Mac & Jenny Traynham P. 2

Mac Traynham and his wife, Jenny, are fixtures in the old-time music scene here in Floyd. However, they are also known throughout the country due to their long-time devotion to the music’s traditions and appearances at the National Folk Festival, the Augusta Heritage Workshops in West Virginia and the Swannanoa Gathering in North Carolina. Last time we looked at their biographies and early introduction to old-time music. Now we look at their immediate influences and thoughts on the contemporary old-time scene.

Mac’s growing interest in old-time music deepened and led him to find authentic sources to learn from. He sought second-hand sources like the field recordings of the Library of Congress, old ‘country’ music 78s from before WWII, and personal visits with old-timers who still performed the songs. “For dance tunes and fiddler’s convention playing I take particular interest in sound of the older players from this region,” he says, “their rhythmic ‘untrained’ playing is reflective of the rural culture that produced the kind of people who lived close to the land. The old-time music played today in the Blue Ridge region at fiddler’s conventions and at the Floyd Country Store is in a style that has evolved to match up with the rhythmic flatfooting tradition that distinguishes this region’s rural tradition. Some elements come from bluegrass tradition like bass and guitar back-up and integrate with the old-time knock down banjo style and rhythmic fiddle bowing.” Among those older players that Mac learned from directly are regional fiddler’s Hick Edmonds, Ivan Weddle and Norman Edmonds, and banjo players Dent Wimmer and Wade Ward. Mac also counts guitar players John Lee Hylton and Ivery Kimble as inspirations.

Although they enjoy teaching at music camps, Mac muses that they “get the most enjoyment out of playing fiddle or banjo for flatfoot dancers who are keeping good time. It gets to become a good party like at the Friday Nite Jamboree where I sense a magic happening when dancers and the band are feeding off each other’s rhythm. It's a two way street. Good dancers make a band play better and a good band make the dancers dance better.”

On the state of old-time music today Mac says “Old-time music is becoming like ‘folk’ music did in the 60’s,” with a smoother, more commercial sound creeping in. “However, there are more young people who recognize this trend and are trying not to sound that way and bring their own sound closer to that of the root, ‘old-time,’ sources. The African roots and other cultural influences are being exposed to audiences these days so hopefully more people will open their mind to accept the more rustic sounds as worthy of having in their listening collections.”

When it comes to adding outside influences, self-expression and personal style to the old-time music tradition, Mac suggests that "A little creativity goes a long way." Stating further he surmises that “too much analysis takes the fun out of the music, but it’s good to understand how what you do relates to the music made by those who have come before.” Further, “I obviously help represent the ‘traditional side of the scene’ while there exists a non-traditional side of the scene full of creative musicians and songwriters who are still considered old-time by the pundits. You have to decide for yourself if it even matters or not. Love and respect for each other no matter what style you think you play is bottom line.”

Like old-time music, the places where it’s played have changed. take, for instance, Floyd, Virginia's recent face lift. Local entrepreneur Woody Crenshaw and his wife, Jackie, purchased the building still known to locals as Cochram's Store. Since 1983, this has been the home of the Friday Night Jamboree; an event that began as a rehearsal session for old man Cochram’s band and grew into one of the longest running weekly jam sessions in the area.

With the assistance of multiple grants, the Crenshaws have enlarged and renovated the building and some of their other real estate holdings in town. Whereas the store had been closed other than for the Friday Night festivities, now the Country Store keeps regular retail hours and in addition to hosting music, also serves country cookin', ice cream, penny candy, CDs, and t-shirts alongside Carhartt clothing. The Crenshaws have spearheaded other downtown renovations and are packaging and marketing the downtown as a tourist destination. Some locals cast a wary eye on the building facade renovations, rising rents, and “tourist-centered” focus of the downtown businesses. Can an event that occurred spontaneously and grew naturally through the support of locals remain authentic while it is managed and packaged for outsiders? I asked Mac what impact these changed have on the presentation and enjoyment of the music.

“I think it will be good overall. The town does look a bit over designed with all the timber frame elements everywhere and the parking lot is awkward for my truck. I would be willing to be more involved if the town could make it worth my while to commit to showing up for the street playing. If there was a budget for a couple of core bands or individuals to show up then that would interest me as a self-employed artist. I guess they’ll hope the spontaneous thing happens to keep the Friday festive reputation up, I won’t show up any more than usual. I generally go up to meet up with some of my playing buddies but even that takes advanced planning. I may occasionally lead a jam at the Country Store at some time other than Friday or Saturday nights if it's worthwhile. Jenny and I are willing to put on professional performances if contracted to do so for any group of tourists who make advanced arrangements with us. We won’t hold our breath, maybe we’ll sell a few CD’s in the local outlets.”

In the end, change is inevitable. Old-time music cannot be placed under glass and preserved like a museum piece and continue to live as a vibrant and vital cultural expression of this region. On the other hand, a music that was once performed largely by folks who had little and received little for their musical talents is now a commodity being marketed by folks from outside the tradition to folks from outside the tradition in the hopes of monetary gain and growth. While Floyd’s efforts and those of the Crooked Road try to capitalize on the area’s rich musical heritage, those who create and sustain that heritage receive little or no compensation. What effect will this have on the music and the town? As Mac says, “Who knows what will happen.”