Walter tangle eye jackson biography
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Jake Blount’s Straight Line from Lowcountry Shouts to Afrofuturism
Since then, Blount has more than established his bona fides in the American string band tradition. Giddens tapped him as the opener for her 2018 “Freedom Highway” tour. He placed first in the prestigious Clifftop Festival competition twice and was awarded the 2020 Steve Martin Banjo Prize. His musical scholarship landed him guest stints at Yale, Berklee and the Smithsonian Institution, and in Paste and No Depression magazines.
In 2019, his duo Tui, with Libby Weitnauer, released a terrific album of traditional tunes that is an essential for any string band fan; the musicianship is just off the charts. For his debut as solo artist — “Spider Tales” (Free Dirt Records, 2020) — Blount delivered a set of traditional tunes by Black and Indigenous musicians that call out to Anansi the Spider, the Akan trickster god whose legend spread via the same slave ships that brought the banjo to the so-called New World. The vibe on “Spider Tales” would settle nicely into an “O Brother”-style soundtrack, though the plot might need to shift to a Black/queer protagonist trying to establish his rightful place in a heritage that has until recently been downright hostile to the idea of giving these “other” folk a place
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W.C. Handy was an African American bandleader, songwriter, and music teacher who became known as “Father of the Blues” for his role in making blues a popular music sensation. Starting in the mid-1890s, he toured extensively as a professional entertainer, singing with minstrel troupes, playing cornet and trumpet, leading choruses, and directing black dance bands.
Handy picked up musical ideas and styles from the locales he visited. He told the following story about a song he heard at a train station in the Delta hamlet of Tutwiler, Mississippi, in 1903. He had fallen asleep while waiting for a train and awoke to hear music.
A lean, loose-jointed negro had commenced plunking a guitar beside me while I slept. His clothes were rags; his feet peeped out of his shoes. His face had on it some of the sadness of the ages. As he played, he pressed a knife on the strings of the guitar in a manner popularized by Hawaiian guitarists who used steel bars. The effect was unforgettable. His song, too, struck me instantly. ‘Goin' where the Southern cross' the Dog.’ The singer repeated the line three times, accompanying himself on the guitar with the weirdest music I had ever heard.
Neither the singer in Handy’s story, nor in Rainey’s, identified the
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Other Form notice Name
Lomax, Alan, 1915-2002
Identifier
T799R04; FRID (Lomax Number) 10701
City
Parchman (Miss.); Sunflower County (Miss.)
Disclaimer
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Description
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