Directory of African-Appalachian Musicians

Abstract

The aim of this guide is to fix significant positions for musical activity onto specific portions of the landscape, with a view to assisting future research. It is not intended to fulfill the tourist expectation of finding, say, that "Blind Boy Fuller slept here." Therefore, it does not record where a particular artist appeared on one night of a whirlwind one-night tour, but if that same artist habitually played in the location for decades, it can be hoped that he or she will be found here. The intention is to set down, so far as can be known at this remove, the main places where particular Appalachian musicians (specifically African Americans) were born, spent their lives, learned from others, performed, influenced others, or died. African-American churches, so important in black communities and frequently the location of significant musical activity, have been included when they could be identified definitely. There has been an attempt to date musicians' activity and to point to other locations within the guide that they may be found; suggestions for enhancing the simplicity and improving the presentation of the guide are welcomed. The usual magazines and references have been consulted, albeit with inevitable omissions by the compiler, but the work also largely draws on substantial original research in the indexed census records of 1920 and 1930. The definition of "Appalachia" chosen is that promulgated by the Appalachian Regional Commission, with the proviso that certain Virginia Piedmont and Valley cities and counties that were initially included in the region by the Appalachian Regional Commission have been reincorporated. Attempts have been made to avoid the use of abbreviations, but some are so pervasive as to require their usage. COGIC Church of God in Christ AME African Methodist Episcopal (Church) AMEZ African Methodist Episcopal Zion (Church) The directory is presented alphabetically by state, then by county, and then by city. In some cases, there is additional general information that is pertinent to either a state or a county preceding the presentation of the next category. For example, the Alabama state heading is followed by information about songs that mention the state, sociological trends that influenced the music, important performers that hailed from the state, and demographic statistics; then the county listings begin. Alabama Alabama has been an important state for gospel music but, in recent decades, is less influential as a source of blues music. The traditional song "Alabama Bound" has the sense more of rambling than of specifically going to Alabama. Examples include "'Bama Bound Blues" by Ida Cox, Papa Charlie Jackson, and Charlie Patton; "Alabama Bound" by Bowlegs (Library of Congress); "Alabama Bound" by Uncle Rich Brown. Apart from "Alabama Bound," a number of songs mention the state, including "Alabama Mis-Treater" by Davenport and Carr (Okeh 8306, recorded March 11, 1926), "Alabama Strut" by Cow Cow Davenport and Ivy Smith (Vocalion 1253, recorded July 16, 1928), "Alabama Mistreater" by Cow Cow Davenport (Vocalion 1227, recorded October 25, 1928), "The Blues Singer from Alabam" by Bessie Brown (Brunswick 4346, recorded ca. April 1929), "Alabammy Mistreated" by Iva [Ivy] Smith (Gennett 7231, recorded June 7, 1930), "Alabama Scratch" by the Harum Scarums (Paramount 13054, recorded ca. January 1931), "Alabama Hustler" by Sam Tarpley (Gennett unreleased, recorded August 30, 1930, and Paramount 13062, recorded ca. January 1931), and "I've Got a Man in the 'Bama Mines" by Sweet Pease Spivey (Bluebird B-7224, recorded October 11, 1937), which inspired Jazz Gillum's "answer," "I'm That Man Down in the Mine" (Bluebird B-7718, recorded June 16, 1938). Although the ravages of the boll weevil were ultimately felt harder through the Black Belt of central Alabama than in most other locations, they came later than in states to the West and did not reach a peak until around 1922. …