Annotation:Charleston No. 1: Difference between revisions
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'''CHARLESTON NO. 1'''. American, Reel (cut time). USA; Missouri, Mississippi. C Major. Standard tuning (fiddle). AABB (Christeson, Phillips): AA'BB'C. The melody (which is related to "[[Done Gone (2)]];" similar primarily in the first part) was composed by William T. 'Willie' Narmour (1889-1961, Carroll County, Mississippi), and became a hit in 1929 (it was the flip side of "Carroll County Blues," also a hit). English authority Tony Russell suggests: "The several 'Charleston's' they (Narmour and his playing partner, S.W. "Shellie" Smith) recorded are essentially hornpipes; their roots seem to lie in North Britain." Charles Wolfe explains that this tune had nothing to do with the dance craze of the 1920's, but rather refers to an area in Mississippi, Charleston being a town in Tallahatchie County, near where Narmour lived. Christeson credits only "old 78's" for his version, which could be Narmour's, Doc Roberts', or another version. In fact, the Doc Roberts Trio version (1933) is a cover of Narmour's popular composition, and the story goes that Roberts' recording company, Gennett, gave him a copy of Narmour's recording and told him to learn it for his next recording session. Narmour and Smith re-recorded the tune | '''CHARLESTON NO. 1'''. American, Reel (cut time). USA; Missouri, Mississippi. C Major. Standard tuning (fiddle). AABB (Christeson, Phillips): AA'BB'C. The melody (which is related to "[[Done Gone (2)]];" similar primarily in the first part) was composed by William T. 'Willie' Narmour (1889-1961, Carroll County, Mississippi), and became a hit in 1929 (it was the flip side of "Carroll County Blues," also a hit). English authority Tony Russell suggests: "The several 'Charleston's' they (Narmour and his playing partner, S.W. "Shellie" Smith) recorded are essentially hornpipes; their roots seem to lie in North Britain." Charles Wolfe explains that this tune had nothing to do with the dance craze of the 1920's, but rather refers to an area in Mississippi, Charleston being a town in Tallahatchie County, near where Narmour lived. Christeson credits only "old 78's" for his version, which could be Narmour's, Doc Roberts', or another version. In fact, the Doc Roberts Trio version (1933) is a cover of Narmour's popular composition, and the story goes that Roberts' recording company, Gennett, gave him a copy of Narmour's recording and told him to learn it for his next recording session. Narmour and Smith re-recorded the tune in 1934<ref>Sixteen of their best selling tunes were re-recorded in 1934 when Narmour and Smith signed with Victor, due to the demise of their original label, OKeh Records. Victor released the new recordings on their subsidiary label, Bluebird Records. </ref>, with different accompaniment, calling it "[[New Charleston No. 1]]." Narmour's younger contemporary, Mississippi fiddler Hoyt Ming (1902-1985, who issued "Charleston No. 2" in imitation), opined: | ||
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''I believe the best piece [Narmour] put out was "Charleston No. 1." I can play it, but I can't play it like he played it. It's hard to beat.'' | ''I believe the best piece [Narmour] put out was "Charleston No. 1." I can play it, but I can't play it like he played it. It's hard to beat.'' | ||
Revision as of 06:12, 27 April 2019
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CHARLESTON NO. 1. American, Reel (cut time). USA; Missouri, Mississippi. C Major. Standard tuning (fiddle). AABB (Christeson, Phillips): AA'BB'C. The melody (which is related to "Done Gone (2);" similar primarily in the first part) was composed by William T. 'Willie' Narmour (1889-1961, Carroll County, Mississippi), and became a hit in 1929 (it was the flip side of "Carroll County Blues," also a hit). English authority Tony Russell suggests: "The several 'Charleston's' they (Narmour and his playing partner, S.W. "Shellie" Smith) recorded are essentially hornpipes; their roots seem to lie in North Britain." Charles Wolfe explains that this tune had nothing to do with the dance craze of the 1920's, but rather refers to an area in Mississippi, Charleston being a town in Tallahatchie County, near where Narmour lived. Christeson credits only "old 78's" for his version, which could be Narmour's, Doc Roberts', or another version. In fact, the Doc Roberts Trio version (1933) is a cover of Narmour's popular composition, and the story goes that Roberts' recording company, Gennett, gave him a copy of Narmour's recording and told him to learn it for his next recording session. Narmour and Smith re-recorded the tune in 1934[1], with different accompaniment, calling it "New Charleston No. 1." Narmour's younger contemporary, Mississippi fiddler Hoyt Ming (1902-1985, who issued "Charleston No. 2" in imitation), opined:
I believe the best piece [Narmour] put out was "Charleston No. 1." I can play it, but I can't play it like he played it. It's hard to beat. And I know everybody that I've heard that talked about his playing, they'll mention that "Charleston No. 1.[2]
- ↑ Sixteen of their best selling tunes were re-recorded in 1934 when Narmour and Smith signed with Victor, due to the demise of their original label, OKeh Records. Victor released the new recordings on their subsidiary label, Bluebird Records.
- ↑ quoted in Tony Russell, Legends of the Lost, 2007, p. 119.