Blues in the Blue Ridge

Blues emerged as a distinct musical form shortly before the turn of the century. Historically, although the Mississippi Delta, Texas and the Durham, NC areas were mined deeper and more vigorously by race record labels, Virginia proved to have a rich and talented, if under-recorded, collection of blues pickers. Luke Jordan from Lynchburg recorded 10 sides for the Victor label in 1927 and was reported by some of his acolytes to be just one (and not necessarily the best), professional blues players from that area. William Moore, a barber from the Richmond area recorded eight sides for Paramount in 1928 (I recorded two of his numbers, “Ragtime Millionaire” and “One Way Gal” on my last CD release, “Hero Worship”). Carl Martin, from Big Stone Gap, had a long recording career spanning from the 30s through the revival of the 60s and 70s and often recorded with the irascible Howard “Louie Bluie” Armstrong and Carl Bogan as well as solo and with other acts. Stephen Tarter and Harry Gray, also from the Big Stone Gap area waxed a few sides for Victor in Bristol in 1928. Their tune “Unknown Blues” displays the syncopated ragtime influenced interplay of dueling finger picked guitars and a standard blues lyrical structure. Their session was the only blues recorded at the Bristol sessions where one year earlier the Carter Family and Jimmy Rogers recorded at what is now known as “the Big Bang of Country Music.”

Although not recorded commercially, the area that I live in harbored a thriving blues scene captured in recordings made by Ferrum College’s Blue Ridge Institute of Franklin County artists Turner and Marvin Foddrell and John Tinsley. Other Franklin County blues acts include Archie Edwards and Rabbit Muse. Archie Edwards moved to Washington D.C. where, like William Moore, he was a barber in addition to a blues guitarist. Since his passing, his barbershop has become a nonprofit foundation supporting and promoting acoustic blues. Rabbit Muse contends with Blind Lemon Jefferson, King Solomon Hill and Furry Lewis for the coolest name in bluesdom in addition to being one of the most highly individual instrumentalists, adding a bluesy twang to novelty and hokum numbers he learned as a medicine show entertainer while playing ukulele and kazoo. His “Rabbit Stomp is a staple of my sets.

Most of these Virginia blues players who recorded during what is called the “Commercial Era,” were multi instrumentalists. Some, like Stephen Tarter were credited with being able to play “anything with strings.” William Moore is reported to have been an exceptional fiddler and piano player. Although the entire recording legacy of most of these players is guitar blues, Virginia musicians were able to play in a variety of styles and the string band and ragtime traditions come forth in all of these artists records.

Contemporary Virginia blues players include the late John Jackson. I spent a few afternoons at John’s house picking tunes and listening to stories. He often interspersed his blues sets with songs like the “Singing Brakeman” Jimmy Rodgers’ “Waitin’ for a Train” (complete with blue yodel), and an occasional banjo tune. His nephew, Jeffrey Scott is keeping John’s legacy alive playing and singing Jackson’s songs and telling his stories with almost frightening exactness. The most visible keeper of the flame these days is John Cephas, who with harp blowing partner Phil Wiggins, travels the globe performing traditional blues.

I’m trying to do my part to put the blues back in the Blue Ridge. Of course, I keep good company with folks like Sheryl Warner and the Southside Homewreckers and Barbara Martin. We all conduct workshops about blues music in schools, colleges and community centers around the area. Greg Kimball, guitarist with the Housewreckers, has also worked with the James River Blues Society to create a brochure about traditional blues in Virginia called “Old Dominion Songsters” and helped erect historical markers dedicated to Virginia bluesmen Luke Jordan and Carl Martin. Additionally the James River Blues Society and the Blue Ridge Blues Society of Roanoke provides lists of area musicians and venues, sponsor blues festivals and concerts and facilitate educational programs about blues.

When I moved to Floyd County eight years ago and began to book my act at various venues in the area, owners and promoters often greeted me with incredulity. "Our audiences only want to hear bluegrass and old time," was the frequent response. My dissertations on the historical give and take between blues, old time and bluegrass musicians in the creation and development of these styles fell on deaf ears. “Folks want to hear a banjo and a fiddle around here.” Fortunately, the funky little burg of Floyd County was more welcoming and open minded. We’ve got old time, bluegrass and gospel acts to spare of course. But they co-exist peaceably with Latin pop, Celtic, reggae, heavy metal, jazz and Grateful Dead tribute bands along with singer-songwriters and other soloists. Floyd’s eclectic and receptive cultural landscape allowed me to establish myself as resident blues and roots man. Thanks Floyd and everyone who supports the Blues Ridge!