#20
September 1, 2026#22
September 1, 2026
Searchable issue transcript
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Appalachian Music Appalachian Music Blue Ridge Music Trails MerleFest foothills foothills Display until 6/15/23 Display until 6/15/23 $8.95 $8.95 Digest Digest Listen to 100+ S o ngs
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Send a check for $32 to: Foothills Digest 3838 Cleary Road Laurel Springs, NC 28644 Name: Address: Phone: Card Number: Expiration: CVV Code: subscribe On the Cover: Appalachian Dulcimers grace the cover of this issue, along with family photos belonging to long-time contributor Granny Eckard. The darker dulcimer is hand-crafted by Michael Poovey. Hundreds of songs and videos are linked throughout this issue via QR code. See MerleFest story on page 90. See Blue Ridge Music Trails on page 60.
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4 foothills Digest 3838 Cleary Rd Laurel Springs, NC 28644 Spring 2023 Phone: 828.475.1323 E-mail: editor@foothillsdigest.com Website: foothillsdigest.com Stock by Adobe Stock and Shutterstock PRINTED IN USA PARTNER COMPANY: ECKARD PHOTOGRAPHIC C A R M E N E C K A R D Editor in Chief Author J O N E C K A R D Principal Photographer J O E Y O S B O R N E Partner S P E C I A L T H A N KS Michael Poovey Laura Boosinger Nathan Workman Steve and Lori Watson Foundation Michael Freas "Put it before them briefly so they will read it, clearly so they will appreciate it, picturesquely so they will remember it and, above all, accurately so they will be guided by its light." -Joseph Pulitzer
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5 L etter from the Editor: etter from the Editor: Dear Readers, The history of the music of the Appalachians is rich, and there was a time when people of these hills sang as easily and commonly as they spoke. I'm excited to tell you this story and to point you in some directions of other folks who know much more about the topic than I do, should you be fascinated and left wanting more. Full disclosure: it is ALWAYS my goal to leave you fascinated and wanting more. Please be sure to have a smartphone handy. You can scan QR codes throughout to listen to countless hours of traditional Appalachian music, ballads, bluegrass, and more. It's impossible to capture the spirit of music with words on a page. I have made a noble effort, but the musical accompaniment should prove very helpful. The first half of this issue is about the history of the music here, and the second half is about how you can experience that music today. I implore you please support the traditions you want to keep alive. If we want these traditions to be preserved for our children and grandchildren, we need to be buying tickets and albums now so that the musicians can support their lives and their arts and pass on that knowledge to younger generations. MerleFest offers an excellent opportunity to support these musicians, and Foothills Digest will be there with bells on. We will have a tent set up right next to the autograph tent, and I hope you'll stop by and say hello! In my research on this issue, I was delighted to find information about I.G. Greer. As an AppState student, I spent huge amounts of time in the I.G. Greer Theatre, in the building named after him. In that theatre, I learned a lot of things that led to me making this magazine, like how to hone a creative vision, how to work collaboratively, and how to hold myself to high standards. A QR code in this issue allows you to hear I.G. Greer singing a song, and any graduates of ASU might find it meaningful.
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In an increasingly virtual world, the image you use to represent yourself sets the tone for how clients see you. Make sure what they are seeing is the best version of your authentic self . Call us today at 828.475.1323 to set up your session. We are also a full-service commercial photography studio, and can help with any needs your business has, from real-estate photos, to product photography and everything in between. We can also create catalogues and end-of-year reports, or printed advertising materials. Eckard Photography is the partner business of Foothills Digest, and it consists of the same creative team. ECKARDPHOTOGRAPHIC.COM 828.475.1323
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7 I Love Mountain Music Courtesy of the Library of Congress LC-USZ62-102688
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8 This issue is all about the Traditional Music of the Appalachians. We can describe it to you, explain the history, tell you where to hear it, and show you pictures of the folks who are making it, but to really understand, you'll need to listen. As often as possible, we've included QR codes. If you have a smart phone, you should be able to just point your camera at the code, then click the link that pops up. You can practice on the code on this page, which will take you to an online version of this magazine issue. Keep an eye out for codes! Occasionally, the links break over time. If you find a broken QR code, you can tell us about it at editor@foothillsdigest.com and we'll fix it right up! K eep eep your your Smart Pho Smart Pho ne ne H H andy! andy!
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5 Letter from the Editor 1 1 Appalachian Music 18 Bascom Lamar Lunsford's Scrapbook 28 12 National Heritage Fellows 32 African American Music 34 Fiddle 36 Banjo 38 Dulcimer 40 Barbara Allen 42 Shaped Note Singing 44 The Songcatchers 48 English Folk Songs, 1917 54 The Songcatchers Film 56 Granny Eckard 58 Riddlefest 60 Blue Ridge Music Trails 63 Fine-Tuned 68 Sims Barbecue 72 Alleghany Jubilee 73 Earl Scruggs Center 74 Merry-Go-Round 76 Don Gibson Theatre 79 Jones House Jam Sessions 80 Drexel Barbershop Jams 81 ZUMA Coffee 82 Phipps General Store Jams 84 Wilkes Heritage Museum 86 Boonerang 87 Fiddlers Conventions 88 Down the Road Podcasts 90 MerleFest 96 Avett Brothers at MerleFest 102 Michael Freas Shoots MerleFest 1 12 Listen to This! Table Table of of Contents Contents
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11 Appalachian Music It's probable that when you read "Appalachian Music," your mind goes straight to Bluegrass. And you wouldn't be wrong. Bluegrass is an essential part of the music of the hills, but the term encompasses so much more. "Appalachian Music" refers to almost 300 years of innovation and tradition and encompasses many cultures and styles. The traditional music of the Southern Appalachian Mountains has contributed to nearly every genre of American music, including but not limited to blues, jazz, Bluegrass, honky tonk, country, gospel, and pop. There were two distinct periods of Appalachian music. The first began when people emigrated from the British Isles in the early 18th century and lasted until around 1900. Those 200 years, the traditional Appalachian period, were marked by very isolated mountain communities carrying on the traditions their ancestors passed on to them. Ballad singing was as common as speaking and wasn't limited to performances. It was a way of life. Around 1900, people began to realize the importance of the ballads mountain folk were singing. At that time, there was a concerted effort worldwide to "capture" the old songs, write down the lyrics, and record the singers when possible. In other parts of the world, the older generations were the only ones who knew the older songs, and their memories were collectively failing them. But in the Appalachian mountains, the songs were still fresh on the lips of the people. Olive Dame Campbell and Cecil Sharp, among others, are responsible for saving these songs for history. Many of these ballads are still sung by traditional musicians. Barbara Allen, for instance, is the oldest known song in the English language. It's been recorded by countless musicians, including Jean Ritchie, Pete Seeger, Joan Baez, The Everly Brothers, Bob Dylan, Simon and Garfunkle, Emmy Lou Harris, Glenn Campbell, Bill Davis, Dolly Parton, Roseanne Cash, (see page 40) and many more. This is the case for many of the traditional ballads.
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12 During this time, church music was significant. Old gospels were sung, and the people of the Appalachians loved shape-note singing. "Shape notes" are a particular way of notating music that uses shapes to represent the notes, making it easier to sight-read. Also, during this era, we saw the development of the Appalachian Dulcimer. It first appeared in the early 19th century, mainly among the Appalachian settlers descended from Scotch-Irish emigrants, but they were not known in Scotland, Ireland, or England. They are actually of German descent but gained popularity here because they were much easier to make than a fiddle and were well suited for playing for small crowds. It should also be noted that most of the studies, and therefore the recorded history, are very focused on the Anglo-Saxon settlers in the area. But that tells an incomplete story. The banjo, one of the two instruments most closely associated with Appalachian music, arrived in America on slave ships in the 1600s. The banjo arrived in America on slave ships and traveled west with enslaved people. The downward strokes used to play it were developed by those same people. It wasn't until recently that historians began to look more closely at the contributions of people of color.
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13 The second period of music, lasting from 1900- 1930, is called the Old-Time Appalachian Music era. This era brought about the music that would lead to Bluegrass. Folk music went hand-in-hand with folk dances, such as square dancing, clogging, and buck dancing. The music of that era was played mostly with the fiddle, banjo, and guitar. This string-heavy arrangement came to be called the string band. Many other instruments could be used, including cello, piano, hammered dulcimer, Appalachian dulcimer, lap-steel guitar, mandola, mouth bow, as well as others such as the harmonica, autoharp, jaw harp, jug, accordion, washboard, spoons, or bones. Whatever was available to make music with was fair game. Sometimes fiddles were played by two people: one playing the traditional part, using a bow on the strings, and another using a stick on the side of the fiddle for percussion. This is where the term "fiddle sticks" originated. If it weren't for the radio's rapidly increasing popularity, the world would never have heard the sounds of the old-time string bands of Southern Appalachia. Musicians were excited to perform for radio shows, directing listeners to their live shows. Radio shows highlighting old-time music began to pop up across the Southern Appalachians. The WPAQ Saturday morning Merry-Go- Round, filmed at the historic Reeves Theatre in Mount Airy, is the nation's second longest- running radio show. You can still attend the live taping on Saturdays at 11. Shows like this one helped popularize and preserve the old-time Appalachian music, bringing it down the mountain to folks all over the country. At the same time that the twang of string bands rang out over the hills, the African Americans of the region were developing a new style of blues. This style was more melodic than the more mainstream blues of the Delta. It leans more on the melody from the guitar than the percussion and also has a heavy ragtime influence. In other parts of the country, the music played by people of color and white people was very separate and developed individually. In the Appalachian mountains, however, the lines were much more blurred. In the many mining towns of the Appalachian mountains and poor farming communities, the different races lived separately from each other. This period spans the years of the Jim Crow South, years marked by the extreme separation of the races. Still, in Appalachia, people of different races often played music together on back porches. They delighted in mixing instruments from different cultures together, teasing out the similarities to produce genuinely revolutionary music. Musical archivist Jeff Place said, "You could listen to some 78s of music from there and not know if it was a white or black musician playing it." During this time, the music popularly came to be called "Hillbilly" music. Because that word has so often been used as a pejorative, Foothills Digest prefers to steer clear of it. Hank Williams spoke about being offended by the label, and it isn't an accurate or meaningful label. Out of the old-time string bands and Appalachian blues movements, Bluegrass was born. Bill Monroe, of the mountains of Kentucky,
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14 is known as the Father of Bluegrass, and we get the genre name from his band, "Bill Monroe and the Blue Grass Boys." North Carolina Bluegrass artists include The Blue Sky Boys, Doc and Merle Watson, Jim Lauderdale, Earl Scruggs, and Wade Mainer, among many others. Bluegrass has a particular and identifiable sound. First, the music is produced by stringed instruments. Purists insist that the instruments must be guitar, mandolin, fiddle, banjo, and bass, but most consider that more of a suggestion than a rule. Secondly, the off beat is emphasized. The music is high-energy and more high-pitched than its cousin, country music. Two, three or four-part harmonies are to be expected, with interesting and varied "stacks" of vocal ranges. Bill Monroe said it had a " high lonesome sound." In the Southern Appalachians, music has never been a thing that was relegated only to performers. Porches were made for sitting around and playing music. Everyone sang along, and the joy was in singing and playing as much as in listening. Today, that spirit is still evident when you watch musicians "jam." A jam is an unrehearsed session of music playing where the songs are impromptu, flowing, and ever-changing. Generally, the participants sit in a loose circle, with one person choosing a song or tune and everyone joining in. MerleFest, America's top traditional music festival, offers a great many traditional performances. But perhaps more importantly, it gives the nation's best traditional artists space and time to jam together, and you can have a seat in the audience. Each day of the festival has time in the schedule for jam sessions. It happens each April in Wilkesboro, NC, and it is an absolutely quintessential North Carolina experience. The Blue Ridge Music Trails highlight a myriad of opportunities to attend jam sessions or traditional music performances. For instance, at the Drexel Barbershop, you'll find musicians from the region playing together instead of cutting hair each weekend, and at ZUMA coffee shop, on the third Thursday of every month, you can hear legendary bluegrass performers jamming with their neighbors. The BRMT website, blueridgemusic.com, offers helpful search tools and information about performances. Foothills Digest salutes the critical work of preservation and education that the Blue Ridge Music Trails engage in. Traditional music is still alive and well in western North Carolina. We hope that this issue of Foothills Digest helps you experience the music and history of our region in a more meaningful way, and that it encourages you to support the musicians still honing this craft.
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15 Natural Natural Elements Elements Of N o r t h C a r o l i n a W e c u r a t e p r o d u c t s f o r a W e c u r a t e p r o d u c t s f o r a n a t u r a l l i f e s t y l e n a t u r a l l i f e s t y l e Our products include: • A full-range of North Carolina grown CBD products • Delta 8 and Delta 9 products • Elderberry Syrup • Organic vitamins & supplements • Honey • Jewelry • Essential Oils • And more! 2 3 8 M o r g a n t o n B l v d L e n o i r , N C 2 8 6 4 5 8 2 8 / 9 2 9 / 2 4 2 0 8 2 8 / 9 2 9 / 2 4 2 0
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18 Photos Courtesy of Bascom Lamar Lunsford Scrapbook, Southern Appalachian Archives, Mars Hill University Bascom Lamar Lunsford was affectionately known as "The Minstrel of the Appalachians." He was a folklorist who also performed traditional music and worked as a lawyer. He was born on the campus of Mars Hill University into a family of musicians. He was quite young when his dad gave him a fiddle and he began performing at weddings and other events. In the early 1900s, he began traveling the state to collect folklore and songs. He said he spent "nights in more homes from Harpers Ferry to Iron Mountain than anybody but God." Bascom Lamar Lunsford knew that when he traveled, he was speaking to people who likely knew more of the stereotypes of Appalachia than anything based in reality. Because of this, he accepted that he was an ambassador for the region, and made sure to behave accordingly. He self-censored his songs, never allowing any sort of profanity, skipping verses when needed. He always dressed in a starched white shirt and black bow tie and certainly appeared to be a gentleman. In 1922, Bascom worked with Frank Brown, a song collector, to record thirty-two songs on wax cylinders. He also participated in recordings for the Archive of American Folk Song at the Library of Congress. His recordings were vital to the preservation of traditional music. He also organized the Mountain Dance and Folk Festival, which continues to this day and is widely considered the first Folk Music Festival. Additionally, he was invited to perform for King George VI at the White House by President Roosevelt. Bascom Lamar Lunsford kept an enormous scrapbook full of pictures of his life and performers of the day. Mars Hill University holds this treasure, and has been kind enough to share it with us. We have pulled out some of his photographs to share, and we've labeled them with the notes that were originally in his handwriting. Bascom's Scrapbook Bascom with Scrapbook Bascom Performing
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Mr. and Mrs. Lyle Brooks, Bascom and Gaither Robinson At Eagles Nest Again My Home at South Turkey Creek Mr. Lunsford and the Lovingood Sisters
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Bascom at Turkey Creek My Fiddle
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Cole String Band Beulah Coldwell Booth Campbell The Presley String Band At Carolina Folk Festival
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23 COSMETIC, IMPLANT ANDCOMPREHENSIVE DENTISTRY(828) 328-5581 221 13th Avenue Place North West, Hickory
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Minnie Greer The Noted Samantha Bumgarner Pearl and Alma Osey Helton, Champion Cherokee Fiddler Pearl King
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Susan Reid Susan Reid Alma Roger's String Band Doxie Brewer with my banjo May Rice w/ Sister-In-Law Marie, One of the Best Known
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Coon Creek Girls Carolina Folk Festival Foley Leo Coghum Candler Enka Dance Team
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28 Photos Courtesy of the National Endowment for the Arts For more than forty years, The National Endowment for the Arts has honored Folk Artists with the National Heritage Fellowship. Bess Lomax Hawes led the Folk Arts program and she announced, "Each year, we will greet, salute, and honor just a few examples of the dazzling array of artistic traditions we have inherited throughout our nation's fortunate history...We believe that this can continue far into the future, each year's group of artists demonstrating yet other distinctive art forms from the American experience." Each year since 1982, the National Heritage Fellowship has brought national attention to the traditional artists working in the country. This is the highest honor for Folk Artists, and it assures that their legacies will be respected. A great many of the artists come from the Southern Appalachians, making clear the importance of the folk art of the region. Twelve National Heritage Fellows have been from North Carolina. The award has recognized artists involved in the creation of more than 200 traditional art forms, and the winners are usually considered masters of crafts, dance, music, art, or oral traditions and have a very strong sense of place. The process for an artist to become a National Heritage Fellow begins with a nomination, which is usually from someone local who understands the cultural significance of the person. You can use the QR code at the right to make your own nomination. If there's someone that you think is carrying on important folk traditions in a meaningful way, you can help solidify their legacy. TWELVE NATIONAL HERITAGE FELLOWS
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29 Tommy Jarrell, 1982: Recognized the year the award was created, Tommy was a fiddler, banjo player, and singer from Mount Air y. His music was noted for its syncopation and sliding ornamentation. Those things created a unique sound which has continued to influence modern music, most especially the Round Peak style of playing clawhammer banjo. Round Peak is a mountain in Surry County, near Jarrell's home. Tommy Jarrell bought his first fiddle for only $10, and now that fiddle is on display in the permanent collection of the Smithsonian. Stanley Hicks, 1983: Stanley Hicks was raised on Spice Creek in Watauga County with eight siblings. Like his father and grandfather before him, Stanley made banjoes and dulcimers. He made his first banjo at 15 using cat hide, walnut, and cherry. He played both instruments, but unfortunately, he cut off most of a finger building a dulcimer. He then couldn't play in the popular clawhammer style, so he had to adapt his own style. He was well-known for his dancing, storytelling, and the way he blended them with music. Ray Hicks, 1983: Storyteller Ray, second cousin to Stanley, is known for his Jack Stories. He was nearly seven feet tall and lived on top of Beech Mountain in a very primitive manner. In addition to storytelling, he was a powerful singer of traditional folk ballads. He said, “Storytelling’s an art,” he said. The stor y can’t be changed if it’s written down. Then it’s writing—not talking.” Ola Belle Reed, 1986: Ola Belle Reed came from a large family of respected musicians. She was a musician, as well as hosting a radio show for 30 years. She was a featured performer at the 1972 Smithsonian Folk Festival, and recorded 75 songs for the Library of Congress.
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30 Wade Mainer, 1986: Wade Mainer was, along with his brother J.E., one of countr y music's first stars. They grew up in a log cabin near Weaverville. In 1922 they moved to Concord, where there were many oppor tunities for them to play, and they rose to fame quickly. Eventually, he left his brothers band and set out on his own. He and his band, the Sons of the Mountaineers, are credited with bridging the gap between old-time mountain music and Bluegrass. He's called the "Grandfather of Bluegrass." The later parts of his career were marked by performances of gospel music. Arthel "Doc" Watson, 1988: Doc Watson was a guitarist, songwriter, and singer of bluegrass, folk, countr y, blues, and gospel music from Deep Gap. He performed with his son Merle until his untimely death. MerleFest was created in honor of his son. He's considered one of the greats and has been much honored, including being the recipient of a Lifetime Achievement GRAMMY. He also received a National Medal of Arts from President Bill Clinton, and he's a member of the Nor th Carolina Hall of Fame. Be sure to attend MerleFest to truly understand his legacy. Earl Scruggs, 1989: Earl Scruggs began his career as one of the Blue Grass Boys in Bill Monroe's band, meaning the whole genre is named af ter the work he was involved in. He perfected a three -finger picking method for the banjo, called the Scruggs Method, that is used across several genres of music. Additionally, along with bandmate Lester Flat ts, wrote and performed the Beverly Hillbillies theme song which brought national attention to traditional Appalachian music. Doug Wallin, 1990: D o u g Wallin is a member of the Wallin Family,which was well-known for performing traditional Appalachian music, especially English ballads. Doug was a fiddler and singer, with a particularly refined and clear voice. His fiddling was very traditional.
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31 Etta Baker, 1991: Et ta Baker was a blues guitarist based in Morganton. Her father, Boone Reid, was a Piedmont Blues player and he was her instructor. She played guitar, 12-string guitar and banjo. When she was twelve, she and her father ran into folk singer Paul Clayton while they were all visiting the Cone Manor. She played for him and the next day he showed up at their house with a recorder. She didn't of ten sing, saying that she didn't need to and she considered her style to be "happy blues." She said that writing music is, "like putting a crossword puzzle together." Walker Calhoun, 1992: Walter Calhoun was a Cherokee dancer, musician, and teacher. He was a medicine man and spiritual leader and did much to preserve Cherokee traditions. While a child, he learned Cherokee songs and dances from his Uncle Will West Long, taught himself to play banjo, and learned traditional medicine from his mom. He founded The Raven Rock Dancers, which formed a kind of incubator for him to pass on traditional music and dance. He recorded many songs, sharing them with the world. Mary Jane Queen, 2007: Mary Jane Queen is a singer and banjo player. A master of the ballad, she's been called a "walking archive of mountain music." She lived in Caney Fork, and came from a renowned musical family. She worked with Maggie Greenwald on the script of Songcatcher, and the character Viney Butler was loosely based on her. Sheila Kay Adams, 2013: Sheila Kay Adams is a musician and author from Sodom Laurel in Madison County. She's a seventh-generation ballad singer and banjo player whose family was integral to continuing the unbroken tradition of ballad singing that goes back to when settlers first arrived. She is one of the most prominent voices keeping ballad singing alive.
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32 African American Music of Southern Appalchia For far too long, the story of the music of Southern Appalachia has been white-washed. Until recently, nearly all the scholarly research about the era, including the work of Cecil Sharp, focused on the English, Scots-Irish, and German immigrants, but the influence of African cultures is evident in our music. The population of the Southern Appalachians was very sparse, and most of the settlers there were poor, white people. But there were African-American families in Appalachian communities, both enslaved and freed. In the cities to the east and the rest of the country, the races lived very separate lives and didn't mix company socially. But in the poor communities of the Appalachians, that wasn't so. Mixed races playing songs together on the porch was a common occurrence, and by the 1930s, when Appalachian music began to play on the airwaves, it could be hard to determine the race of the bands from the radio alone. One of the key elements of African American Appalachian music is the use of the banjo. The banjo, which originated in West Africa, was brought to America by enslaved Africans and was quickly adopted by white musicians in the southern Appalachian region. African American musicians, in turn, adapted the
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Photos Courtesy of the Library of Congress Prints and Photographs Division Photo at left by Dorothea Lange instrument and developed a unique playing style that incorporated African rhythms and melodies. Pattin' juba' is a form of body dancing that is still performed in parts of Appalachia. It began when it became illegal for enslaved people to play drums. It was thought they might use the drums to send messages to each other, so they developed a style of rhythmic dance that uses the body as a percussion instrument. Another important element of African American Appalachian music is the use of call-and-response singing. This singing style, in which a lead singer sings a line and the chorus responds, is a common feature in the music of West Africa and was also brought to America by enslaved Africans. This style of singing can be heard in traditional gospel music and in the work songs of enslaved people on plantations. The Appalachians are beginning to be recognized as a key incubator of the blues tradition. The blues of the region are distinct and notable. The songs are more melodic than Delta blues, with fancy finger work, with a ragtime feel. It is hard to find good recordings of musicians from this era, but an excellent collection called Classic Appalachian Blues from Smithsonian Folkways has been gathered and features several African- Americans. Use the QR code to listen. Etta Baker, shown at right, is one of the area's best- known African-American musicians. She has been honored as a National Heritage Fellow, the highest honor for folk artists and musicians. She liked to say that she played "happy blues" and preferred to sing as little as she could, saying, "my guitar does the singing for me." African American Appalachian music has played an important role in the development of American music, influencing genres such as bluegrass, country, and gospel music. Today, it continues to be an important part of the cultural heritage of the southern Appalachian region, and is celebrated and preserved through festivals, concerts, and other events.
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34 There's a definitive answer to the age-old question, "What's the difference between a fiddle and a violin." The answer: the only difference is how you play them. So if you see one of these instruments lying on a stage or sitting on a shelf, it's impossible to know which it is. It's both until someone picks it up and starts to play music, then the difference is evident immediately. Violins are used to play classical music. Fiddles are used for folk, traditional, bluegrass, and country music. If the music is making you tap your feet, you can bet you are listening to a fiddle and not a violin. It is said that the fiddle is the heart of traditional Appalachian music. Early Appalachian set tlers brought fiddles with them from Europe. The instrument was lightweight, and the sound it produced was merry and light- hearted. It was a perfect instrument to accompany dancing or ballad singing, which made it a natural fit for the region. Fiddle Fiddle
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35 Another reason that the instrument was able to thrive in the Appalachian mountains was its extreme portability. Pianos couldn't be carried up steep mountain passes, but a fiddle could, and a fiddle could provide a melody as well as a piano. It could also supply rhythm, meaning one person could play one instrument, and that could be enough to get a barn full of neighbors dancing. The way that the instrument is played in our region was developed from a true melting pot of cultural influences. Although the fiddle probably came from Scotland, African influences are obvious. There is a focus on syncopation, a particular musical technique where the typical rhythm is interrupted by the accenting of the weaker beat. Syncopation comes from Africa, and it's also seen in some dancing traditions, like tap. If you were to ask a person to imagine an Appalachian musician, there's a near 100% chance the musician would have a fiddle in their hand. The instrument is so ubiquitous that any old-time string music is referred to as "fiddle tunes." Tommy Jarrell, Samantha Baumgarner, and Marcus Martin were particularly noted fiddle players in western North Carolina. There are several fiddlers conventions throughout the year. You can learn more about them on page 87. Renowned North Carolina artist Bob Timberlake was excited to pass on his father's fiddle to his son. As he handed it to him, they heard a peculiar rattle. They were puzzled and investigated the sound. They were surprised to find a rattlesnake rattler inside the fiddle. Bob Timberlake is an excellent conversationalist, and he will chat with anyone lucky enough to be near him. He told a friend about the rattle and mentioned they wondered how to remove it. Luckily for the Timberlakes, his friend had some knowledge of traditional Appalachian music, and he knew that the rattler was there to serve a purpose and should be left where it was. It turns out early musicians often snuck a rattlesnake rattler into their instruments. It was for good luck, and the larger the rattler, the better the luck. It's thought that this tradition developed alongside the notion that the fiddle was the Devil's instrument (this was before he went down to Georgia, but it came from the same superstitions). Putting a rattler inside your fiddle was meant to keep him at bay. It also had a more practical purpose. Fiddles didn't often have cases, and they were usually hung on a wall when not in use. Spiders loved the dark hollow insides, but a rattler kept them away. If any did manage to build a web inside, the movement of the rattle would destroy it. Old-time fiddle players said that the rattles "sang along" with them and imparted a sweeter sound to the music. Next time you listen to fiddle music from the mountains, try to see if you can hear a rattler "singing along." A Peculiar Rattle
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36 When you listen to traditional Appalachian music, the familiar twang of the banjo is easy to distinguish. Its bright, percussive tone and fast, intricate picking style add energy and drive to the music, making it an ideal instrument for dancing. The banjo's ability to be played in a variety of tunings also allows for a wide range of musical expression, from the joyful, upbeat sound of bluegrass to the haunting, melancholic sound of old-time music. The banjo is believed to have originated from African instruments that were brought to America by enslaved people. The instrument has undergone many changes and adaptations over time, eventually becoming the five-string banjo that is commonly associated with Appalachian and bluegrass music. They were originally made of gourds and animal hides. For quite some time, in most of the nation, only enslaved people played the banjo. However, in the mountainous frontier regions of Appalachia and the Lowlands of the South, the banjo was played by white people even before the Civil War. After the War, the banjo began to gain popularity nationwide. This was because white black face minstrels began to perform across the country, playing a mixture of traditional ballads, vaudeville, and the music that African-Americans were playing at the time, which made heavy use of the banjo. Joel Walker Sweeney, a black face minstrel, was the first white man to play the fiddle on stage, and he was taught at an early age by an enslaved person on his father's plantation in the early 1800s. Banjo Banjo
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37 The Play that Goes Wrong Mar-Apr 2023 Exit Pursued by Bear Apr-May 2023 Kinky Boots Jun 2023 Banjos can be played in a "clawhammer" style which uses downward motions. The index fingernail plucks most of the strings while the thumb plays the drone string. This came directly from West Africa, and it's a very popular way of playing. In old-time music, the strings were usually plucked in an inward direction, and a three-finger method of playing called the Carolina style led directly to the bluegrass style of banjo playing. The banjo often accompanies the fiddle in the Southern Appalachians, and the combination of those two instruments makes a decidedly pleasant sound. People like Earl Scruggs, Ralph Stanley, and Bill Monroe are known for their banjo playing and helped popularize the instrument. The old-time string bands of the early 20th century relied heavily on the banjo, and that sound carried through to bluegrass and country music, where the banjo is still very important. The banjo has also played an important role in preserving the cultural heritage of the Appalachian people. The instrument has been passed down through generations, and its music has been used to tell stories, express emotions, and celebrate important events. In recent years, the banjo has seen a resurgence of popularity, thanks in part to its inclusion in various genres of music. This has helped to increase awareness and appreciation of the rich cultural heritage and musical traditions of the Appalachian region. Regional designs on t-shirts, baby jumpers, coffee mugs, etched glassware, & more. Visit our storefront at 105 South 3rd Street, Smithfield NC 27577, or give us a call at 919-810-7472. JUDSDESIGNS.COM Email nihongo@mindspring.com for wholesale orders.
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The Appalachian dulcimer, or mountain dulcimer, is a well-loved instrument. It's fretted and strung, like the fiddle and banjo, but the similarities end there. The dulcimer is part of the zither family. One of the reasons these instruments became popular in the region is the simplicity of their construction. They could be made much more easily than either the fiddle or the banjo. They were usually made out of walnut, oak, cherry, and apple, but any hardwood that was available could be used. The dulcimer was more suited as a parlor instrument than for playing for crowds. Its modest volume made it difficult to use for large groups or where people were dancing. It's considered one of the easiest stringed instruments to learn because it has only three or four strings and a simple diatonic fret pattern. The simplicity was another factor in its popularity. Dulcimer Dulcimer
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Near the end of the 19th century, the crafts movement brought the dulcimer to the attention of the nation. Contemporary scholars romanticized the instrument, tying it to Appalachia and folk culture. I.G. Greer was a scholar who collected ballads and performed them. His dulcimer- playing wife accompanied him, resulting in recordings for commercial purposes and for the purpose of preserving the music. Hear the Greers using the QR code below. Jean Ritchie was one of the best-known Appalachian dulcimer players, beginning in the 1940s. The old-time instrument experienced a revival in the 1950s and 60s, inspired by Jean Ritchie's work. Joan Boaz brought the dulcimer solidly into the American zeitgeist with her popular folk songs. Additionally, Brian Jones, a member of The Rolling Stones, played an electric Appalachian dulcimer on an album they released in 1966. He can be seen playing it on their Ed Sullivan Show appearance. Peter Buck of R.E.M. plays an electric Appalachian dulcimer, and Cyndi Lauper's primary instrument is a mountain dulcimer. Far from only being an instrument of the past, the dulcimer is only getting more popular as time goes on. Younger generations have taken great interest in learning to play the instrument, and it's well on its way to a second revival. Saturday, October 21 Jontavious Willis, Blues Man "Jontavious is a great new voice of the 21st century in the acoustic blues. I love the way he plays.” --Taj Mahal, blues artist Concert: 7-9 PM Burnsville Town Center 6 South Main Street, Burnsville NC Tickets $20 @ Eventbrite.com or at the door Seminar 3-4 PM Burnsville Town Center Free and Open to the Public Jontavious Willis: Exploring Regional Variations of the Blues. Willis will demonstrate the roots of the blues and discuss the regional variations of types of country blues, focusing on the Piedmont blues. Produced by: Traditional Voices Group
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40 Barbara Allen Pete Seeger Dolly Parton Joan Boez The Everly Brothers Bob Dylan Simon & Garfunkel Emmy Lou Harris Dame Olive Campbell Roseann Cash Jean RItchie Barbara Allen is the oldest known song in the English language. There are more than 500 recordings of traditional artists singing the song, and the first was recorded on a wax cylinder in 1907. The song is one of the English ballads that early Appalachian settlers brought with them and sang for hundreds of years. Below, hear some select recordings of the song.
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42 Shaped Note Singing gained popularity in the Appalachian Mountains in the early 18th century. It's sometimes called "fasola" singing. Shaped notes refer to a particular way of notating music, where each note is assigned a shape. This makes it much easier to sight-read music, and many congregations still have some shape note music in their hymnals today. Throughout the 18th and 19th centuries, music instructors would travel to churches across the Southeast to teach them to read shape note music, and it was widely embraced. In the Appalachian mountains, a particular tradition rose up around the popular notation, and "Shaped Note Singing" became a mountain staple. While shaped note singing, the congregation would arrange their benches in a square around a leader. During the colder months, a wood stove would also take center stage, as shown at right, where a man leads a congregation in shaped note singing. The congregation chose their seats based on their vocal range, and the group would sing acapella, towards the center, with their voices blending in powerful ways. SHAPED NOTE SINGING
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43 In the 20th century, it was possible history may have forgotten the singing were it not for Quay Smathers. Neil Oliver and Clint Cornett are carrying the art form into the 21st century. You can experience shaped note singing at The Etowah Singings, which occur on the Saturday before the first Sunday in May and the Saturday before the first Sunday in September in Etowah. Contact dogsongs@gmail. com for more information. Courtesy of Library of Congress M2117.C61 V5 1831
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Photos courtesy of Donald Hughe s In the 1700s, a wave of emigrants left the British Isles and settled in the Appalachian Mountains. The geography and terrain led to extreme isolation, and in some areas, the outside world ceased to have any influence at all. In the mountains of Appalachia, it was almost as if time had stopped. In the 1920s, the outside world rediscovered the people here and was shocked to see that some of the people seemed more British than American, speaking with British accents, using antiquated words, and singing traditional English ballads. In England, musicologists were working to preserve the traditional English ballads, and they had recorded a great many. However, some seemed to be lost to antiquity. Cecil Sharp was a renowned musicologist, and he began collecting songs in 1903. In England, his work mainly consisted of interviewing aged people who could remember the ballads of their youth. He collected thousands of songs, and by 1908 or so, he suspected his work would soon end. But then, he had a thought that was the start of this story. He wondered if it was possible "that one or other of those English communities that lie scattered in various parts of the world might provide as good a field for the collector as England itself, and yield as bountiful and rich a harvest." That question sent him seeking the answer, which put him in contact with Olive Dame Campbell. He was traveling in Massachusetts, and she came to visit him. Olive Dame Campbell would prove to be tremendously important to the story of folk art and western North Carolina, and her work there would help preserve entire craft forms. She would go on to found the John Campbell Folk School, whose importance can't be overstated. But in 1909, she was still relatively unknown. She was born and raised in Massachusetts, and in 1907 married John C. Campbell. Together, they traveled throughout the Appalachian Mountains. Her husband had been funded by the Russell Sage Foundation to study the conditions of working people, and the travel allowed Olive to collect a great many traditional songs that the people of the mountains sang to her. She was the first person to begin collecting the traditional songs of Southern Appalachia. The Songcatchers The Songcatchers of Southern of Southern Appalachia Appalachia
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45 Campbell's visit to Sharp was to tell him of the music she was collecting. She asked him if he'd be interested in helping collect more music, and he began to see that the many isolated communities of the Appalachian Mountains might prove to be the answer to his question. Thus, Olive Dame Campbell and Cecil Sharp set out with his secretary Maud Karpeles to collect and preserve the traditional English songs and ballads being sung throughout the hills. Traveling through this region, with its rudimentary roads, steep drops, and lack of railroads, was very difficult. Campbell was accustomed to traveling with her husband and knew how to traverse the region safely. The three visited homesteads and asked for songs. They may have feared that people wouldn't welcome them, but there was no need. The people of the mountains Dame Olive Campbell at home
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46 Cecil Sharp NC Trail Days We're holding Year of the Trail events through out 2023 featuring hiking, biking, paddling and more! We’ll celebrate everything from the highest peak on the East Coast (6,684 feet, at Mount Mitchell State Park) to the barrier islands of the Atlantic (Hammocks Beach State Park). We’ll also highlight and celebrate our cultural trails, from the state’s rich history to its music to its arts and crafts. Join us! ncdcr.gov/traildays
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47 opened their doors to them and sang them song after song. The musicologist and his secretary used shorthand to write both the melody and the lyrics to the songs as people sang them. Cecil Sharp wrote extensively about the experience, and we've included much of what he wrote in our condensed version of the book that follows. There were many things that he found notable and quite different from the work he did in England. For instance, in England, his work required him to interview people well into their seventies, as they were the only ones who could remember the songs. But in Appalachia, everyone knew the songs. He recalled a four-year-old who performed a perfect rendition of an English ballad when his neighbor couldn't remember the words. Cecil Sharp and Maud Karpeles transcribing music on a front porch. He also noted that the music all used a five-note or pentatonic scale instead of the seven-note scale that he was used to. He theorized that the ancestors of these people had emigrated from England before the invention of the seven-note scale. Ultimately, Sharp was incorrect about his theory, but he was correct that the music here mostly used a pentatonic scale. It had a unique sound that eventually formed the basis of the traditional music of the Appalachians. He also noted that people here had a tendency to draw out certain unaccented syllables when they sang, which gave a very "pleasant" effect. Cecil wrote much about the music of the Appalachian mountains, but he also wrote about the spirit of the people he observed. He noted that the people were content with less to enjoy their lives more. He wrote extensively about how the people were happy to live in conditions that other people would find challenging so that they could spend more time singing, spending time with people they love, and sitting a spell on their porches. His words made clear that he felt most men on earth were involved in a rat race that the Appalachian people wanted no part in. The group collected thousands of songs with countless versions and produced two extensive volumes called English Folk-Songs from the Southern Appalachians. A very condensed version follows this story. There has been some criticism of Sharp regarding his lack of study of African-American music, but his goal was to collect British ballads, and that is the work he engaged in. Many scholars have noted that without the work of these "songcatchers," these songs could have been lost forever. You can learn more at cecilsharpinappalachia.org, a project led by Donald Hughes. Photograph taken by Cecil Sharp in 1917 documenting the "mountain people" he visited. His photo collection is held and preserved by the Vaughan Williams Memorial Library in England.
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49 INTRODUCTION The effort that has been made to collect and preserve in permanent form the folk-songs of England during the last twenty or thirty years has resulted in the salvage of many thousands of beautiful songs. But there was the possibility that one or other of those English communities that lie scattered in various parts of the would might provide as good a field for the collector as England itself, and yield as bountiful and rich a harvest. At least one such community does in fact exist in the Southern Appalachian Mountains of North America. The region is an extensive one, covering some 110,000 square miles, and is considerably larger than England, Wales, and Scotland combined. The region is from its inaccessibility a very secluded one. There are but few roads— most of them little better than mountain tracks—and practically no railroads. Indeed, so remote and shutoff from outside influence were, until quite recently, these sequestered mountain valleys that the inhabitants have for a hundred years or more been completely isolated and cut off from all traffic with the rest of the world. Their speech is English, not American, and, from the number of expressions they use which have long been obsolete elsewhere,and the old-fashioned way in which they pronounce many of their words, it is clear that they are talking the language of a past day, though exactly of what period I am not competent to decide. One peculiarity is perhaps worth the noting, namely the pronunciation of the impersonal pronoun with an aspirate —“hit”— a practice that seems to be universal. Many set the standard of bodily and material comfort perilously low, in order, presumably, that they may have the more leisure and so extract the maximum enjoyment out of life. The majority live in log-cabins, more or less water- tight, usually, but not always, lighted with windows; but some have built larger and more comfortable homesteads. They are a leisurely, cheery people in their quiet way, in whom the social instinct is very highly developed. They dispense hospitality with an open handed generosity and are extremely interested in and friendly toward strangers, communicative and unsuspicious. A few of those we met were able to read and write, but the majority were illiterate. They are, however, good talkers, using an abundant vocabulary racily and often picturesquely. Although uneducated, in the sense in which that term is usually understood, they possess that elemental wisdom, abundant knowledge and intuitive understanding which those only who live in constant touch with Nature and face to face with reality seem to be able to acquire. The mountaineer is freer in his manner, more alert, and less inarticulate than his British prototype. That the illiterate may nevertheless reach a high level of culture will surprise those only who imagine that education and cultivation are convertible terms. The reason, I take it, why these mountain people, albeit unlettered, have acquired so many of the essentials of culture is partly to be attributed to the large amount of leisure they enjoy, with¬ out which, of course, no cultural development is possible, but chiefly to the fact that they have one and all entered at birth into the full enjoyment of their racial heritage. Their language, wisdom, manners, and the many graces of life that are theirs, are merely racial attributes which have been gradually acquired and accumulated in past centuries and handed down generation by generation, each generation adding its quotum to that which it received. It must be re¬ membered, also, that in their everyday lives they are immune from that continuous, grinding, mental pressure, due to the attempt to “make a living, ” from which nearly all of us in the modern world suffer. Here no one is “on the make”; commercial competition and social rivalries are unknown. In this respect, at any rate, they have the advantage over those who habitually spend the greater part of every day in preparing to live, in acquiring the technique of life, rather than in its enjoyment. I have dwelt at considerable length upon this aspect of the mountain life because it was the first which struck me and further, because, without a realization of this background, it will be difficult for the reader to follow intelligently what I have to say. The Singers and their Songs. The Singers and their Songs. My sole purpose in visiting this country was to collect the traditional songs and ballads which I had heard from Mrs. Campbell, and knew from other sources, were still being sung there. I naturally expected to find conditions very similar to those which I had encountered in England when engaged on the same quest. But of this I was soon to be agreeably disillusioned. Instead, for instance, of having to confine my attention to the aged, as in England where no one under the age of seventy ordinarily possesses the folk-song tradition, I discovered that I could get what I wanted from pretty nearly every one I met, young and old. In fact, I found myself for the first time in my life in a community in which singing was as common and almost as universal a practice as speaking. With us, of course, singing is an entertainment, something done by others for our delectation, the
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cult and close preserve of a professional caste of specialists. The fact has been forgotten that singing is the one form of artistic expression that can be practised without any preliminary study or special training; that every normal human being can sing just as every one can talk; and that it is, consequently, just as ridiculous to restrict the practice of singing to a chosen few as it would be to limit the art of speaking to orators, professors of elocution and other specialists. In an ideal society every child in his earliest years would as a matter of course develop this inborn capacity and learn to sing the songs of his fore¬ fathers in the same natural and unselfconscious way in which he now learns his mother tongue and the elementary literature of the nation to which he belongs. And it was precisely this ideal state of things that I found existing in the mountain communities. So closely, indeed, is the practice of this particular art interwoven with the ordinary avocations of everyday life that singers, unable to recall a song I had asked for, would often make some such remark as, “Oh, if only I were driving the cows home I could sing it at once!”. On one occasion, too, I remember that a small boy tried to edge himself into my cabin in which a man was singing to me and, when I asked him what he wanted, he said, “I always like to go where there is sweet music.” Of course, I let him in and, later on, when my singer failed to remember a song I had asked for, my little visitor came to therescue and straightway sang the ballad from beginning to end in the true traditional manner, and in a way which would have shamed many a professional vocalist. I have no doubt but that this delightful habit of making beautiful music at all times and in all places largely compensates for any deficiencies in the matter of reading and writing. The mountain singers sing in very much the same way as English folk-singers, in the same straightforward, direct manner, without any conscious effort at expression, and with the even tone and clarity of enunciation with which all folk-song collectors are familiar. Perhaps, however, they are less unselfconscious and sing rather more freely and with somewhat less restraint than the English peasant; I certainly never saw any one of them close the eyes when he sang nor assume that rigid, passive expression to which collectors in England have so often called attention. They have one vocal peculiarity, however, which I have never noticed amongst English folk-singers, namely, the habit of dwelling arbitrarily upon certain notes of the melody, generally the weaker accents. This practice, which is almost universal, by disguising the rhythm and breaking up the monotonous regularity of the phrases, produces an effect of improvisation and freedom from rule which is very pleasing. Mrs. Campbell and I have together collected 450 tunes. For the purposes of this volume, we have selected 325 of these, which are associated with 122 different sets of words—55 ballads and 67 songs (Editor's Note: Foothills Digest includes 3). Very nearly all these Appalachian tunes are cast in “gapped” scales, that is to say, scales containing only five, or sometimes six, notes to the octave, instead of the seven with which we are familiar, a “hiatus”, or “gap”, occurring where a note is omitted. If the prevalence of the gapped scale in the mountain tunes is any indication of the ethnological origin of the singers, it seems to point to the North of England, or to the Lowlands, rather than the Highlands, of Scotland, as the country from which they originally migrated. For the Appalachian tunes, notwithstanding their “gapped” characteristics, have far more affinity with the normal English folk- tune than with that of the Gaelic-speaking Highlander, and may, therefore, very w7ell have been derived from those who, dwelling on the borders of the High¬ land Kingdom, had become infected to some extent with the musical proclivities of their neighbours. Mrs. Campbell and I have in the following pages printed the songs exactly as we took them down from the lips of the singers, without any editing or “adornments” whatsoever, and we have done so because we are convinced that this is the only way in which work of this kind should be presented, at any rate in the first instance. I cannot allow myself to conclude these remarks without expressing my gratitude to the many friends who have assisted me in my investigations. There are those in particular, who were kind enough to entertain me in their mountain homes:—Dr. and Mrs. Packard of White Rock; Miss Edith Fish of Allanstand; Mrs. Hamilton and Miss Bacon of Alleghany; Miss Ollie Henricks of Big Laurel; and Miss Jennie Moor of Rocky Fork. Nor can I omit the names of some, at least, of those by whose help and advice I have so greatly profited:—Mrs. J. J. Storrow, who gave me assistance of a most practical kind; Professor Alphonso Smith, and Mr. John M. Glenn of the Russell Sage Foundation. C. J. S. 27 Church Row, Hampstead, London, N. W.
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Songcatcher: Songcatcher: The Movie and Soundtrack The Movie and Soundtrack
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In 2000, the movie Songcatcher was released. It is rather loosely based on the story of Dame Olive Campbell and Cecil Sharp and their important work of collecting and preserving the music of Appalachia. Only a little of Dame Olive Campbell or Cecil Sharp made it into the characters in the movie, but the film did something significant: it gives us modern recordings of the songs the pair collected. The movie is entertaining, and the music is stunning, with performances by many traditional singers, including a young Iris Dement. The film does, however, imply that some folks were unhappy that the music was being collected, and much of the movie's drama comes from that tension. Happily, that tension didn't permeate reality. Cecil Sharp gives an account of the people of Appalachia in his Introduction, much of which is included in our condensed version of the book in the previous pages. It's clear that he found the people to be very welcoming and happy to sing for them. There was no mention of anyone resisting the notion; instead, people were pleased to share their culture and songs. We included three songs in these pages, and each can be found on the two soundtracks from the movie. Georgie This track is performed by Doc Watson on the second soundtrack, as well as on his 1966 album "Home Again." Pretty Saro Iris Dement performs this exceptional version of Pretty Saro in the film, and it's featured on the first soundtrack. Come all ye Fair & Tender Ladies This track is performed by Roseanna Cash on the first Soundtrack.
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Our grandmother enjoyed music and could play guitar. Dad never learned to play an instrument, but he enjoyed singing. He had some friends who played and would invite them to his BBQs to play for us. Dad and Mom encouraged my older sister and me to learn piano. We had a piano teacher at Mountain View School beginning in grades six and seven. My older sister owned the piano at home on which we were privileged to practice. Or so I was told, “most families don’t own a piano.” Sister had music in her bones and did quite well. She played guitar and sang with her husband in a small group later in life. I, on the other hand, did not like to practice. Now, after paying 50 cents per lesson all year, we were “privileged” to be allowed to take part in the school’s piano recital. Mom was so excited for her girls. She made us beautiful white dresses with taffeta and netting, and sequins that would put your eyes out. Sister practiced and was ready to put on a show. I played in the barn. On the evening of the recital, I got all decked out in my new gown - all the while knowing I did not know my piece and we were not allowed to use books. On the ride to school, I still did not know my piece, and I did not know it up on stage on the piano bench. So, I started playing. Actually, I started playing it four times but could not remember the ending. I stood up, bowed, and left the stage. The audience cheered, and I was vindicated. They were probably cheering for how cute I looked in my new gown. My sweet mother never brought the subject up. Needless to say, Granny Eckard did not participate in the privilege of playing piano the following year. Music Memories with Granny Eckard The author, top right, with her younger siblings She is wearing the dress discussed in the article.
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Riddlefest: Past and Present, Keeping the Legacy Alive RiddleFest is produced annually by Traditional Voices Group in Burnsville NC as a tribute to Lesley Riddle, an African-American musician from Yancey County, who influenced the development of early country music through his collaboration with A.P. Carter and the Carter Family. Riddle was an innovator who straddled the worlds of black and white mountain musicians in early 20th century Appalachia. He was also a musician who embraced traditional Piedmont blues as his personal musical style. Riddle was born in 1905 in western Yancey County, but spent his youthful years migrating between family homes there and in Kingsport TN. He met A.P. Carter in Kingsport in 1927. Thus began a friendship and musical partnership with the First Family of Country Music. He stayed with the Carters, including Sara and Maybelle, in Maces Spring VA, and they learned many of the old gospel, blues and railroad tunes from his repertoire. Maybelle also watched the young black man's guitar finger-picking and slide techniques and adapted much of it to her style—a style that countless country pickers have copied. A.P. and Lesley traveled to remote hollows throughout the southern Appalachians collecting old songs. Carter wrote down the lyrics and Riddle played along and memorized the melodies. After returning to Maces Spring, the Carters and Riddle would re-work the tunes into versions acceptable for the modern recording studio. As the Carter Family's star rose after 1932, Riddle passed into obscurity. Eventually he moved to Rochester NY with his new wife and set aside his guitar. About 1970, musicologist Mike Seeger rediscovered Riddle and recorded the songs he remembered from his days of collecting as well as the tunes he wrote. These original recordings, which are now preserved in the Southern Folklife Collection at the University of North Carolina, are collected on the album Step by Step produced by Rounder Records. Riddle returned to the southern mountains later in life and died in Asheville in 1979. An historical highway marker in his honor is located on highway 19E west of the town of Burnsville. Lesley Riddle, right, and Brownie McGhee, left. Lesley Riddle, right, and Brownie McGhee, left. Dom Flemons Dom Flemons
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RiddleFest was created in 2008 by Larry Howell and others in Burnsville to honor Riddle. Each year, musicians who have contributed to the legacy of traditional Appalachian music and the artistry of its many innovations are invited to headline the RiddleFest concert and discuss the genre in an afternoon seminar. Past RiddleFest performers include Mike Seeger, David Holt, Dom Flemons, Laura Boosinger, Scott Ainslie, Michael Reno Harrell, Josh Goforth and Prof. Lee Bidgood with his students from East Tennessee State University. Prof Bidgood and ETSU students Prof Bidgood and ETSU students This year's headliner will be Jontavious Willis, a young African American singer-songwriter from Greenville GA, who plays the blues. A self-taught musician, Willis plays all types of country blues: Delta, Piedmont, Texas, Gospel. As a multi-instrumentalist, he is equally adept as a finger-picker, flat-picker and slide player. For RiddleFest Seminar, Willis will explain the origins and character of traditional country blues, focusing on the Piedmont blues that was Lesley Riddle's genre. He will also explain from his own experience as a songwriter how the blues is evolving in the 21st century. For more about RiddleFest 2023, see the advertisement on page 39 of this issue of Foothills Digest.
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60 Photos Courtesy of Blue Ridge Music Trails The Blue Ridge Music Trails of North Carolina is an initiative led by the Blue Ridge National Heritage Area Partnership and the North Carolina Arts Council, a division of the North Carolina Department of Cultural Resources. Many, many partners across Western North Carolina—arts councils, tourism agencies, music venues, event organizers, musicians, and dancers— are participating in the effort. Their vision is to create an environment in Western North Carolina where the
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61 rich music traditions of the region are sustained and utilized in appropriate ways to improve the lives of residents; where traditional musicians thrive and feel supported in their creative lives; where visitors and residents alike can appreciate and enjoy the richness of the music; and where youth are provided with first- hand traditional music experiences that spark interest in the music of the region. To this end, they have many initiatives they have carefully designed. Notably, the organization provides an excellent way to connect to the music around us. The website is designed to help you find local events, both recurring as well as unique, one-time happenings, that feature the music you want to hear. You'll find it at blueridgemusicnc.com.
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62 your natural dtination for mountain cuure Open 10 am to 4 pm, Mon - Sat Our mission is to promote and preseve Southern Appalachian and Mountain Culture. Our aim is to keep the arts at the center of our community and region. ARTISAN GALLERY & WELCOME CENTER Representing more than 100 local and regional artisans. Drop by on your way from here to there and enjoy our ten acre campus. Artisan Gallery Harvest Festival Historic Rock Schoolhouse Cherokee Courtyard Playground Nature Trail An Appalachian Evening Concert Series Cultural Arts Classes WWW.STECOAHVALLEYCENTER.COM 121 SCHOOLHOUSE RD | STECOAH, NC 28771 | 828.479.3364
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63 Josh Jones is a Classical Voice student at UNC School for the Arts and a bluegrass vocalist and mandolin and fiddle player. Sav Sankaran , a vocalist and bass player for the bluegrass band Unspoken Tradition, has shared his expertise in the field to help Josh as he works toward his goal of becoming a professional bluegrass musician. Benjamin Barker won the 2021 National Hammered Dulcimer contest at the Winfield Valley Festival. Seasoned musician, writer, and speaker, David LaMotte has worked with Ben on his musical goals of performing, recording, and composing. Award-winning banjo and MerleFest performer Bayla Davis will work with seasoned performer Cary Fridley who is an Appalachian singer, multi-instrumentalist, and educator. Together, they will explore vocal repertoire, harmony singing, and their collective musical craft. Fine-tuned The Blue Ridge Music Trails is ringing in 2023 with a host of fresh musical talent through their new project Fine Tuned. The initiative connects seasoned musicians with a select group of emerging artists in Western North Carolina. The aim is to nurture this generation of talent, while paving the way for future musicians who will keep the musical traditions of Western North Carolina alive.
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64 Keeping Musical Traditions Alive Fine Tuned not only benefits this generation of musical talent, but it also paves the way for future musicians who will keep the musical traditions of Western North Carolina alive. Sav Sankaran, a vocalist and bass player for bluegrass band Unspoken Tradition and Fine Tuned mentor, shared his thoughts: “One of the hallmarks of traditional Appalachian music particularly is this idea of it being an oral tradition passed from one generation to the next. So in some ways, this is a 21st century version of that. To be able to import some of the knowledge that I’ve gained and some of the experience I’ve gained as a professional musician to someone who’s just starting out is a really worthwhile experience for me. So maybe I can make that…pathway a little bit easier, more equitable, more accessible for other people to get involved. Because unless you create that pathway, the music doesn’t continue.” Photograph by Sandlin Gaither
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Be a Part of the Journey Be there as these emerging musicians take the first steps on their new path with Fine Tuned. The project will result in a professionally recorded vinyl album scheduled to be released in Summer 2023. There are also upcoming opportunities to be in the audience for three concerts in Western North Carolina in 2023! Save the date for these upcoming events: April 7: Reeves Theater in Elkin Benjamin Barker and David LaMotte Allen Boys with DaShawn Hickman and Kelley Breiding May 28: Cowee School in Franklin Josh Jones and Sav Sankaran June 25: Ebbs Chapel in Mars Hill Donna Ray Norton and Josh Goforth Bayla Davis and Cary Fridley
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Both Jarrett Wildcat and Keaw’e Bone are steeped in Cherokee musical traditions. For this project, however, they chose to work together on composing and arranging new, original music as an expression of their experiences and their art. Donna Ray Norton made an album with Josh Goforth as producer. This album featured the ballads of Donna’s home and family, but it also stretched her to sing a song with instrumental accompaniment for the first time. This new experience inspired the format for the other Fine Tuned participants. Featured Collaborations The Allen Boys play in the Sacred Steel Tradition and serve as the house band for the House of God Church in Mount Airy, NC. Their collaboration with Kelley Breiding , who is a multi-instrumentalist and old-time singer, will explore connections between their styles and other genres. In addition to pairing mentors and mentees, the Fine-Tuned Initiative pairs artists who would not normally work together, so that they can explore what happens when they learn from each other.
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68 Sims BBQ Sims Barbecue offers a taste of the past, and walking through the doors feels like stepping back in time. When you're driving there the first time, you'll think you are lost, maybe more than once, but then you'll see the sign welcoming you to Sims. But you haven't arrived! You'll still have more than half a mile of winding, hilly, dirt driveway, and you may again feel like you've made a wrong turn. But then you'll round the bend and see Sims Barbecue in all its rustic glory, sitting next to a pond in the middle of Nowhere. Be sure to have cash on you because this spot doesn't take cards, and it's only open from 5-9 on Fridays and Saturdays. The Sims family runs Sims Barbecue. Joe, shown at left, started the business with his dad, Keith, and his brother, Michael. It was back in 1970 that they began building the restaurant and dance hall on land that had been in their family since before the Civil War. They started small, with only a small shed for barbecue pits, but they've added on over a dozen times, and now the building is over 6,000 square feet. The simple stage has featured legends, like Doc Watson, who performed here more than 20 times. Below, the Sigmon Family Singers perform a bluegrass tune.
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Each Friday and Saturday, live bands entertain large crowds. The dance floor stays crowded with cloggers and folks just wanting to move to the music. The atmosphere is hard to explain, but it's very familial, jovial, and comfortable. WEDDING PHOTOGRAPHY THAT DOESN'T SUCK. #1 ranked wedding photographer in North Carolina Top 100 Artistic Wedding Photographer in the World Featured in Rolling Stone, Rangefinder and this issue of Foothills Digest, page 102. MICHAELFREAS.COM
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71 It isn't just the music bringing people to Sims Barbecue. The set menu has been perfected over many years, and it's served cafeteria-style from a large buffet. The menu consists of smoked barbecue pork and chicken, coleslaw, baked beans, and corn pancakes. Sweet tea is extra, but it's worth the upcharge-it's practically perfect Southern Sweet Tea. The crowds here are consistently impressive. It's almost always busy, and the dance floor stays full. It's fun to go to Sims Barbecue, and families keep coming back. Traditional Appalachian music is pretty to listen to from a recording, but hearing it in person is a much more sensory- rich and meaningful experience. It starts in your ears, but it takes over your whole body. We dare you to keep your feet still when you are at Sims Barbecue. We suspect it's impossible. When some person long ago invented the term "foot-stomping good time," we think perhaps they'd just visited Sims Barbecue.
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72 Alleghany Jubilee Locals know it as "The Jubilee," and it's an important cultural cornerstone in Downtown Sparta. The building that houses the festivities began its life as the Spartan Movie Theatre. Owners Agnes and Ernest Joines remodeled the space to create an ideal gathering space for dancing to traditional Appalachian music. The spot is family-friendly, and alcohol is strictly prohibited. You can catch line dancing lessons on Mondays at 6 pm, with a live band at 7. Tuesdays feature the Hillbilly Hoedown with the Rise and Shine Band, starting at 7. Saturday nights feature the best bluegrass and traditional bands around, with a packed dance floor. One thing that makes The Jubilee stand out is that they allow taps on shoes, which attracts cloggers from the whole region. Clogging was developed in the Southern Appalachian Mountains and popularized by Bascom Lamar Lunsford when he added it as a category at his Mountain Dance and Folk Festival in Asheville. Clogging has grown to become popular all over the country, but it's here in western North Carolina where the art form feels most natural. At The Alleghany Jubilee, people clog for fun because the rhythm of the music of the hills is in their blood and in their feet. In other parts of the country, people clog to perform, and the difference is very apparent here.
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73 Earl Scruggs Center The Earl Scruggs Center, located in Shelby, combines the life story of the legendary banjo master Earl Scruggs with the unique and engaging account of the history and cultural traditions of the region where Mr. Scruggs was born and raised. It was in the nearby Flint Hill community where he learned to play banjo and began the three-finger playing style known worldwide as "Scruggs Style." The exhibits explore his innovative career and the community that helped shape it while celebrating the way he crossed musical boundaries and defined the banjo's voice to the world. Mr. Scruggs embraced tradition while also adapting to changing times and looking forward, which are both themes that resonate throughout the Center. The Earl Scruggs Center provides an engaging experience with interactive exhibits, special events, and rich programming. The Center is housed in the beautiful 1907 Cleveland County Courthouse, surrounded by a vibrant downtown area. The Earl Scruggs Center is open Tuesday through Saturday, from 10 am to 4 pm, and they stay open until 6 pm on Wednesdays.
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74 WPAQ Merry-Go-Round For generations, the WPAQ Saturday morning Merry-Go-Round has been a mainstay in Mount Airy. In 1948, residents of Mount Airy were excited to tune into their own radio station. In the many years since then, the Merry- Go-Round program has become one of the most important programs of its kind. Each Saturday, people fill into the Earle Theatre, a vintage gem of an old movie theatre. At 1 1 am, a bright red "ON THE AIR" sign lights up, and the program begins. Quality bluegrass and old-time bands play on the live radio program. The Merry-Go-Round is the second longest currently-running live radio broadcast in the nation, second only to the Grand Ol' Opry. Over the years, some awe-inspiring musicians have graced the stage. These include Tommy Jarrell, Benton Flippen, the Carter Family, Mac Wiseman, Lester Flatt and Earl Scruggs, and Bill and Charlie Monroe, among many others. Being an audience for a live broadcast is a unique experience. For a ticket price of only $8, there's no reason not to go. You can listen live using the QR code at right.
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Professional, affordable music lessons and uncommonly good music events. www.studio3nc.com LISTEN LIVE The Earle Theatre is the crowning jewel of Downtown Mount Airy. It was built in 1938, and it was chosen as one of the sites for the premiere of "Gone With the Wind." Andy Griffith attended movies at the Earle Theatre as a child, and many of his films have been shown there as well.
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76 Don Gibson Theatre The Don Gibson Theatre is an intimate venue in Shelby. The beautiful art deco building was originally the State Theatre. When it opened in 1939, the local paper called it "one of the most strikingly beautiful building fronts of the modern day." Sadly, some time ago, the theatre shuttered it's doors, and the building sat empty for nearly three decades. Fortunately, the community organized a group called Destination Cleveland County, which was dedicated to bringing life back to the building. The group successfully renovated the 400-seat theatre, and now it functions as a venue for excellent music. It opened in 2009, and the theatre is named after Don Gibson, who was a country music star from Shelby. He is known for country standards like "Sweet Dreams" and "I Can't Stop Loving You." He was nicknamed "The Sad Poet" because his songs so often focused on lost love and loneliness. The theatre is dedicated to highlighting the region's performing arts and hosts many sorts of musicians, including Jazz, Country, Blues, Comedy, Rock and Roll, and of course, Bluegrass. The theatre also shows new and vintage films. The theatre's leadership was asked what sort of acts perform there, and they said,
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77 "The best in nationally known acts, musicians who've graced magazine covers, who've earned Grammy Awards and Gold Albums and "Best of the Year" Awards… people whose CD's (and albums) you may already have in your collection. We'll also very carefully select the newest up-and- coming acts out of Nashville and New York, and Austin acts you may not have heard of yet… but given a chance, you will be talking about for months after." The Don Gibson Theatre has proven to be an excellent venue and has brought new life to Downtown Shelby.
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H ME COMING starts with a home. Whether you’re searching for a house to begin your story or selling one to write the next chapter, every beginning starts with a home. Call us to help you find your next beginning. 828-328-9540 BetterFoothills.com Each office is independently owned and operated.
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Jam Sessions at the Jones House Community Center In 1908, Dr. John Walter Jones, one of the first doctors in Watauga County, built a family home. In the early days, it also served as his office until he eventually began seeing patients on the top floor of the Mast General Store next door. His wife Mattie lived in the home until 1977, one year before her death at 95. Her daughter gifted the house to the Town of Boone, with the stipulation that the house and grounds should be used as a cultural and community center. It has been a successful venture, and the Jones House has become an essential player in the preservation of Appalachian culture. On Thursday nights, from 7-10, regional musicians gather at the Jones House for a jam session. Anyone that plays an old-time acoustic instrument is welcome. When the weather is nice, the jam happens on the front porch, with the music spilling over onto King Street, the main street of Downtown Boone. When there's a chill to the air, the jam is inside. The focus here is more on the playing than on the audience. People are welcome to come to watch the sessions, but they are asked to be very respectful of the musicians for whom the experience was created. Jams are occasionally canceled for holidays or poor weather, so if the roads are bad or it's a holiday, call ahead to 828-268-6280.
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80 Jam Sessions @ Drexel Barber Shop One fascinating thing about the Southern Appalachians is that you'll often find music where you wouldn't expect it. One of those places is the Drexel Barber Shop. Every Thursday, Friday, and Saturday at 11 am, the barbers in this tiny town put down their scissors and pick up their stringed instruments. On Thursdays and Fridays, you'll find the musicians of all ages picking out gospel and country songs, but Saturdays are reserved for Bluegrass. It's truly a memorable experience that you shouldn't miss. These events occur throughout most of the year, but they occasionally miss a weekend, so you may want to call ahead.
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81 Bluegrass Jam at ZUMA Coffee Throughout most of the month, ZUMA Coffee is a pretty standard coffee shop, offering delicious and caffeine-filled concoctions. But on every third Thursday night, the coffee shop suddenly becomes much more. By 7 pm, every seat is filled, and the first unmistakable notes of bluegrass ring out. The session is part jam and part stage show. You never know who will show up or what they will play. The musicians face the audience, mostly standing, and anyone who wants to play is welcome. The session is often led by North Carolina's Grammy-winning fiddling legend and local resident Bobby Hicks. Bobby has been performing since he was a child and began attending fiddling competitions early on. At 1 1, he won the North Carolina State Championship. By 1954, he had become one of Bill Monroe's Blue Grass Boys. Bill, considered the "Father of Bluegrass," called Bobby Hicks "the truest fiddler he had ever heard." He has won 10 Grammy Awards and has performed on over fifty albums. This is an excellent opportunity for the public to hear him play.
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82 Phipps General Store Jam The tiny town of Lansing, North Carolina, is home to fewer than 300 people, and the town limits encompass less than one-half of a square mile. But the town is home to one of the liveliest recurring jam sessions in the whole region. Phipps General Store sits in the heart of rural Lansing, facing rolling pastures and Silas Creek. For years the building was home to a general store. Rita, whose family ran the general store, reopened the shuttered building in 2008 as a gathering place for musicians. Since then, many of the biggest names in traditional music have jammed inside the small building. Old-time and bluegrass musicians pour into the building each Friday evening and play together. There is usually a mix of young and old, male and female, and traditional and bluegrass musicians. It's a lively mix that produces exceptional improvisational music.
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Wilkes Heritage Museum & the Blue Ridge Music Hall of Fame & Tom Dooley Museum Housed in a beautiful 1902 courthouse in the heart of Wilkesboro, the Wilkes Heritage Museum works to preserve Appalachian culture and history. The Blue Ridge Music Hall of Fame is part of the museum, and it honors and highlights the music of the Blue Ridge Mountains. Many exhibits highlight the musical history here and highlight the importance of the many musicians that were raised in these hills.
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You can also visit the Old Wilkes Jail (above), which housed the infamous Tom Dula, who was arrested for killing Laura Foster in 1867. The story of this murder was turned into a ballad made famous by The Kingston Trio. The paintings below are hanging in the Old Wilkes Jail, depicting the three members of the love triangle involved in the story: Ann Foster Melton, Tom Dula, and Laura Foster. The paintings are by Edith F. Carter.
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86 Boonerang is a music and arts festival that celebrates the culture of the Blue Ridge Mountains. This second annual community homecoming features artists that are connected to Boone, like Foothills Digest favorites The Kruger Brothers and Will Easter & the Nomads. The event is the third weekend of each June, when street vendors, artists and festival goers fill the streets of Downtown Boone. The festival features many concerts, a wide variety of excellent food, a Kid Zone, a silent disco, a vendor market and beer gardens, plus a sense of community that's hard to find in most towns. If you're planning on attending, be sure to bring a lawn chair, cash (the event is free but some vendors only accept cash), water bottles, and sunblock. More information is available online at boonerangfest.com. B oonerang
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87 Fiddler's conventions are events where fiddlers come together to showcase their skills and compete against each other. These conventions typically feature a variety of categories in which fiddlers can compete, including traditional fiddle, old-time fiddle, and bluegrass fiddle. Prizes are usually awarded to the winners in each category, and many conventions also feature performances by professional fiddlers. Fiddlers Conventions were first conceived of in the early part of the 20th century. The format took off like wildfire, and before long, fiddlers conventions were popping up all over the Southern Appalachians. By the 1950s, the Union Grove Old Time Fiddlers Convention was already seeing crowds of 8,500. Fiddler conventions are now integral to the traditional music scene, and thousands of people flock to the annual events to hear old-time Appalachian fiddling. These events are a great opportunity for fiddlers to meet and learn from other musicians, as well as to gain recognition for their talents. They also provide an important way for the tradition of fiddle music to be passed on and celebrated. In North Carolina, there are several opportunities each year to visit a fiddler convention. Check out the following conventions, and make a plan to check them out! Appalachian State Old-Time Fiddlers Convention February fiddle.appstate.edu Fiddler's Grove Ole Time Fiddlers and Bluegrass Festival Memorial Day Weekend facebook.com/FiddlersGroveINC Mount Airy Fiddlers Convention June surryarts.org/mafiddlersconvention/ Ashe County Bluegrass and Old Time Fiddlers Convention July ashecountyarts.org/event/fiddlers-convention/ Surry Old Time Fiddlers Convention September surryoldtime.com Happy Valley Fiddler Convention September happyvalleyfiddlers.org F iddlers C onventions
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88 The Down the Road Podcast airs every other Tuesday on WNCW-FM (88.7), right after NPR's Morning Edition . The podcast is hosted by Laura Boosinger, scripted by Blue Ridge National Heritage Area Program Manager Brandon Johnson and produced by Corrie Askew and Joe Kendrick of WNCW-FM. Listen to Legendary WNC Instruments. Season 4, Episode 10. Listen to Is it a Fiddle or Violin? Season 4, Episode 15. Listen to Western NC Music's Impact on Popular Culture. Season 4, Episode 8. Listen to Banjo Builders of WNC. Season 3, Episode 3. Listen to Presley Barker Dazzles. Season 2, Episode 30. Listen to Appalachian Dulcimer. Season 2, Episode 18. Doc Watson Recalls Mountain Childhood. Season 2, Episode 7. Ray Hicks Made Folktales Come Alive. Season 2, Episode 4. Bascom Lamar Lunsford Championed Mountain Music. Season 1, Episode 5.
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89 Laura Boosinger has been studying and performing traditional Southern Appalachian music since she was a student at Warren Wilson College in the 1970’s. It was at WWC where she began to learn clawhammer banjo, learned how to call southern mountain square dances and attended Shaped Note Singing School with North Carolina Folk Heritage Award winner Quay Smathers. Laura performs solo and with her duet partner Josh Goforth. Her latest recording, Most of All, with Josh Goforth has received extensive airplay throughout the US and the UK. Laura was part of the GRAMMY nominated Big Bend Killing in 2017. She sang Tom Dula (Dooley) accompanied by the Kruger Brothers and Emma McDowell. Laura is the Executive Director of the Madison County Arts Council (NC) where she produces concerts, manages the money and acts as the coordinator for an exemplary JAM (Junior Appalachian Musicians) program. Laura serves as a consultant to the Blue Ridge Music Trails of North Carolina. In 2017 Laura was inducted into the Blue Ridge Music Hall of Fame. Since 1990 2613 N Center St, Hickory (828) 323-8477 kellyandcompanysalon.com Use this QR code to book your appointment!
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91 One of the largest music festivals in the nation is right in our backyard. MerleFest is called a "Traditional Plus" festival, highlighting the traditional music of the Appalachian mountains plus anything else that tickles the fancy of the organizers. The festival began in 1988 as a tribute to Merle Watson, son of legendary performer Doc Watson. B Townes and Doc Watson planned the festival to raise money for a memorial garden on the campus of Wilkes Community College, dedicated to Merle and called "The Garden of the Senses." It's safe to say that the pair wildly overshot their original goal. Their memorial festival, which was only meant to happen once, has become one of the most significant music events in the nation each year. The economic impact on the region is immense, coming in at over $10 million per year, and at least 75,000 people attend. Nonprofits based in Wilkes Country raise over $500,000 directly from the event, making it the primary fundraiser for many groups. The festival is family-friendly, meaning you won't hear any vulgar lyrics, you won't be surrounded by rowdy folks who have had too much to drink, but more importantly, it means that it's actually fun for the whole family. There are plenty of things to entertain children, from special performances to games and entertainment, and they are genuinely welcomed. Their tickets are even free! Photos courtesy of MerleFest
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92 But the best thing about the festival is obviously the music. If you are looking to immerse yourself fully in the music of the Southern Appalachians, MerleFest may very well be the best place to do so. There are twelve stages arranged thoughtfully around the campus of Wilkes Community College. The best-known stage, shown at left, is the Doc and Merle Watson Theatre. It's the largest stage, and there is a continuous stream of high-quality performances that happen there. You'll find The Avett Brothers and Tanya Tucker here, among others. The festival lasts four days, and it's always begins the last Thursday in April. The music plays until Sunday evening. Many people camp so they can catch as much music as possible. Being asked to perform is considered a high honor. The bands you'll find at MerleFest truly are the best of the best, thoughtfully chosen to blend old and new styles while holding traditional music at the center. Some artists, like Sam Bush, come back year after year and are considered audience favorites. Donna the Buffalo also draws huge crowds each year, and you'll always see Jim Lauderdale, Charles Welsch, Jack Lawrence, Jerry Douglas, Joe Smothers, The Kruger Brothers, Laura Boosinger, The Local Boys, Mitch Greenhill, Pete and
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93 Foothills Kids Magazine, a partner company of Foothills Digest, is a not-for-profit organization dedicated to helping the children of the foothills connect with each other and with their shared culture and history. Each issue is aligned with the North Carolina Standard Course of Study and we provide magazines for free to third, fourth, and fifth graders in many of the counties of the foothills. The issues are themed, and we are raising money for an issue about the music of the region. If you enjoy this issue of Foothills Digest, it's probable that you understand why we want to expose students to this rich, cultural material. It costs approximately $1 to provide one issue to one student. Please consider helping us towards our goal of printing 10,000 issues. Every little bit helps. The QR code above will allow you to make a tax-deductible donation. foothillskidsmagazine.com
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94 HFM | North Entrance | Level 3 2220 Hwy. 70 SE Hickory, NC 28602 828-327-8485 www.reflectionsfurniture.com reflectionsfurniture.com Live Beautifully.
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95 Joan Wernick, Peter Rowan, Roy Book Binder, Scythian, T. Michael Coleman, Tony Williamson, The Waybacks, and Wayne Henderson. These performers are the heart and soul of the festival, which manages to improve itself year after year. It is fun to go to MerleFest. That's the biggest reason that people keep coming back. The experience is memorable, full of smiles, and easy to manage. Some festivals can be a bit much to attend, requiring attendees to walk for miles, sacrifice comfort, and survive on substandard food. The campus of Wilkes Community College is small enough that you'll never wear blisters on your feet. Even if you have to park far from the campus, there are free shuttles that will get you where you need to be in no time. The temperature is never too hot or too cold, and the bathrooms are clean, and there are many of them. And the food at MerleFest is quite tasty. The food tent is large, with many choices, and all of the vendors are nonprofits in the region. The festival is organized thoughtfully to make for a pleasant experience, and the attention to detail is obvious. Moreover, the crowds of people are cheerful, and the energy is contagious. Coming to MerleFest feels a bit like coming home, even if it's your first visit. Attending MerleFest makes it very easy to get that old- time Appalachian music down in your soul. Don't miss the scheduled jam sessions, where talented traditional musicians play together in an improvisational way. Those sessions highlight what it is that makes the music of these hills so special. Headliners this year include The Avett Brothers, Tanya Tucker, Maren Morris, Little Feat, and Marcus King. See more artists on the MerleFest Advertisement on page 32.
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96 The Avett Brothers The Avett Brothers, a world-renowned band, have a long history with MerleFest. The brothers were raised in Concord, only 80 miles from Wilkesboro, and they grew up attending the festival with their dad Jim Avett. Jim is a musician who was sometimes a performer at the festival and sometimes an audience member. MerleFest fans may recognize him from Sunday Gospel Hour. The band consists of brothers Scott and Seth Avett, as well as Bob Crawford. While the three make up the band's core, there are several other members: Joe Kwon, Mike Marsh, Tania Elizabeth, and Bonnie Avett-Rini.
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97 -at MerleFest- The band had their first performance at the festival back in 2004, very near the beginning of their careers. Journalist Tommy Tomlinson told Charlotte Magazine, "That was how we knew they were getting big. We went three years in a row, and the first year we went, they were way off in the corner, and, like, 50 people there. The next year we went, they had one of the big side stages, and there were 500 people there. The next year we went, they were on the main stage, and there were 3,000 people there." The band has played MerleFest many times since then, in 2005, 2006, 2008, 2010, 2013, 2015, 2017, 2019, and this year the band is headlining the festival! Festival Director Photos courtesy of MerleFest
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Ted Hagaman was at the college in 2004, and he told Charlotte Magazine that the conversation around the lunch table was, "'Those guys are really climbing fast. They're going to be something down the road.'" That sentiment certainly proved correct. The band has won Americana Duo/Group of the Year three different times and has been nominated for three GRAMMYs. They have had three albums in Billboard's Top 10, which is an impressive feat for an Americana band. The band has a catalog of over 150 original songs, which is impressive by any standard. The Avett Brothers are a world-class band that wears their North Carolina roots on the outside. And they just keep making excellent music. Seth Avett spoke to the Watauga Democrat about MerleFest. He said, "The folks that support our music and champion us are a really special bunch," Avett said. "We are aware of that and are reminded of it on a nightly basis. There are a lot of folks that we see often and a lot that we don't get the chance to say hello to along the way, but we can feel their love and energy. MerleFest is a great place for the culmination of all of that for us. We have had nothing but great experiences there through the years, and it has always provided an 'at-home' atmosphere for us." At a 2015 MerleFest press conference, the brothers were asked how they were carrying on Doc Watson's tradition. Seth said, "Doc didn't seem to be concerned with living up to a certain genre, just carrying on tradition in his music. His message was to stay true to yourselves and be good to other people, not get too caught up with looking at ourselves or thinking too much of ourselves."
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Scott added, "Seth spent the day with Doc when he was 13 years old, and as we learned about Doc and as we explored if there was such thing as proper bluegrass, Doc seemed to be a bridge between the mainstream world and a deep-woods world. It has little to do with North Carolina and much to do with something much broader." Meeting Doc Watson proved to be very important to Seth. The meeting, according to Rolling Stones Magazine, "recalibrated his senses." Despite coming to MerleFest often, Bluegrass music wasn't the music the brothers were raised on. Theirs was a musical home, and their father, Jim, was sure to expose them to a wide variety of bands, but Three Dog Night, John Denver, Neil Young, and Bob Dylan were always at the ready. It was meeting Doc Watson that opened Seth's eyes to the world of traditional music. It turns out, MerleFest was quite important to the band as well. During their MerleFest Closer Than Together On SoundCloud 2006 MerleFest Street Performance 2006 MerleFest Recording @ Last.FM HBO Doc "May It Last" You Made it Weird With Pete Holmes
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101 set in 2013, the band discussed their early days. They talked about being considered for MerleFest the first time, knowing their band wasn't really up to par with the other talent. Scott had been accepted to art school and was trying to decide if he should pursue his education or continue in the band. They agreed that if they could get into MerleFest, they'd keep performing as a band. Their 2004 performance all but sealed their future fate as one of America's most popular bands. And the band certainly understands the importance of the festival. Seth says, "MerleFest is the centerpiece and understands the pulse of American roots music. Coming back here always makes us feel like we are checking back into the heart of the music." MerleFest fans are undoubtedly eager to welcome the band home. Recording of True Sadness Official Website Shop Official Store The Avett Brothers on Spotify Jim Avett Talks MerleFest
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102 Michael Freas Shoots MerleFest
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103 Looking at the photographs that Michael Freas shoots of MerleFest, it's clear that he "gets" the festival. He understands the importance of MerleFest on a deep level, and he intrinsically knows what to highlight, so it shouldn't surprise anyone to learn that the Wilkes County native has been volunteering at the festival since he was fourteen years old. The Wilkes Central graduate enjoyed his early years, where he began to form relationships that still flourish. As a teen, he drove Tara Nevins and Jeb Puryear of Donna the Buffalo around the campus in a golf cart, and they remain friendly still. This year will be Michael's seventh year as a MerleFest photographer, and it's safe to say he's found his stride. And he's still having loads of fun! He says, " MerleFest is one of my favorite things I do each year ."
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Michael was living in Florida in 2016, photographing musicians, festivals, and other things, when he had a hankering to come home. He reached out to the leadership at MerleFest and he started photographing the event that same year. His work has been very well-received, and several of his images have been printed in Rolling Stone Magazine, like the one of LeeAnn Rimes below. Throughout the year, his work takes him all over the nation, and he's based in Asheville. But every April, he's delighted to come home to Wilkes County for MerleFest. He told us, "I like shooting the festival because it's my way to give back to Wilkes County, to come home, to showcase something that means a lot to me, means a lot to the whole town, and the bigger community. I get to come home and hang out with other photographers who are like my family. I'm really proud of the imagery I put out. I'm proud of being able to say I'm from Wilkes County." At that, he teared up, emotion pouring out of his voice. "I'm really proud of being from Wilkes County. It's like a family reunion every time I come back now… it's a really special week. They say 'music, moments, and memories,' and that's what it is. It's such a positive part of my year."
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110 Discover the Spirited Story of Stock Car Racing and Down-Home Distilling Discover North Carolina’s NEW Moonshine and Motorsports Trail and experience our state’s history of perseverance and innovation like never before.
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L isten isten To this! To this! Origins of Appalachian Music Documentary The Appalachians: Scots-Irish Documentary Oldest Video of Appalachian Music Reel Folk Interview Classic Appalachian Blues Playlist Video of Fire With Bluegrass Music NPR's All Things Considered Classic Appalachian Blues Interview with Tommy Jarrell Bascom Lamar Lunsford's Mountain Dew Remembering Dock Boggs Album Doc Watson Playlist Blue Sky Boys Stay on the Sunny Side HBO Doc "May It Last" The Avett Brothers on Spotify Frank Proffitt NC Songs & Ballads
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113 1988 Documentary Thursday @ MerleFest Friday@ MerleFest Saturday@ MerleFest Sunday@ MerleFest In the Pines Playlist Willow Garden Playlist Pretty Saro Playlist Mattie Groves Playlist Sparrow/Tender Ladies Playlist Wallin Songs and Stories Playlist Classic Mountain Songs from Smithsonian Etta Baker Playlist Ray Hicks on Hunting with Jack Mountain Music 1965 Movie
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114 2023 is NC's Year of the Trail . Foothills Digest will highlight a trail in each 2023 issue. This quarter, explore the Blue Ridge Music Trails on page 60. Use this QR code to learn more about the Year of the Trail Initiative.
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