HILL IN I SUNIVERSITY OF ILLINOIS AT URBANA-CHAMPAIGN

PRODUCTION NOTE

University of Illinois atUrbana-Champaign Library

Large-scale Digitization Project, 2007.

-V :

NIVEI

May 5, 1961 Vol. 1 FEB 2 '1962

RSITYOF ILLINOIS

No. 3

BLUEGRASS BAND COMES TO CAMPUS

On May 26th, in 112 Gregory Hall,the Campus Folksong Club will presentRed Cravens and the Bray Brothers. Withthe appearance of Red Cravens and theBray Brothers, the University of Illinoiswill get its first sustained taste ofBluegrass music. Bluegrass, which hasits roots in instrumental mountain mus-ic, was "founded" by Bill Monroe around1945. "iounded" is a poor word, butthe sound originated by Monroe and hisBluegrass boys of 1945, has served theprototype for all succeeding Bluegrassmusic.

Red Cravens is well qualified t*speak on the subject of the guitar and

FOLKSING OUTDOORS TONIGHT

Tonight, as promised, the regularbiweekly folksing of the Campus FolksongClub will be spontaneously conducted inIllini Grove. Illini Grove is locatedat the corner of Pennsylvania and Lin-coln, just west of McKinley Hospital.The grove has been placed on reserve bythe club from 6:00pm to 10:00pm. Ifthere should be poor weather the folk-sing will be held in room 180 BevierHall, and it will start at 8:00pm. Ifyou are in doubt about the weather, lookfor a notice in room 180 of Bevier Hall.

u AUTOHaRP

Bluegrass music. His Martin guitar, Autoharp vol. 1, no. 2, v s biggerBluegrass record collection, and time and better than vol. 1, no. 1 and be-working with Bill Monroe are testimony to ing so we guess gave it the privilege tohis knowledge. Red, who began his gui- have bigger and better errors. The mosttar playing at 13, did some radio and per- obvious of these, which we want to cor-sonal appearance work before joining the rect is the misspelling of Mr. Kokefer'sBray Brothers. He dates his interest in name in our pare one article about hisBluegrass from the first time he heard a record shop. We doubled the "f" in hisBill Monroe record. name, and as he put it, "You made a Rus-

sian out of me!" A second gawky mistakeNate (mandolin), Harley (banjo), and was a typographical error in the spell-

Francis (base) Bray make up the rest of ing of Malaika (Swahili for "angel'). Itthe band. Their father, who was a fiddler,came out as "Malaila" in the paper.started them off on the musical careerswith a five-string banjo. However, Autoharp vol. 1, no. 3, contains init wasn't until 1954 that the Bray's addition to sections on John Henry andheard Bluegrass and met Red Cravens, the Chicago blues scene, which we prom-Following a two year practice session ised, a page devoted to Children and thethe group appeared on WTHI-TV in Terre Weather. This edition's short biographyHaute, Indiana. In 1957, the army is that of Huddie Ledbetter (Leadbelly).interrupted the band's work, and Red We hope that the song which accompaniesjoined Bill Monroe. It was in 1958 the biography is one that you will be-that the entire band (with the exception come familiar with by playing and singingof Nate) played and sang with Bill Mon- it. There is also some information aboulroe as the "Bluegrass Boys". the Indian Neck Folk Music Festival un-

(continued page 2, col. 1) der way up at Yale University at this mo-ment. Read on and enjoy.

g

folio 11CHICAGO BLUES

Autoharp's deep appreciation goes to'Bob Scharff for the following :contribution

On the south side of Chicago in a bar called Shakes Lounge, Muddy

Waters and his band of five have been and will be holding forth fournights a week, displaying their talents in obvious excellence. "TheMud" (born McKinley Morgenfield), well-known to the Midd. West throughnumerous personal appearances and his recordings for Chess, a munmis-takably a part of the blues tradition, more specifically "city blue,s»His repertoire runs the gamut from women to hard times, from steady,driving tunes to wailing laments, and although he usually confines him-

self to singing (in a harshly strong baritone), he will sometimes take

the electric guitar from Pat Hare (or use his own) and demonstrate a

remarkable command of the instrument, either as lead or background.The group has an extremely effective one-two punch, made up of tMud"

and his harmonica ace, James Cotton. While almost every record cover

carries autobiographical material on the former, Cotton remains an un-

sung hero. During an evening's sessions, the two will switch leads

several times a night, and personal preferences though there may be,

each man carries the program with the overwhelming approval of those

present. Born near Tunica, Mississippi, Cotton learned to play the mouth

harp from one of the greats, Sonny Boy Williamson, and turned profession-

al in 1947 when he joined Howlin' Wolf's group, remaining with him for

four years. During that time Cotton was one of the influential factors

upon "the Wolf, who was then learning the harp himself. After two years

with Willie Nix in Tennessee, he formed his own group, which included

Pat Hare, now also with Waters on guitar. It was through Cotton (who

bought Pat his first electric guitar) that Hare, a native of Parkin,

Arkansas, got his first professional break. Music runs in the Cotton

family, for his brother, Bobby "Blue" Bland, is a top name in blues

circles.Cotton moved to Waters' group in 1955, and his harp has been heard

on all the group's recordings since then, starting with 'She's Got It."

His singing style carries with it the unmistakable influences of B.B.

King, Little Junior Parker, and of course, Howlin' Wolf, but equally

unmistakable is the fact that no style but his own dominates Cotton's

presentations. It is particularly interesting to listen to both Waters

and Cotton do the same number on the same night--their talents are re-

markably unalike for having been in proximity for so long. Like few

others, Cotton makes his harmonica " t a lk." In many of his own numbers

the sounds border on intricacy, while on other occasions it communicates

the deep, rhythmic, almost orgastic "working" that is called for as in

IFeelin' Good" (which Cotton wrote though Little Junior Parker recorded),

"Cantt Hold Out," "Goin' Out Walkin'," etc. On still others, Cotton's

harp wails in the background, t'screamin' and cryin'."

Francis Clay's drums have been pounding out the Waters-Cotton rhythm

for four years, and Andrew Stephenson arrived three years ago to pick up

the amplified bass. The latter is particularly effective in duets with

Pat Hare, whose two-finger-pick-and-thumb style is a fascinating thing

to watch. The high, sliding breaks that come from Hare's guitar carry

the familiar ring of the Elmore James-to-B.B. King type of background.

Occasionally a listener at Shakes will hear a third voice, quite like

Cotton's but slightly higher. It will belong to Otis Spann, whose piano

work is to a large extent lost in the amplification of the bass and guitar.

That piano, however, is worth listening to; it tells of a yearning for

an occasional trip to the contemporary jazz scene, but obviously enjoys

its place among the Waters' arrangements, particularly the sharp, rhyth-

mic numbers.

folio: 12

JOHN HENRY

Autoharp's deep appreciation goes to Vic Lukas for the following contribution.

John Henry is unquestionably America's greatest folk hero, claimed as a cit-izen of every state and a worker in nearly every industry. He has become the per-sonal hero of practically all industrial organizations. Perhaps partly true, cer-tainly to a degree legendary, the stories portray him as a steel drivin' man, arailroad man, the handiest man with the ladies, and probably most important, asthe symbolic fighter of the industrial revolution, with its steam drills and less-er need for human muscle.

J. C. Bowman, in his book John Henry, The Rambling Black Ulysses, has givenus one of the best explanations of the John Henry story and has shown us how somany different kinds of work could be attributed to one man--how one man couldhave come from so may different places. Bowman portrays him as a rambling worker,a traveller and a drifter, moving from job to job but never failing to excel andalways giving birth to stories about him.

Of all his accomplishments, John Henry's feats with the hammer are the bestknown and the most incredible. In almost every song commemorating the hero, JohnHenry appears as a miner, a worker on the Big Bend tunnel, or a striker. (A strikeris a member of a stell gang, whose job it was to hammer spikes that held the ties tothe rails as those rails became part of the vast network that was moving West acrossa rapidly expanding America.)

From the workers of the transcontinental railroad comes one famous stroy ofJohn Henry and the steel gang. One day the gang, which was several miles behindthe track layers, spotted a speeding train heading towards them. Everyone knewthat moving as rapidly as it was, the train would never be able to stop in time toavoid certain destruction beyond the last of the anchored rails. As several of themen tried to flag down the approaching iron monster, John Henry went into action.Grabbing a large number of spikes and putting them into his mouth, John Henry pick-ed up two ten-pound hammers, one in each hand, jumped between the rails, and in amatter of seconds was spitting each spike into place and driving it home with onepowerful stroke. As the train roared after him, belching clouds of black smoke,spewing sparks from beneath its braked wheels, and screaming long and loud on itswhistle, John Henry worked faster and faster, his great hammers ringing, hismighty muscles straining. For three miles he single-handedly nailed down enoughtrack to give the roaring engine room to stop.

John Henry supposedly worked on the Big Bend Tunnel and died there sometimearound 1873. As one story goes, his description was lost in a fire that destroyedall the personnel records of the early 1870's. Some have claimed that they hadancestors who actually saw him, and he has been pictured as a six-foot yellow Negrowith arm muscles 22 inches around, born in Tennessee, who died at 3h. (GeorgeJohnston, Lenside, West Virginia.) Others say ho was dark and short, weighing onlyabout 150 pounds; and there are, of course, Southerners who claim he was a tall,gangling white man from Arkansas. Truth or fiction, real or legendary, John Henryand his story keep on growing, and no one seems particularly concerned that he maynever have actually lived at all.

The story of John Henry is best told in the almost endless song about him. Theversion which appears following this article was taken from American Ballads and FolkSongs, by John and Alan Lomax, MacMillan Co., New York, 1934. It was chosen asbeing one of the most complete, and the melody is one of the most common.

folio: 13

JOHN HENRY (cont.)

The Lomaxes have commented on the song: "As will be readily noticed by thosewith a tendency for noticing such things, the song has a lusty double meaning, inwhich the idea that John Henry had 'drove his fool self to death' becomes a gargan-tuan bawdy joke. Here is the earthy beginning and root significance of the JohnHenry ballad--men at work in the smoky bowels of the earth, thinking about theirwomen and laughing with pleasure." (Taken from John and Alan Lomax: Folk Song U.S.ADuell, Sloan and Pierce, New York, 1947.)

Not only in many other variants of this song is John Henry mentioned, but inother asngs as well, such as the poignant lullaby sung by a Negro mother to her child:"My Little John Henry." (Alan Lomax: Texas Folksongs. Tradition TLP 1029). He

is also mentioned in a very common verse of "Take this Hammer":

This old hammerKilled John Henry.But it can't kill me, boy,But it can't kill me.

DISKOGRAPHY: A few among the many recordengs of particular interest are listedbelow unless otherwise mentioned the instrument is guitar.

Big Bill Broonzy, EmArcy, MG-26034 (flat pick, G)

Josh White, Ballads and Blues, Decca DL 5082 (open E tuning, three finger)

Rogie Clark, Legend of John Henry, allegro AL-8

Richard Dyer-Bennet, Songs, Dyer-Bennet DYB 5000

Kazee Buell, His Songs and Music, Folkways FS 3810 (banjo)

Huddie .Iedbetter, Leadbelly Memorial Vol. I, Stinson SLP #17 (twelve string guitar)

Brownie McGhee and Sonny Terry, Songs, Folkways FA 2327 (guitar and harmonica)

John Jacob Niles, 50th Anniversary Album, Camden CAL 330 (dulcimer and psaltery)

Mrs. Etta Baker, Instrumental Music of the Southern Appalachians, Tradition TLP 1006,(Mississippi style knife blues, open tuning)

Furry Lewis, Folkways FS 3823 (bottleneck style, open A)

Angola Prison Work Songs, Loubiana State Folklore Society (group with hammers)

Red Cravens and the Bray Brothers, John Henry, Bluegrass Records (played bluegrassstyle with fiddle, banjo, bass, guitar, and mandolin) 45 rpm

The best books on the subject of John Henry are:

Johnson, Guy B. John Henry, Tracking Down a Negro Legend. Chapel Hill N.C.:University of North Carolina Press, 1929.

Chappel, Louis W. John Henry, A Folklore Study. Jena: Frommannsche Verlag, WalterBiederman, 1933,

Bowman, J. C. John Henry, The Rambling Black Ulysses.

folio: 14)

JOHN HEFirY

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John Henry was a li'l baby, uh huh,l*Sittin' on his mam's knee, oh, yeah,*Said "De Big Bend Tunnel on de C.&O,roadGonna cause de death of me,Lewd, Lewd, gonna cause the death of me."

John Henry, he had a woman,Her name was iary Magdalene,She would go down to de tunnel and singfor John,Jes', to hear John Henry's hammer ringLawd, Lawd, jes' to hear...

J.ohn Henry had a li'l woman,Her name was Lucy Ann,John Henry took sick an' had to go to bed,Lucy Ann drove steel like a ian,Laed, Lawd, Lucy Ann...

Cap'n says to John Henry,"Gonna bring me a steam drill 'round,Gonna take dat steam drill out on de jobGonna whop dat steel on down,Lewd, Lewd, gonna whop....

John Henry tol' his cap'n,Lightnin' was in his eye:"Cap'n, bet yo las red cent on meFo' I'll beat it to the bottom or I'll dieLewd, Lewd, I'll beat....

John Henry started on de right hand,De steam drill started on de lef'-"Before I'd let dis steam drill beatme down,I'd hammer my fool self to death,Lawd, Lawd, I'd hammer.....

John Henry tol' his captain,"Looka yonder what i see-yo' drill's done broke an' yot hol'sdone choke,An' you cain' drive steel like me,Lawd, Lawd, An' you cain'...

De man dat invented de steam drill,Thought he was mighty fine.John Henry drove his fifteen feet,An' de steam drill only made nine,Lawd, Lawd, an' de steam drill....

John Henry was hammerint on de mountain,An' his hammner was strikin' fire,He drove so hard till he broke his pore heAn' he lied down his hammer an' he died,Lawd, Lawd, he lied down....

Dey took John Henry to de graveyard,An' dey buried him in de san'An' every locomotive come roarin' bySays, "Dere lays a steel-drivin' man,Lewd, Lawd, dere lays....

*The syllables "uh-huh" and "oh, yeah" are to be repeated in each stanza.

I- I " _

folio: 15

INDIAN NECK FOLK FESTIVAL

Autoharp's deep appreciation goes to Pete Hemingson for the following contribution*

Indian Neck first thrust its head out of the New Haven grime in the spring of1957, looked around, and promptly decided to have a festival. The festivals puttogether on short notice, was extremely successful; out of the ubiquitous smell of bee.and the haze of cigarette smoke came the sound of voices, professional and amateur,trained and untrained, who were singing for the sheer love of music. Shocked by itssuccess, Indian Neck promptly fell into a stupor that lasted for a year. The spiritwas revived in the fall of 1959 by Bill Arnold, Yale '60, who gathered together two orthree interested parties, incorporated the group as a non-profit corporation, took adeep breath, and plunged into a series of concerts. In 1959-60, Indian Neck broughtthe New Lost City Ramblers, Oscar Brand, Sonia Savig, Odetta, Pete Seeger, The Weaversand Joan Baez to Yale, ollowing the festival in May, L960, that attracted 200 peopleto a rambling beach hotel on Long Island Sound for a week-end that never did stop tocatch its breath, Indian Neck entered the present academic year with high hopes, anempty wallet, and a skeleton membership.

This year has been primarily for a reasseement of purpose, an expansion ofpurpose, and an explanation of purpose, and a concomitant of membership. Under ourpresent officers for the first half of the year, Al King, president; Al Gregory,secretary; and Nelson Luria, treasurer, we presented a return visit from the New LostCity Ramblers and Joan Baez, another return by Pete Seeger, and Hal Holbrook's progranof Mark Twain material. We reorganized in January, 1961, and now have a board ofdirectors, an active membership, and almost a tax-exempt ststus. Officers wereelected in February: Nelson Luria remained our treasurer, Bob Simmers is our sec-retary, and Pete Hemingson is our president. In the spring of 1961, we began ourlecture series by sponsoring John Greenway as a fellow of Davenport College - one ofYale's ten residential colleges -- for a week, during which he lectured twice, and sanwith Judy Collins in a concert. Another concert, with Cynthia Gooding, the yev. GaryDavis, and Molly Scott was an artistic, if not financial success. The third IndianNeck festival will be held in May, with an open concert at Yale (to help pay for thething; expenses for the week-end run well over $2,000) on Friday night and organizedchaos at the hotel for the remainder of rhe weekend. Actually, there is some order tothe festival; there are two or three formal discussions, and countless informaldiscussions and hoots. The emphasis is on informality, with the exchange of songsand ideas encouraged; the "I can do anything better than you" attitude is definitelydiscouraged.

Indian Neck has ambitious plans for the future. Next year we hope to establishan Indian Neck collection of records, books, and tapes within the University librarysystem. An extensive lecture series is planned, drawing on the Yale faculty andoutside authorities. Guitar and banjo lessons will be set up, as well as lessonson other instruments as interest warrants.

To be trite as well as accurate: Indian Neck has come a long way from the rainySaturday in 1957(it had to be rainy--it always rains in Connecticut on weekends. Somesort of blue law, I think.) but we have a long way to go. If there is any correlationbetween enthusiasm and hard work and success, we'll make it.

folio: 16

LEADBELLY

Huddie Ledbetter (Leadbelly) was one of the greats of American folk Music. When

he brought out his twelve string and began to play, when he started singing in his

rasping, baritone voice, people listened. Audiences ranging from Negro convicts to

scholarly professional organizations applauded his songs and his singing. His aud-

iences received him warmly, in spite of the fact that often they couldn't understand

a word he said. Leadbelly sang blues, prison and work songs, and pre-blues Negro

folk songs. His songs told stories of many colorful characters and incidents, but

none of his songs could match his own life for excitement. His life was the stuff of

which ballads are made.

No one knows the exact date of Leadbelly's birth. Alan Lomax suggests the year

1888. He grew up on a farm at the eastern edge of Texas, a few miles from Shreveport,

Louisiana, of mixed Negro and Cherokee Indian parentage. Very early he showed a keen

interest in music and at home he learned lullabies, play songs, and spirituals from

his mother. His first musical insturment was a small accordion, then later he acquired

a guitar and eventually his famous twelve-string guitar. In his youth he rambled a

good deal, but Shreveoprt was his center of activity, where he seems to have lived a

primitive, violent life. Frequently in trouble, he was eventually sentenced to thirty

years in the Texas penitentiary for murder. After six years he literally sang his way

out of prison with a pardon the obdurate Governor Pat Neff. This was in 192$. In

five years he was back in prison, this time at Angola in Louisiana. This time for

assault with intent to murder. Again, after four years he sang his way out with a

pardon from Governor 0. K. Allen. Then came the turning point in his career, for it

was about this time, 1934, that he met the Lomaxes.

After a tour through the South collectinL prison songs with the Lomaxes, he came

to New York. It was here that his success as a professional folk singer began. He

gave concerts in many parts of the U. S. and later in Europe. He recorded his songs

on a variety of labels and made more then one hundred recordings for the Library of

Congress Archives. He died in New York on December 6, 1949.

folio: 17

Leadbelly's great appeal is summed up in these words by Alan Lomax:

" His steel voice, his steel arm on the twelve strings and his high-voltage

personality captured audiences everywhere. More than any other singer, he demonstrated

to a streamlined, city-oriented world that America had living folk music - swamp

primitive, angry,. freighted with great sorrow and great joy."

IN DaE LONG HOT SUMER DAYS 1

This song of Leadbelly's tells the story of an escape from the Texas penitentiary.

Riley escaped by swiming across the Brazos when the river was in high flood. Everyone

1-Jtight it impossible to swim the Brazos at flood, thus the lines about walking the

water. Old Rattler was a blood hound used for chasing escaped convicts.

It was Ju- ly an' tu - - - gus'

.,, 1- - , -..7 4I ,

It was Ju- ly an - ho - gus',

It was July an' Augus'(2)They was long, hot summer days,

When ol' Riley taken a notion (2)In dem long, hot summer days;

Taken a notion to walk de water, (2)In dem long, hot summer days.

01' Riley was a-leavin', (2)In dem long, hot summer days,

01' Rattler come a-rollin', (2)In dem long, hot summer days.

01' Rattler went out a-rovin', (2)In dem long, hot summer days.

01' Rattler couldn' trail him, (2)In dem long, hot summer days.

He was a-barken', "Hoo-oo-oo-oo (2)In dem long, hot summer days.

01' Riley wolked de water, (2)In dem long, hot summer days.

01' Riley, farewell, (2)In dem long, hot summer days.

ITaken from Negro Folk Songs as Sung by Leadbelly, by John A. and Alan Lomax

folio: 18

CHILDREN ND THE VJETHR

.utoharp's deep appreciation goes to Joe Zderad for the following contribution.

Mark Twain claimed that everyne talked about the weather, but no one ever didanything about it. Well, I don't mean to stir up any argument, but that doesn't seemto be exactly correct. In fact, there's considerable evidence to the contrary.

Saints and witches and children have been doing all kinds of things about theweather ever since--oh, way back before calendars were ever made. And this isn'tonly a local phenomenon either. This has been going on all over the wbrld.

Consider the children--they're easier to understand than the saints and thewitches, and they're easier to believe.

Certain North Inerican Indians in British Columbia, for instance, were known as"wind people," and they had remarkable control over the weather. In case of ablizzard, the story goes, the Indians only had to ask one of these men for goodweather, and then paint his youngest son with red paint. The boy would then rollover and over in the snow, turning it red for some distance around. That's all therewas to it. There isn't any record of how effective this was, but I don't see why itshouldn't work, do you?

And if the Indian children were twins, the tribe enjoyed a huge blessing. Thesebonus babies were natural born weather-makers-witch-doctors; they could not only makethe weather fair or foul simply by motions of their hands, but they could curediseases as well. The birth of twins must have been hard on their father, though.One report claims that After the birth of twins, the father would dance for four dayswith a large square rattle. The twins used this rattle for their weather-doctoring.

Comparable reports come from overseas. In some parts of Germany, for example,the children make weather, or least predict it, by placing a glow-worm in theirhand chanting something like (freely translated):

Say hey there, glow-wormBring me good weather in the morning,Let the rain pass away,Let the sun shine again,Bring me good weather in the morning.

If the insect then flew away, sunshine would follow; if not, rain.

1nd in England, children cause rainy days by stepping on beetles. There's apopular saying in Swansea to that effect. This is such a sure-fire method that if abeetle is even accidentally squashed, it is necessary to pick it up and bury it sothat the sun will shine again.

Now if this causes you to raise a critical eyebrow, I assure you it need not.You can prove it for yourself. Next time you're caught in the rain, stop and closeyour eyes real tight and say:

Rain, rain, go away,Come again some other day.

*nd you just wait and see if the sun won't shine--sooner or later.

Bluegrass Band cont...

Having recently performed, RedCravens and the Bray Brothers have madetheir first record on the 5-String label.They are featured every Saturday morningfrom 8:hSAM to 9:0OAM on WHOW radio, andhave recently appeared at a concert spon-sored by the University of Chicago FolkSociety.

Since this is the club's first in-dependently sponsored concert we urge youas members to not only support it withyour attendance, but also push it, byencouraging your friends to buy tickets.Tickets will cost one buck, and will beon sale at the ticket office in the Ill-ini Union.

Autoharp is published semi-monthly bythe Campus Folksong Club of the Univer-sity of Illinois. Address all mail to:Autoharp, Campus Folksong Club, 322Illini Union, University of Illinois,Urbana, Illinois.

Editor-in-chief........Larry KlingmanNews Editor............Diane WellsCorrespondence Editor..Linda CrumFolio..................Jerry Sullivan

Robert ScharffSetup...................Josh JankowiakStaff..................Joyce Leming

Donna BostedoMarilyn Jacobs

UPCOMING

RED CRAVENS AND THE BRAY BROTHERS CONCERT

May 26 -- 112 Gregory Hall -- One Buck

Next edition of Autoharp--Since the next edition of Autoharp

will be the final edition for this sem-ester, it will contain an index to allthe material in volume one of Autoharp.Bill Monroe will be the subject of ourbiography section, and there will be asong which has been handed down from agreat aunt, to a mother, to a daughter,to Autoharp. Watch for it around thenineteenth.

COTTON SHOULD BE HEARD!

In the era of commercial butcher-ing of much of the blues, it is a plea-sure to discover someone who is relative-ly untouched by its influence. But apersonality must be heard, and that meansrecorded. Those members of the CampusFolksong Club who have been to ShakesLounge, 7335 S. Vincennes, Chicago, arein agreement that one such personalityis James Cotton (see folio 11, this issu$tYou can help support the drive to gethim a chance to record for Chess Recordsby writing a short letter to Chess Rec-ord Company, 2130 S. Michigan Ave.,Chicago, and asking for a chance to hearJames Cotton recorded by them.