Mississippi

Levels inconsistent; some drop-outs due to poor disc condition.

Levels inconsistent; some drop-outs due to poor disc condition.

Disc starts with the singing of “I’m So Glad (I Done Got Over).” Upcoming events and collections are announced, including an announcement of Mrs. Lomax’s donation of $2, with applause following.

Rev. Savage dedicates the performance to Rev. Dr. Lowell [?], pastor of the church. Followed by discussion between Lomax and Rev. Savage about song’s context and meaning. Rev. Savage says he learned the song from his grandmother, who sang it in slavery-times. (Lomax erroneously identifies Savage as Henry Joiner in his notebook.)

Followed by Lomax interview with Annie Anderson, one of the songleaders, about song’s context and meaning and “getting happy” at meetings. Rev. Savage discusses the theological relevance of the sun and stars to conversation.

Rev. Savage introduces himself (he’s visiting from Hollandale, Mississippi.)

Identified as “Samson” on AFS card. Personnel listed are those notated by Lomax; not all of them can be confirmed to perform on this band.

Identified as “O David” on AFS card.

Led by Hester Jones. Preceded by discussion of where she learned the song. Personnel listed are those notated by Lomax; not all of them can be confirmed to perform on this band.

Joiner sings lead and introduces the song as one she learned from her mother

Tape (not disc) transfer, as can be heard by speeding up to pitch at top.

Followed by discussion of song by Rev. Savage and Henry Joiner. Personnel listed are those notated by Lomax; not all of them can be confirmed to perform on this band.

Lomax requests this song at the end of the preceding band. Personnel listed are those notated by Lomax; not all of them can be confirmed to perform on this band.

Identified as such on AFS card. Personnel listed are those notated by Lomax; not all of them can be confirmed to perform on this band.

Personnel listed are those notated by Lomax; not all of them can be confirmed to perform on this band.

Note that 4767B is unrelated to the Coahoma sessions.

Followed by interview with Alan Lomax about the song, Robert Johnson, Son House, his tunings, style, and musicianship.

Followed by interview with Alan Lomax about the song, Robert Johnson, Son House, his tunings, style, and musicianship.

Duplicate (from preservation reel) of 4769A1. Followed by interview with Alan Lomax about the song, Robert Johnson, Son House, his tunings, style, and musicianship.

Duplicate (from preservation reel) of 4769A2. Followed by interview with John Work about the song’s composition and his repertoire playing for dances.

Sermon preceding a baptism by Rev. Price of Clarksdale.

The preceding disc, 4771, also recorded at Calvary, is missing.

Hymns (including lining hymns) and prayers at a baptismal service. A Rev. Young is referred to.

Performances interspersed with testimony. Personnel listed are those notated by Lomax or heard referred to on the recordings.

Personnel listed are those notated by Lomax or heard referred to on the recordings.

Personnel listed are those notated by Lomax or heard referred to on the recordings.

Performance followed by testimonials, including some instances of speech-in-tongues and “getting happy.” (These bands are identified as “Sermon and singing” on AFS cards.) Personnel listed are those notated by Lomax or heard referred to on the recordings.

Performance of “Amen Amen Amen” is preceded by an introduction of “Mother Vickson” from Shelby, Miss., with both testimonials and prayers before and after. Band is identified simply as “Singing” on AFS card. Personnel listed are those notated by Lomax or heard referred to on the recordings.

Band is identified simply as “Singing” on AFS card. Personnel listed are those notated by Lomax or heard referred to on the recordings.

Stories of Jeff Davis and Isaiah T. Montgomery. Johnson was born a slave at Davis’s Hurricane Plantation. Primary interviewer is Lewis Jones.

Story by Unidentified man (named, in some capacity, after Jefferson Davis) concerning the 14-piece brass band that Jeff Davis organized originally for his slaves, of which the speaker was a member till 1884. Discusses the repertoire and some of the dances (ring plays; quadrilles). He also discusses his resettlement and bands in Mound Bayou. Interview ends with a discussion of diminishing African American presence in the town.

Recollections of “getting religion” at Hurricane Plantation, meetings and songs (including a short performance of “Mercy Seat”). Jones asks about singing in the field; the interviewee sings “Old Black Joe.” Discussion of first hearing the blues – “too wild” – when he first arrived in Mound Bayou 54 years previously; dance music around Mound Bayou; songs in the A.M.E. church (with brief sung example) and old-time jubilee/revival songs; a local fiddler and recitation of “I lost my fiddle and I lost my bow”; childrens’ games; white excursions to Davis Bend.

Recollections of Davis Bend bands (string and brass) and their instrumentation; fife-blowing; studying music at Alcorn Agricultural and Mechanical College (now Alcorn State University); lack of contemporary musical ability in Mound Bayou. Brief discussions of farming and raising children in Mound Bayou; white vs. black musical ability; the price of fuel; Jeff Davis’ glass eye; his grandmother.

Recollections of learning to read music; drummers and bones players; marches and quick steps and his distaste for blues; more on Jeff Davis; his mother’s Louisiana Creole origins (he cusses Jones out in Creole French); fiddles and banjos; brief talk on jazz and “tough songs.”

Recollections of conditions for slaves on Jefferson Davis’ Hurricane Plantation; Davis’ mule Righteous Bill and barnyard; corn-huskings, horse races, and riding tournaments; ghosts, spirits, and black superstitions; lullabies his mother sang; Brer Rabbit and Brer Fox (stories he purports to have never heard because he wasn’t interested in hearing them); dance steps. The interview ends with a discussion of Jeff Davis’ walking stick of given to the speaker by Montgomery and, after a distorted passage, conditions for young Negroes in Mississippi.

An archival source for both sides of this disc was unavailable at the time of cataloging (Spring 2018). The Library of Congress’ disc concordance states that no preservation reel was made when the rest of the collection was transferred (1968), which suggests the disc was either damaged or missing. However, the fact that the recordings have been commercially issued (see Biograph’s “The Original Library of Congress Sessions From Field Recordings 1941-1942”) argues that the disc or at least a tape transfer does survive and is simply currently (still) missing. The audio in this catalog, then, is that issued on the Biograph CD.

An archival source for both sides of this disc was unavailable at the time of cataloging (Spring 2018). The Library of Congress’ disc concordance states that no preservation reel was made when the rest of the collection was transferred (1968), which suggests the disc was either damaged or missing. However, the fact that the recordings have been commercially issued (see Biograph’s “The Original Library of Congress Sessions From Field Recordings 1941-1942”) argues that the disc or at least a tape transfer does survive and is simply currently (still) missing. The audio in this catalog, then, is that issued on the Biograph CD.

An archival source for both sides of this disc was unavailable at the time of cataloging (Spring 2018). The Library of Congress’ disc concordance states that no preservation reel was made when the rest of the collection was transferred (1968), which suggests the disc was either damaged or missing. However, the fact that the recordings have been commercially issued (see Biograph’s “The Original Library of Congress Sessions From Field Recordings 1941-1942”) argues that the disc or at least a tape transfer does survive and is simply currently (still) missing. The audio in this catalog, then, is that issued on the Biograph CD.

Identified as a microphone test in AFS catalog.

Remaining side is a brief instrumental by E.C. Ball (recorded in Virginia) followed by empty disc.

The minister announces the visitors and makes other brief remarks on the musical program that will take place.

Identified on AFS card as “Dr. Watts hymn.”

Congregation picks up singing over the minister’s prayer.

Alternately identified as “Sun Goin’ Down,” “I Ain’t Goin’ to Cry No More,” and “Special Rider” on various releases and (in the case of the latter) Blues and Gospel Recordings.

Followed by brief discussion of song, which House said he learned in 1928 from Willie Williams in Matson, Miss., and by the tuning (Spanish A).

Followed by demonstration of tuning and chords, and lyric improvisation.

Followed by discussion and tuning demonstration. House says he made the song up three months earlier.

In the Lomax interview that follows, House discusses his experience recording for the Paramount company in 1930, and his affiliation with the Delta Big Four and Charley Patton. He also identifies this song as “Walking Blues,” although what was issued on Paramount under that name is a different song. This performance would be identified on 1960s releases as “Death Letter (Blues).”

Brief interview with Lomax follows.

Followed by tuning demonstration; House says he learned the tuning from Willie Brown.

Followed by discussion of song.

Followed by discussion of song and text.

Followed by discussion of song.

Followed by discussion of song and having the Holy Ghost in his heart.

Preceded with questions from Lewis Jones about the secular songs in his repertoire (those he performs while busking), and followed by commentary on Blind Sid Hemphill, from whom he learned the song, and how to find him. Lomax and Jones would visit him several days later.

Erroneously identified on AFS card as “Manuwat Blues.”

Interview with Edwards about ring games he played as a child.

Marred by noise in the right channel at 2:17.

Edwards tells Lomax this is the first song he learned.

Discussion of the preceding “plantation song,” which Edwards learned as a boy in Shaw, Miss.; what the blues “are all about”; and the first time he had the blues.

Identified by Lomax as a “chain gang song.”

Followed by discussion of song’s origins and some of the lyrics, including Lomax asking Edwards why he changed the lyrics for the recording from “white folks” to “baby.” Also about his musician father and his repertoire.

A song (and in a style) learned from his father.

A song (and in a style) learned from his father.

A song (and in a style) learned from his father.

A song learned from a Ringling Bros. show: “a shine thing, a negro thing.”

Discusses his father joining the church and quitting music; a chord demonstration; and the blues as the Devil’s music.

Edwards sings this as “Hellatakin’,” and it’s cataloged as such on AFS card.

Talk on his travels as an itinerant musician, the dances he played, the musicians he played with (particularly in Memphis), various intoxicants, writing and recording blues. Discusses Bluebird Records and its talent scouts specifically, songwriting and songwriting/sales royalties vs. flat fees. Conversation continues about his preference for the North, and for integration. “Where you can be treated like a man,” Lomax said. More on country dances, dances, how much whiskey he’s drunk.

Followed by discussion of composing vs. improvising verses.

Preceded by several false starts and much blank disc.

Followed by discussion of the song, which he had written “about three weeks ago,” and the war.

The item identified as “Ragtime Selection” in the AFS catalog (6612B3) is presumably this one.

“Bemford’s” surname is not given, nor are the fourth and fifth members of the group. Johnson is identified as the “President of the Quartet [sic].”

“Bemford’s” surname is not given, nor are the fourth and fifth members of the group. Johnson is identified as the “President of the Quartet [sic].”

Followed by plea for upright conduct. “Bemford’s” surname is not given, nor are the fourth and fifth members of the group. Johnson is identified as the “President of the Quartet [sic].”

Johnson makes a plea for brotherhood and upright conduct.

“Bemford’s” surname is not given, nor are the fourth and fifth members of the group. Johnson is identified as the “President of the Quartet [sic].”

Speaker is identified as the second tenor of the group.

“Bemford’s” surname is not given, nor are the fourth and fifth members of the group. Johnson is identified as the “President of the Quartet [sic].” Followed by largely indecipherable discussion off mic.

Title given is that on AFS card. Lomax and Edwards trade toasts from 10:30.

Identified by Lomax as the Delta Tourist Camp (suggested by Chris Smith to be the Delta Tourist Courts • 1600 N. State St. in Clarksdale)

Disc skips heavily for first six minutes.

Title given is that on AFS card. Largely an interview about catching trains, hobo musicians, and itinerancy. Lomax and Edwards discuss blues lyrics about rambling, being lonesome, and the “crossroads.” Ends with a Titanic toast.

Identified by Lomax as the Delta Tourist Camp (suggested by Chris Smith to be the Delta Tourist Courts • 1600 N. State St. in Clarksdale)

Discussion of a conjuror (“conjur man”) named Uncle Tom; recitation of a dirty toast learned from a man from St. Louis; and talk on blue-gummed people.

Followed by discussion of the song and adolescent sexuality.

Identified by Lomax as the Delta Tourist Camp (suggested by Chris Smith to be the Delta Tourist Courts • 1600 N. State St. in Clarksdale)

Identified as “test” on AFS card. Aural evidence suggests this could be Edwards’ performance that appears in Lomax’s Clarksdale film footage.

Marred by intense speed fluctuations.

Identified by Lomax as the Delta Tourist Camp (suggested by Chris Smith to be the Delta Tourist Courts • 1600 N. State St. in Clarksdale)

Preceded by Lomax announcement of “a man who’s been all over the country, he’s a very experienced musician, same age as I am — 27 years old….”

Individuals listed are those clergy/congregants notated by Lomax.

Recorded at the Mississippi Missionary Baptist Convention at the First African Baptist Church

Rev. Brown is announced as being from Brookhaven, Miss.

Identified on AFS card as “When I Can Read My Promise Clear.” Individuals listed are those clergy/congregants notated by Lomax.

Recorded at the Mississippi Missionary Baptist Convention at the First African Baptist Church

Rev. Davis is announced as being from McComb, Miss., on 6612A2.

Severe speed fluctuation for first minute.

Individuals listed are those clergy/congregants notated by Lomax.

Recorded at the Mississippi Missionary Baptist Convention at the First African Baptist Church

Identified on AFS card as “Commencement of Prayer” (originally 6616B2); title given is drawn from first band on next disc as they’re of a piece. Whiting was identified as being from Greenwood, Miss.

Identified on AFS card as “Commencement of Prayer” (originally 6616B2); title given is drawn from first band on next disc as they’re of a piece. Whiting was identified as being from Greenwood, Miss.

Recorded at the Mississippi Missionary Baptist Convention at the First African Baptist Church.

Individuals listed are those clergy/congregants notated by Lomax.

Recorded at the Mississippi Missionary Baptist Convention at the First African Baptist Church

Severe speed fluctuation.

Announcement of recordings being made the following day at Nelson Funeral Home, next door to the church.

Severe speed fluctuation.

The subject of Rev. Richardson’s talk is “Kingdom Unity.”

Severe speed fluctuation.

The subject of Rev. Richardson’s talk is “Kingdom Unity.”

Recorded at the Mississippi Missionary Baptist Convention at the First African Baptist Church

The subject of Rev. Richardson’s talk is “Kingdom Unity.”

Recorded at the Mississippi Missionary Baptist Convention at the First African Baptist Church

Peaks (?) is announced at the top of the band.

Recorded at the Mississippi Missionary Baptist Convention at the First African Baptist Church

Individuals listed are those clergy/congregants notated by Lomax.

Identified on AFS card as “Fragment Of Talk.” Speaker is identified in announcement after his talk as Dr. Jones.

Recorded at the Mississippi Missionary Baptist Convention at the First African Baptist Church

The songleader is announced at the beginning of the band as what sounds like “Rev. Gray.”

Recorded at the Mississippi Missionary Baptist Convention at the First African Baptist Church

Rev. Terrell was from Greenwood, Miss.

Recorded at the Mississippi Missionary Baptist Convention at the First African Baptist Church

Rev. Terrell was from Greenwood, Miss.

Rev. Terrell was from Greenwood, Miss.

Recorded at the Mississippi Missionary Baptist Convention at the First African Baptist Church

Rev. Terrell was from Greenwood, Miss.

Rev. Terrell was from Greenwood, Miss.

A fragment of the closing prayer on 6620B2.

Identified as “tests” on AFS card.

Identified as “tests” on AFS card.

Announcements of forthcoming speakers and the report from the secretary and treasurer. “Cooney” might be Cuney.

Identified as “tests” on AFS card.

Blank disc with some machine hum.

Rev. Martin gives his address, and Lomax announces that the song was sung from page two of the National Baptist Song Special, printed by the Goodwill Singers, Nashville.

Followed by discussion of his learning the song, its religious connotations, and its origins.

Discussion of songwriting and inspirations. Interspersed with sung example of “Precious Lord, Stand By Me.” Haffer discusses singing reels for candy-knockings, corn-shucking, and dances. Stagolee and Frankie and Johnny are mentioned.

Continued from previous band – Liza Jane, Bill Bailey, Shortenin’ Bread, and a levee-camp holler are mentioned. “Back in the ’90s.” Discussion on levee camps, bad men, and sinfulness follows.

SC to -0.84 / 95.2%

Recollection of the piano being seen as a sinful instrument; congregants saying the church was being turned into a barrelhouse. Lomax asks about incidents on the levee camp, prompts Haffer with question about cocaine – he recites Take A Whiff On Me, and discusses the distribution of bad-man songs among the general population. Continues with discussion road-gang and timber songs. Haffer sings fragment of John Henry. Recollections of old-time square dances with fiddle and French harp (harmonica) and “calling figures.” Lomax prompts his memory with ballads like Barbara Allen and the Gallows Pole; Haffer says he recalls Casey Jones, but hums a fragment of Casey Bill instead. Haffer recites Birmingham Jail/Bird In A Cage, which he says was his favorite song. Discussion moves to banjos, tent shows, “floating palaces,” and changing musical tastes and repertoires. Talks about Joe Turner and the popularity of the song about him, played on guitar, dating it around 1900. With Lomax’s suggestion, he says Make Me A Pallet On the Floor and Alabama Bound were contemporaneous, and that the guitar eclipsed the banjo in popularity. “They thought they was progressing.”

A song concerning the Second World War and national defense. Preceded and followed by discussion of his topical songwriting.

Followed by discussion of the song, its publication, and dissemination, and Haffer’s intentions as a songwriter. “To warn the people – the uncoverted.” Brief talk on damnation and other disaster songs. Sings brief fragment of topical piece, “Storm of ’42” (see 6624A1).

Introduces song with details of the storm, which stuck on March 16, 1942. Identified on AFS card as “Song of the Great Disaster.” Haffer says, on AFS 6626A3, that he’d written the song for the state Baptist convention.

Introduced with remarks on the second coming.

Not identified as separate band on AFS card.

Followed by discussion of the song. Rev. Martin was from Christian Springs, MIss.; Ms. Johns was from Alligator, Miss.

A fragment sung at Lomax’s request. Does not appear in AFS catalog.

Continued on 6625B2.

Disc begins too fast, slows down to appropriate pitch by band’s end, when Lomax says he needs to get his “machine going a little better.”

SC to -0.72 / 95.9%

Identified as “Must Jesus Bear the Cross Alone” on AFS card. Two performances interspersed by discussion of varieties of Watts metered hymns – common, short, fast.

Continued from 6625A1.

Internal speed fluctuation.

Discussion of race relations, peddling songs and newspapers, and his topical songwriting – in particular his ballad about the Titanic, which sold several thousand copies.

Followed by discussion of songwriting.

Blank disc with some machine hum.

Orr recites a monologue from a tent show in which he performed. Identified as “opening routine in show” on AFS card. The section on the preacher and the bear was issued under that name on “The Land Where the Blues Began,” Rounder CD 1861, 2002.

Preceded by explanation of previous story. Buck Asa identifies the protagonist as both John and Jack.

Buck Asa briefly discusses the dog-killing “Swift Peter” with Lomax and Lewis Jones, the latter of whom asks if he’s familiar with the “axe man,” but the machine is stopped.

Disc cuts out before the story ends.

Fragmentary machine/microphone test.

Lewis Jones wonders aloud how the joke “made it down here.”

With spoken interjections by the rest of the group.

Discussion about composition follows. Morganfield says he wrote it in ’40.

Hum and other tape-machine ambience.

Followed by discussion about song, which he learned from his brother. End is compromised by disc noise.

Discussion of learning the preceding story from a Walter Hutton, storytelling style, his own biography, the late plantation manager Bud Doggett, tough guys (including a Jack Devil).

The LC Recording Lab identifies four separate bands before the music begins on this disc side. They are here condensed into one for the purposes of this catalog.

Followed by discussion of animal stories.

Identified as “Toast on Bud Doggett,” but the toast – which Starks attributes to Howard Spann – has more to do with a Mr. Chatmon’s breaking up moonshining operations.

SC to -0.75 / 95.9%