio Meza.
Local Numbers:
UNESCO.8318
Publication, Distribution, Etc. (Imprint):
France Audivis
Date/Time and Place of an Event Note:
Recorded in: Venezuela, 1992-1998.
General:
Commercial
Restrictions:
Restrictions on access.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
