Classic Appalachian Blues

April 1, 2010

Title: Classic Appalachian Blues

Artists: Various

Label: Smithsonian Folkways

Catalog No.: SFW CD 40198

Formats: CD, MP3

Release Date: February 16, 2010

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Appalachian Blues continues Smithsonian’s Classic series, a set of compilations designed to feature and attract attention to the Institute’s collections. As a region, the Appalachians include thirteen states (seven of which are represented here) and have been home to a variety of blues styles including vaudeville blues, piano blues, boogie, string-band dance blues, and ragtime blues, among others.

Roughly half of the CD’s 21 tracks consist of live recordings made of Appalachian blues performances at the Smithsonian Festival of American Folklife between 1971 and 1997, the bulk of which were recorded at the 1976 and 1977 festivals. The other half is comprised of reissues from earlier Folkways albums, the majority of which were recorded during the five-year period between 1957 and 1962, although some date back as early as 1944 and as late as 1992.

Most of the tracks feature solo performances, generally guitar instrumentals or vocals with guitar accompaniment. There are, however, two tracks performed on harmonica, a guitar duet, and two string-band selections, as well as a couple of guitar and harmonica trios performed by Sticks McGhee, Sonny Terry, and J.C. Burris. Other featured performers are Doc Watson, Brownie McGhee, Josh White, Baby Tate, and Etta Baker.

As is the case with most Folkways recordings, the CD comes with extensive, scholarly liner notes. In addition to an introduction by Jeff Place that briefly discusses the role of Moe Asch and Smithsonian’s Festival of American Folklife in documenting Appalachian blues music, the booklet includes a general history of Appalachian blues by Barry Lee Pearson and basic information on each of the songs and performers by Place and Pearson. The general history is particularly interesting and includes information regarding the defining stylistic characteristics of Appalachian blues, the socio-historical context, and the role of recording companies and commercial records in disseminating the music throughout the Appalachian region. Also touched upon are issues of cultural borrowing and integration between white and black performers.

My only complaint about the selection of the music for the CD is that there isn’t more of it. Since the current compilation is limited to a single CD, it presents more of a sampling of styles and performers than an exhaustive regional survey. Given the widely recognized complexity and variety of Appalachian blues music, this particular genre may have warranted a double-CD set, or perhaps a second volume. This issue aside, Appalachian Blues provides an excellent introduction to the music and its history and is a worthy addition to any library or personal collection.

Reviewed by Ronda L. Sewald

Filed under: Blues