Annotation:Whistling Rufus: Difference between revisions
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''old guitar, and it was with great pride that he called himself the “one-man band.”'' | ''old guitar, and it was with great pride that he called himself the “one-man band.”'' | ||
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Joyce Cauthen (1990) calls it a minstrel composition that passed into fiddling tradition, perhaps referring to Mill's "coon-song" period cakewalk. Arizona fiddler Kenner C. Kartchner identified it as a "good two-step from around 1900" (Shumway). It was played by Rock Ridge, Alabama, fiddlers around 1920 and it appears in a list of traditional Ozarks Mountains fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. It is also played as a fast breakdown by bluegrass musicians, taking a cue from Tennessee fiddler Arthur Smith's breakdown version. Kirk McGee, who recorded the song in 1927 with his brother Sam, said that they learned the song from a a man named Will Graves (Franklin, Tenn.) whose family had a singing quartet that did gospel and other songs. "We used to play that with Arthur (Smith) too, and he'd make a whistling sound by playing with the bow real close to the bridge <ref>liner notes to Folkways 31007, The McGee Brothers and Arthur Smith - "Milk 'Em in the Evening Blues", 1968.</ref> Mills' song was recorded on a cylinder record in 1899 by Vess L. Ossman, the pre-eminent banjo player of the 1890’s, nicknamed “The Banjo King.” Early 78 RPM recordings include Gid Tanner & Riley Puckett (1924), Ernest Thompson (1924), McLaughlin’s Old Time Melody Makers (1928), the Kessinger Brothers (1929) and Arkie the Arkansas Woodchopper (1941) [see Guthrie Meade, '''Country Music Sources''', 2002], and the tune was in the repertoire of West Virginia fiddler Edden Hammons. See also related melodies “[[Old Parnell Reel]]” and “[[North Carolina Breakdown]].” | Joyce Cauthen (1990) calls it a minstrel composition that passed into fiddling tradition, perhaps referring to Mill's "coon-song"<ref>Some of items in the Traditional Tune Archive may contain offensive language or negative stereotypes. Such materials should be seen in the context of the time period and as a reflection of the attitudes of the time. The items are part of the historical record, and do not represent the views of the administrators of this site.</ref> period cakewalk. Arizona fiddler Kenner C. Kartchner identified it as a "good two-step from around 1900" (Shumway). It was played by Rock Ridge, Alabama, fiddlers around 1920 and it appears in a list of traditional Ozarks Mountains fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. It is also played as a fast breakdown by bluegrass musicians, taking a cue from Tennessee fiddler Arthur Smith's breakdown version. Kirk McGee, who recorded the song in 1927 with his brother Sam, said that they learned the song from a a man named Will Graves (Franklin, Tenn.) whose family had a singing quartet that did gospel and other songs. "We used to play that with Arthur (Smith) too, and he'd make a whistling sound by playing with the bow real close to the bridge <ref>liner notes to Folkways 31007, The McGee Brothers and Arthur Smith - "Milk 'Em in the Evening Blues", 1968.</ref> Mills' song was recorded on a cylinder record in 1899 by Vess L. Ossman, the pre-eminent banjo player of the 1890’s, nicknamed “The Banjo King.” Early 78 RPM recordings include Gid Tanner & Riley Puckett (1924), Ernest Thompson (1924), McLaughlin’s Old Time Melody Makers (1928), the Kessinger Brothers (1929) and Arkie the Arkansas Woodchopper (1941) [see Guthrie Meade, '''Country Music Sources''', 2002], and the tune was in the repertoire of West Virginia fiddler Edden Hammons. See also related melodies “[[Old Parnell Reel]]” and “[[North Carolina Breakdown]].” | ||
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<p><font face="sans-serif" size=" | <p><font face="sans-serif" size="3"> '''Additional notes''' </font></p> | ||
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<font color=red>''Source for notated version''</font>: - Buddy Pendleton [Brody]; Gary Johnston (b. 1937, Nevada, Missouri), learned from Lyman Enloe in the 1960’s [Beisswenger & McCann]. | <font color=red>''Source for notated version''</font>: - Buddy Pendleton [Brody]; Gary Johnston (b. 1937, Nevada, Missouri), learned from Lyman Enloe in the 1960’s [Beisswenger & McCann]. | ||
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<font color=red>''Printed sources''</font> : - Beisswenger & McCann ('''Ozarks Fiddle Music'''), 2008; p. 81. Brody ('''Fiddler’s Fakebook'''), 1983; p. 291. Phillips ('''Traditional American Fiddle Tunes, vol. 2'''), 1995; p. 166. Ruth ('''Pioneer Western Folk Tunes'''), 1948; No. 40, p. 15. | <font color=red>''Printed sources''</font> : - Beisswenger & McCann ('''Ozarks Fiddle Music'''), 2008; p. 81. Brody ('''Fiddler’s Fakebook'''), 1983; p. 291. Phillips ('''Traditional American Fiddle Tunes, vol. 2'''), 1995; p. 166. Ruth ('''Pioneer Western Folk Tunes'''), 1948; No. 40, p. 15. | ||
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<font color=red>''Recorded sources'': </font> <font color=teal> - American Heritage 510, Jay Belt "Fiddlin' Jay Belt." Bear Family 15517, "Sam and Kirk McGee from Sunny Tennessee." Bluebird Records 5434 (78 RPM), The Skillet Lickers (1934). County 705, Buddy Pendleton "Virginia Breakdown." County 412, "Fiddling Doc Roberts" (Ky.) {appears as "Way Down South"}. E. Berliner's Gramophone – 092, Vess Ossman (1899). Folkways FA 2337, Clark Kessiger (Va.) - "Live at Union Grove." Folkways 31007, The McGee Brothers and Arthur Smith - "Milk 'Em in the Evening Blues" (1968). Marimac 9017, Vesta Johnson (Mo.) - "Down Home Rag." OKeh 45206 (78 RPM), The Short Brothers. OKeh Records 45406 (78 RPM), Earl Johnson. Rebel 1531, Curly Ray Cline "Fishin' For Another Hit." Edden Hammons Collection, Disc 2. “Doc Watson & Son” (1965).</font> | <font color=red>''Recorded sources'': </font> <font color=teal> - American Heritage 510, Jay Belt "Fiddlin' Jay Belt." Bear Family 15517, "Sam and Kirk McGee from Sunny Tennessee." Bluebird Records 5434 (78 RPM), The Skillet Lickers (1934). County 705, Buddy Pendleton "Virginia Breakdown." County 412, "Fiddling Doc Roberts" (Ky.) {appears as "Way Down South"}. E. Berliner's Gramophone – 092, Vess Ossman (1899). Folkways FA 2337, Clark Kessiger (Va.) - "Live at Union Grove." Folkways 31007, The McGee Brothers and Arthur Smith - "Milk 'Em in the Evening Blues" (1968). Marimac 9017, Vesta Johnson (Mo.) - "Down Home Rag." OKeh 45206 (78 RPM), The Short Brothers. OKeh Records 45406 (78 RPM), Earl Johnson. Rebel 1531, Curly Ray Cline "Fishin' For Another Hit." Edden Hammons Collection, Disc 2. “Doc Watson & Son” (1965).</font> | ||
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See also listing at:<br> | See also listing at:<br> | ||
Jane Keefer’s Folk Music Index: An Index to Recorded Sources []<br> | Jane Keefer’s Folk Music Index: An Index to Recorded Sources []<br> | ||
Revision as of 18:58, 1 November 2019
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C:Kerry Mills (1899)
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No cakewalk given in the Black Belt district of Alabama was considered worth while attending unless “Whistling Rufus” was engaged to furnish the music. Unlike other musicians, Rufus always performed alone, playing an accompaniment to his whistling on an old guitar, and it was with great pride that he called himself the “one-man band.”
Joyce Cauthen (1990) calls it a minstrel composition that passed into fiddling tradition, perhaps referring to Mill's "coon-song"[1] period cakewalk. Arizona fiddler Kenner C. Kartchner identified it as a "good two-step from around 1900" (Shumway). It was played by Rock Ridge, Alabama, fiddlers around 1920 and it appears in a list of traditional Ozarks Mountains fiddle tunes compiled by musicologist/folklorist Vance Randolph, published in 1954. It is also played as a fast breakdown by bluegrass musicians, taking a cue from Tennessee fiddler Arthur Smith's breakdown version. Kirk McGee, who recorded the song in 1927 with his brother Sam, said that they learned the song from a a man named Will Graves (Franklin, Tenn.) whose family had a singing quartet that did gospel and other songs. "We used to play that with Arthur (Smith) too, and he'd make a whistling sound by playing with the bow real close to the bridge [2] Mills' song was recorded on a cylinder record in 1899 by Vess L. Ossman, the pre-eminent banjo player of the 1890’s, nicknamed “The Banjo King.” Early 78 RPM recordings include Gid Tanner & Riley Puckett (1924), Ernest Thompson (1924), McLaughlin’s Old Time Melody Makers (1928), the Kessinger Brothers (1929) and Arkie the Arkansas Woodchopper (1941) [see Guthrie Meade, Country Music Sources, 2002], and the tune was in the repertoire of West Virginia fiddler Edden Hammons. See also related melodies “Old Parnell Reel” and “North Carolina Breakdown.”
“Whistling Rufus” was popularized in Scotland and Ireland by Scottish accordion player and dance-band leader Jimmy Shand, who recorded it in the 1950’s.
- ↑ Some of items in the Traditional Tune Archive may contain offensive language or negative stereotypes. Such materials should be seen in the context of the time period and as a reflection of the attitudes of the time. The items are part of the historical record, and do not represent the views of the administrators of this site.
- ↑ liner notes to Folkways 31007, The McGee Brothers and Arthur Smith - "Milk 'Em in the Evening Blues", 1968.