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WD_445/ 2008
(  Satoshi Kinoshita )
| Series: | Works on paper: Drawings 5 | | Medium: | oilstick on paper | | Size (inches): | 40.2 x 25.2 | | Size (mm): | 1020 x 640 | | Catalog #: | WD_0445 | | Description: | Signed, date and copyright in pencil on the reverse.
Harry Everett Smith -
Harry Everett Smith (29 May 1923, Portland, Oregon – 27 November 1991, New York City) was an American archivist, ethnomusicologist, student of anthropology, record collector, experimental filmmaker, artist, bohemian and mystic. Smith is a well-known figure in several fields. People who know him as a filmmaker often do not know of his 1952 Anthology of American Folk Music, while folk music enthusiasts often do not know he was "the greatest living magician" according to Kenneth Anger.
Smith died, singing in Paola Igliori's arms, in Room 328 at the Hotel Chelsea in New York City, and his ashes are in the care of his wife, Rosebud Feliu-Pettet.
Anthologist of American folk music:
The Anthology of American Folk Music was a compilation of recordings of American folk and country music commercially released as 78 rpm records between 1927 and 1932. The anthology was released in 1952 on Folkways Records as three two-LP sets. It was rereleased as a boxed set of six compact discs on Smithsonian Folkways Recordings in 1997. A fourth installment, conceived of in the 50s but abandoned, of the anthology became available on Revenant Records in 2000.
This document is generally thought to have been enormously influential on the folk & blues revival of the '50s and '60s, and brought the works of Blind Lemon Jefferson, Mississippi John Hurt, Dick Justice and many others to the attention of musicians such as Bob Dylan and Joan Baez, and featured such legendary acts as The Carter Family and Clarence Ashley. The Harry Smith Anthology, as some call it, was the bible of folk music during the late 1950s and early 1960s Greenwich Village folk scene. As stated in the liner notes to the 1997 reissue, the late musician Dave van Ronk had earlier commented that "we all knew every word of every song on it, including the ones we hated."
Smith edited and directed the design of the Anthology, including an illustration by scientist/alchemist Robert Fludd on the cover. Smith also penned short synopses of the songs in the collection, which were made to resemble newspaper headlines-- for the song King Kong Kitchie Kitchie Ki-Me-O by Chubby Parker, Smith notes: Zoologic Miscegeny Achieved Mouse Frog Nuptuals, Relatives Approve.
Selections were culled by Harry Smith from his amassed personal collection of 78 rpm records, picked for their commercial and artistic appeal within a set period of time, 1927 to 1932. Smith chose those particular years as boundaries since, as he stated himself, "1927, when electronic recording made possible accurate music reproduction, and 1932, when the Depression halted folk music sales."
Smith earned a belated Grammy, the Chairman's Merit Award, for his contribution to this collection shortly before his death in 1991.
In addition to compiling, Smith also recorded music: Allen Ginsberg's long player New York Blues: Rags, Ballads and Harmonium Songs released in 1981 was captured by Smith at the Chelsea Hotel in 1973. He recorded the first album by The Fugs in 1965, recorded and released a multi-LP set of Kiowa Peyote Meeting songs on Folkways, and, in the 80s, recorded thousands of hours of "field recordings" for a project called "deonage."
Discography:
* Anthology of American Folk Music, 1952, Folkways Records. Re-released in 1997 by Smithsonian Folkways Recordings.
-en.wikipedia.org/wiki/Harry_Everett_Smith
Anthology of American Folk Music -
The Anthology of American Folk Music is a 1952 six-album compilation of eighty-four American folk recordings from 1927 to 1932. Harry Smith compiled the collection from his personal collection of 78 rpm records. The collection is famous due to its role as a touchstone for the US folk music revival in the 1950s and 1960s.
Compilation:
Although Harry Smith considered himself an abstract-expressionist, with a special interest in film, he had a hobby of collecting old folk and country records. At a time when many people considered these records to be ephemeral, he took them seriously and accumulated a collection of several thousand recordings.
Smith chose records from the period between "1927, when electronic recording made possible accurate music reproduction, and 1932, when the Depression halted folk music sales."
The compilation is divided into three two-album sections: Ballads, Social Music, and Songs. The first two albums consist of ballads. Each song tells a story about a specific event or time. Smith arranged the songs in historical order. Thus, many of the first songs are old English folk ballads, and the latter deal with the hardships of being a farmer in the 1920s. The first album of social music largely consists of music likely performed at social gatherings or dances. Many of the songs are instrumentals. The second album of social music consists of religious and spiritual songs. The final two albums of the original release consist of regular songs. The fourth volume, first released in 2000, consists of songs about working.
Release:
Harry Smith created the liner notes himself, and these notes are almost as famous as the music. Smith also edited and directed the design of the Anthology, including an illustration by scientist/alchemist Robert Fludd on the cover. Smith also penned short synopses of the songs in the collection, which were made to resemble newspaper headlines-- for the song King Kong Kitchie Kitchie Ki-Me-O by Chubby Parker, Smith notes: Zoologic Miscegeny Achieved Mouse Frog Nuptuals, Relatives Approve. Smith used a fragmented, collage method that presaged some postmodern artwork. Smith incorporated the music into his own unusual cosmology. Each of the four albums is associated with a color (Blue, Red, Green, and Yellow respectively), and an element (Water, Fire, Air, and Earth). In the 1960s, Irwin Silber replaced Smith's covers with a Ben Shahn photograph of a poor farmer.
The Anthology originally appeared on the Folkways label established by Moses Asch. In 1997, Smithsonian Folkways Recordings republished the collection on six CDs. In 2000, Revenant Records released a fourth collection (compiled by Smith) that includes union songs and songs recorded as late as 1940.
Influence:
The Anthology has had enormous historical influence. Smith's methodology of sequencing tracks, along with his inventive liner notes, called attention to the set, imbuing it with a talismanic aura (the cover image is a monochord drawn by Robert Fludd). This reintroduction of near-forgotten popular styles of rural American music from the selected years to new listeners had impact on American ethnomusicology, and was both directly and indirectly responsible for the aforementioned folk music revival.
The music on the compilation provided direct inspiration to much of the emergent folk music revival movement. The Anthology made widely available music which previously had been largely the preserve of marginal social economic groups. Many people who first heard this music through the Anthology came from very different cultural and economic backgrounds from its original creators and listeners. Many previously obscure songs became standards at hootenannies and folk clubs due to their inclusion on the Anthology. Some of the musicians represented on the Anthology saw their musical careers revived, and made additional recordings and live appearances.
This document is generally thought to have been enormously influential on the folk & blues revival of the '50s and '60s, and brought the works of Blind Lemon Jefferson, Mississippi John Hurt, Dick Justice and many others to the attention of musicians such as Bob Dylan and Joan Baez, and featured such legendary acts as The Carter Family and Clarence Ashley. The Harry Smith Anthology, as some call it, was the bible of folk music during the late 1950s and early 1960s Greenwich Village folk scene. As stated in the liner notes to the 1997 reissue, the late musician Dave van Ronk had earlier commented that "we all knew every word of every song on it, including the ones we hated."
In 2003, the album was ranked number 276 on Rolling Stone magazine's list of the 500 greatest albums of all time.
Track listing:
Ballads
1. "Henry Lee" — Dick Justice
2. "Fatal Flower Garden" — Nelstone's Hawaiians
3. "The House Carpenter" — Clarence Ashley
4. "Drunkard's Special" — Coley Jones
5. "Old Lady and the Devil" — Bill & Belle Reed
6. "The Butcher's Boy" — Buell Kazee
7. "The Waggoner's Lad" — Buell Kazee
8. "King Kong Kitchie Kitchie Ki-Me-O" — "Chubby" Parker
9. "Old Shoes And Leggins" — Uncle Eck Dunford
10. "Willie Moore" — Burnett and Rutherford
11. "A Lazy Farmer Boy" — Buster Carter and Preston Young
12. "Peg and Awl" — The Carolina Tar Heels
13. "Ommie Wise" — G.B. Grayson
14. "My Name Is John Johanna" — Kelly Harrell
15. "Bandit Cole Younger" — Edward L. Crain
16. "Charles Guiteau" — Kelly Harrell
17. "John Hardy Was A Desperate Little Man" — The Carter Family
18. "Gonna Die With My Hammer In My Hand" — Wiliamson Brothers and Curry
19. "Stackalee" — Frank Hutchison
20. "White House Blues" — Charlie Poole w/ North Carolina Ramblers
21. "Frankie" — Mississippi John Hurt
22. "When That Great Ship Went Down " — William & Versey Smith
23. "Engine 143" — The Carter Family
24. "Kassie Jones" — Furry Lewis
25. "Down On Penny's Farm" — The Bently Boys
26. "Mississippi Boweavil Blues" — The Masked Marvel
27. "Got the Farm Land Blues" — The Carolina Tar Heels
Social music
1. "Sail Away Lady" — "Uncle Bunt" Stephens
2. "The Wild Wagoner" — Jilson Setters
3. "Wake Up Jacob" — Prince Albert Hunt's Texas Ramblers
4. "La Danseuse" — Delma Lachney and Blind Uncle Gaspard
5. "Georgia Stomp" — Andrew & Jim Baxter
6. "Brilliancy Medley" — Eck Robertson and Family
7. "Indian War Whoop" — Hoyt Mingand his Pep-Steppers
8. "Old Country Stomp" — Henry Thomas
9. "Old Dog Blue" — Jim Jackson
10. "Saut Crapaud" — Columbus Fruge
11. "Acadian One Step" — Joseph Falcon
12. "Home Sweet Home" — The Breaux Freres (Clifford Breaux, Ophy Breaux, Amedee Breaux)
13. "Newport Blues" — Cincinnati Jug Band
14. "Moonshiner's Dance Part One" — Frank Cloutier and the Victoria Cafe Orchestra
15. "Must Be Born Again" — Rev. J. M. Gates
16. "Oh Death Where Is Thy Sting" — Rev. J. M. Gates
17. "Rocky Road" — Alabama Sacred Harp Singers
18. "Present Joys" — Alabama Sacred Harp Singers
19. "This Song of Love" — Middle Georgia Singing Convention
20. "Judgement" — Sister Mary Nelson
21. "He Got Better Things For You" — Memphis Sanctified Singers
22. "Since I Laid My Burden Down" — Elders McIntorsh and Elder Edwards|Edwards' Sanctified Singers
23. "John The Baptist" — Moses Mason
24. "Dry Bones" — Bascom Lamar Lunsford
25. "John the Revelator (song)" — Blind Willie Johnson
26. "Little Moses" — The Carter Family
27. "Shine On Me" — Ernest Phipps and His Holiness Singers
28. "Fifty Miles of Elbow Room" — Rev. F.W. McGee
29. "I'm In the Battle Field for My Lord" — Rev. D.C. Rice and His Sanctified Congregation
Songs
1. "The Coo Coo Bird — Clarence Ashley
2. "East Virginia" — Buell Kazee
3. "Minglewood Blues" — Cannon's Jug Stompers
4. "I Woke Up One Morning In May" — Didier Hebert
5. "James Alley Blues" — Richard "Rabbit" Brown
6. "Sugar Baby" — Dock Boggs
7. "I Wish I Was a Mole In the Ground" — Bascom Lamar Lunsford
8. "Mountaineer's Courtship" — Ernest Stoneman and Hattie Stoneman
9. "The Spanish Merchant's Daughter" — The Stoneman Family
10. "Bob Lee Junior Blues" — The Memphis Jug Band
11. "Single Girl, Married Girl" — The Carter Family
12. "Le Vieux Soulard Et Sa Femme" — Cleoma Breaux and Joseph Falcon
13. "Rabbit Foot Blues" — Blind Lemon Jefferson
14. "Expressman Blues" — Sleepy John Estes and Yank Rachell
15. "Poor Boy Blues" — Ramblin' Thomas
16. "Feather Bed" — Cannon's Jug Stompers
17. "Country Blues" — Dock Boggs
18. "99 Year Blues" — Julius Daniels
19. "Prison Cell Blues" — Blind Lemon Jefferson
20. "See That My Grave Is Kept Clean" — Blind Lemon Jefferson
21. "C'est Si Triste Sans Lui" — Cleoma Breaux and Ophy Breaux w/ Joseph Falcon
22. "Way Down The Old Plank Road" — Uncle Dave Macon
23. "Buddy Won't You Roll Down the Line" — Uncle Dave Macon
24. "Spike Driver Blues" — Mississippi John Hurt
25. "K.C. Moan" — The Memphis Jug Band
26. "Train On The Island" — J.P. Nestor
27. "The Lone Star Trail" — Ken Maynard
28. "Fishing Blues" — Henry Thomas
Labor songs
1. "Memphis Shakedown" — Memphis Jug Band — 3:04
2. "Dog and Gun [Old English Ballad]" — Bradley Kincaid — 3:25
3. "Black Jack David" — Carter Family — 2:41
4. "Down on the Banks of the Ohio" — Blue Sky Boys — 3:20
5. "Adieu False Heart" — Arthur Smith Trio — 2:51
6. "John Henry Was a Little Boy" — J.E. Mainer Mountaineers — 3:13
7. "Nine Pound Hammer" — Monroe Brothers — 2:14
8. "Southern Casey Jones" — Jesse James — 2:56
9. "Cold Iron Bed" — Jack Kelly & His South Memphis Jug Band — 3:07
10. "Packin' Trunk Blues" — Leadbelly — 2:57
11. "Baby, Please Don't Go" — Joe Williams & Washboard Blues Singers — 3:25
12. "Last Fair Deal Gone Down" — Robert Johnson — 2:42
13. "Parchman Farm Blues" — Bukka White — 2:40
14. "Mean Old World" — Heavenly Gospel Singers — 2:48
15. "Hello Stranger" — Carter Family — 2:46
16. "Stand by Me" — Sister Clara Hudmon — 3:13
17. "West Virginia Gals" — Al Hopkins & Bucklebusters — 3:05
18. "How Can a Poor Man Stand Such Times and Live?" — Blind Alfred Reed — 3:16
19. "Wreck of the Tennessee Gravy Train" — Uncle Dave Macon — 3:11
20. "Governor Al Smith" — Uncle Dave Macon — 3:08
21. "Milk Cow Blues" — Sleepy John Estes — 3:05
22. "No Depression in Heaven" — Carter Family — 2:57
23. "I'll Be Rested (When the Roll Is Called)" — Roosevelt Graves — 2:32
24. "He's in the Ring (Doing the Same Old Thing)" — Memphis Minnie — 2:59
25. "The Cockeyed World" — Minnie Wallace — 3:02
26. "Barbecue Bust" — Mississippi Jook Band — 2:41
27. "Dans le Grand Bois (In the Forest)" — Hackberry Ramblers — 2:35
28. "Aces' Breakdown" — Four Aces — 2:54
-en.wikipedia.org/wiki/Anthology_of_American_Folk_Music
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