Here's the poster
Saturday, August 3, 2019
Sunday, July 14, 2019
The oldest known recordings of the banjo date from the 1890s and are contained in four wax cylinders recorded by the African American entertainer Charles A. Asbury.
The Retropod podcast is the latest to write about Asbury, following several articles last year when .Archeophone Records released a 45 rpm vinyl recording with 16-page booklet, photos, and notes.
|Lubos Malina plays banjo with the Czech Band Druha Trava, at Dobrofest, Trnava, Slovakia, 2006|
The Archeophone notes describe Asbury as "an African American veteran of the minstrel stage" who lived from ca. 1857 to 1903.
Born in Florida but raised in Georgia by a Baptist preacher, Asbury played Sambo in stage productions of Uncle Tom’s Cabin before becoming a noted vocalist with the original Unique Quartette and a celebrated banjoist on the vaudeville stage. His banjo songs were popular in phonograph arcades all over the country in the early 1890s, years before phonographs went into people’s homes. He did yeoman work for the infant phonograph companies–churning out wax cylinders, a few at a time, for seven years–before disappearing abruptly from the annals of the stage and recording history[...].
The oldest recording on the set dates to about 1891, making it the oldest known banjo recording in private hands. Asbury played in the old minstrel “stroke” banjo style that virtually disappeared from the vernacular and has only in recent years been rediscovered and reinvigorated by scholars of American banjo music.
Click this link to sample all four tracks on the recording
Listen to the Retropod podcast
Thursday, May 23, 2019
My last post took note of a concert I attended in April by the Czech bluegrass band The Malina Brothers, with guest appearances by Charlie McCoy, the Nashville-based harmonica virtuoso and member of the Country Music Hall of Fame, and the Czech singer Kat’a Garcia. The concert was sold out, and got a prolonged standing ovation from the crowd. And it was being filmed for a live show DVD.
That concert took place in the Sono Center, a major venue in Brno, CZ, for contemporary music -- the audience numbered 700 or 800.
Less than a month later, the Malina Brothers, who are old friends of mine, visited Italy -- where they gave a house concert at the home of a friend.
I managed to live stream it from my phone, on Facebook -- and here it is. It was my first live streaming, so the visual quality is not the best (and it's vertical -- the program didn't let me rotate the phone)... but still. It's a testament to their talent that their same repertoire works in a big theatrical venue like the Sono Center -- and also in the intimate setting of a private living room.
Saturday, April 27, 2019
In Brno, Czech Republic, the Imaginary Wild West leaps off a wall…. advertising “the best steaks” in the city at an eatery called “U Starýho Bill” (At Old Bill’s) that calls itself “a real ‘TEXAS’ restaurant.”
The wall here was a few steps away from the Sono Center, a major Brno venue for contemporary music — where I was headed to attend a concert by the Czech bluegrass band The Malina Brothers, with guest appearances by Charlie McCoy, the Nashville-based harmonica virtuoso and member of the Country Music Hall of Fame, and the Czech singer Kat’a Garcia. The concert was sold out, and got a prolonged standing ovation from the crowd. And it was being filmed for a live show DVD.
The Malinas are old friends of mine. Banjo player and multi-instrumentalist Lubos Malina was one of the founding members of the great Czechgrass group Druha Trava, and I met him (amazingly) nearly 15 years ago, at one of the many summer bluegrass/country festivals in CZ, when I first started exploring the Imaginary Wild West in Europe.
Guitarist Pavel Malina used to play with DT, and fiddler Pepa Malina still sometimes plays with them. The Malina Brothers band came together informally at first, but over the past five years or so has developed a remarkable following in CZ — as the concert in Brno demonstrated.
The three brothers visited in Italy six years ago and gave a house concert at the home of a friend. It was the first of a series of house concerts anchored by Lubos. We’re looking forward to the entire band (the three brothers plus bass player Pavel Peroutka) coming next month. The brothers played this arrangement of Smetana at the house concert in 2013 — and at the concert in Brno.
On the night after the Brno concert, Pepa Malina performed with Druha Trava at the start of a a week-long tour with Charlie McCoy — a sold-out, standing-ovation gig in the town of Ceska Trebova.
Here’s a video of the run-through before the Ceska Trebova concert:
Charlie McCoy has had a standout career in the USA and was inducted into the Country Music Hall of Fame in 2009.
I’ve written about him in the past, on my Sauerkraut Cowboys blog, because he is quite wellknown in the country music scene outside the USA. He tours regularly in Europe and elsewhere (i.e. Japan), and he makes a point to play with European bands and also records with them; he has released albums in France, Denmark, Germany, and the Czech Republic. Later this summer he will be touring in Sweden in England.
Onstage at the concert in Ceska Trebova, he recalled how he met up with Druha Trava — it was at the festival in Strakonice, CZ, where he was performing in 2001. DT was also on the bigg and asked if he would join them for a few songs — since then he has toured with them half a dozen or more times in CZ, released a live album with DT and also released a CD with The Malina Brothers.
Here’s a promo video about the Malina Brothers album (partly in Czech, partly in English):
I met Charlie back in 2005 during one of his tours with Druha Trava — the concert I saw was at a “Days of Texas” festival in the little town of Roznov pod Radnostem, in eastern CZ.
The festival, I wrote in an article
highlighted the fact that from the mid-19th century until World War I, thousands of people emigrated from Roznov and other towns and villages in the region to Texas. Today, Texas has the largest ethnic Czech community of any state in the United States.
There were demonstrations of 19th-century farming customs used by the emigrants and performances by American-style Czech country-western groups, as well as local folk groups performing Wallachian songs and dances. An exhibition of quilting featured a big patchwork quilt reading “Texas,” hung prominently from the upper floor of the old Roznov Town Hall.
And here we are in Ceska Trebova, backstage.
Monday, October 1, 2018
|Me at the Western Park in Boskovice|
I can't believe it's been nearly a year since I updated this blog... time seems to fly faster and faster and, well, I'm lazy...and then again it's easier just to post links on the Facebook page... But I'll try to do some catching up in the next few days....
First, Wild West theme parks.
I managed to get to two of them this summer -- "Twin Pigs" in Poland, and the Western Park (once called Wild West City) outside Boskovice in the Czech Republic.
I've visited a number of wild west theme parks in Europe over the years -- they are key elements in the Imaginary Wild West. Real Imaginary spaces that have grown out of dreams, passions, stereotypes, and yearnings -- but also help create them.
This was my first visit to Twin Pigs -- but the latest of several to Boskovice.
The Boskovice park was founded in 1994 as a private initiative by a local man, Luboš "Jerry" Procházka, who developed the park in a natural setting in and around a disused sandstone quarry. The first time I visited -- in, I believe, 1997 -- it was out of season and the park was closed; I could only look at it over a fence. But I was struck by the view of the saloon and other movie-set buildings.
|My first view of Wild West City, in 1997 - out of season|
At that time, I was researching my book "Virtually Jewish" -- about the relationship of non-Jewish people to Jewish culture in Europe. I wrote this in an essay published at the time in The New Leader magazine (and also in my 2008 book "Letters from Europe (and Elsewhere)"):
Some people compare Europe's current interest in Jewish culture with the United States' interest in Native Americans. To be sure, I have seen Indian dolls wearing beaded costumes for sale in the Denver train station that reminded me of the "Jewish" puppets and figures I have photographed in Prague, Krakow, and Venice.
I was not surprised, therefore, by two posters I found on display in the Boskovice tourist office. One is for a jazz festival whose proceeds are to go toward renovation of the Jewish quarter. The other advertises a rodeo at a place called "Wild West City: Boskovice's Western Town." It features photographs of people dressed up like American Indians riding horses, with corrals, rickety wooden structures and even tepees in the background. A handbill shows a seductive Indian maiden looking over her shoulder.
I found Wild West City on my map, the edge of Boskovice, and stopped there on my way out of town. It is a theme park set up in an old quarry that resembles a stage set from a John Ford movie, replete with a flimsy wooden saloon and general store. A sign at the entrance reads, "Indian Territory." Another notes the kilometers to various spots in the American West -- most of them spelled incorrectly. It's off-season The place is deserted. The only sound is that of hoofbeats, as a costumed employee rides a horse round and round the repro corral.
|Boskovice's Wild West main street|
On subsequent visits over the years, I spoke with Jerry -- who is still the owner and managing director -- and observed the town "in action." It includes the usual wild west tropes -- a "main street," saloon, "boot hill", bank, "Indian Village" etc.
|In the Boskovice "Indian Village"|
But I've always found it much more low key and laid back than some of the others I have visited -- there's a dusty slightly rundown feel -- though I did notice on my visit this July that some of the buildings had been repainted since my last visit. There also seemed to be more activity elements aimed at kids.
The imagery is based on US western movies and Karl May books, but it also is influenced by Czech tramping tropes. The Czech movie Lemonade Joe, a 1964 spoof of the singing cowboy genre, also plays a role -- in particular with the big "advertising" mural for "Kola Loka" -- the sarsparilla type drink enjoyed by the movie's hero.
|Performance at Boskovice Wild West city in 2004|
The park includes an outdoor theatre where live performances take place -- I didn't see one this summer (it apparently was based on the shootout at the OK Corral) but some years back I took in a performance based on Karl May's Winnetou characters.
Twin Pigs, located in southern Poland near Zory, off a main highway, is a somewhat different story, It employs the same general skeleton, but has quite a different feel: a purpose-built construct born out of a commercial business plan rather than from personal passion.
Opened in 2012, it is described as an amusement park, and it is much more "top down," planned out, and hard-edged than Boskovice, with its grassroots origin and -- despite recent improvements -- still rather amateur feel.
There is a regular lay-out along the Main Street, and also a ferris wheel, roller coaster, and other rides, restaurants, a 5D theater, and children's activity trails. Lots of red-white-and-blue bunting and American flags (and a few Confederate ones, too).
|Twin Pigs main street, toward saloon|
|Twin Pigs Indian Village|
|Twin Pigs ferris wheel|
|Twin Pigs Main Street|
Western Park Boskovice web site
Twin Pigs web site
Watch the movie Lemonade Joe
Saturday, October 21, 2017
I've been visiting Willie Jones, the American-born singer whose been based in Germany for more than 30 years and is one of the standouts on the European country scene. He has a new compilation CD coming out this fall, and I wrote the liner notes.
Willie is one of the first people I met in Europe's Imaginary Wild West -- back in 2003, when he was the strolling singer at the Pullman City wild west theme park (I was writing an article for the New York Times on European wild west theme parks). We went on a memorable road trip to a country roadhouse in southern Bohemia ... the first time I heard "The Okie From Muskogee" sung in Czech.... I last saw his about a year and a half ago, at the "mini Dobrofest" festival in Trnava, Slovakia (which I wrote about HERE).
Last night I went with Willie to a club gig in a village in Bavaria, near Regensburg: he played bass backup for a German duo called Bud 'n' Cellar, and also sang....country-infused rock and pop.
The club was packed -- and the fans demanded -- DEMANDED -- DEMANDED -- that they play "Country Roads" -- two times! I have posted about the significance of this song in the European country scene.
I was particularly fascinated by the tattoos sported by one of the group's friends. He wore his enthusiasm on his skin.
Here's another couple of pics from the gig:
Sunday, September 3, 2017
This is slightly off topic, but here's an article I wrote for Hadassah Magazine about the involvement of American Jews in bluegrass and Americana music, focusing on the current crop of musicians but also providing some background on what is a decades-long involvement.
Jews Plus Bluegrass Equals Toe-Stompin' Jewgrass
By Ruth Ellen Gruber August 2017
Banjo picker Eric Lindberg loves with a passion the distinctive harmonies of the acoustic country music known as bluegrass. However, he says, as a Jew, he long felt “a bit out of the loop.
“Much of the work from the inception and early days of bluegrass is deeply spiritual and Christian based,” says the dark-haired, darkbearded 30-something Lindberg, who also plays guitar. “Musically, I could connect with the songs on every level, but my identity as a Jew from Brooklyn always kept me from truly identifying with them.”
The solution? He and his wife, singer Doni Zasloff, formed a bluegrass band called Nefesh Mountain whose original songs meld bluegrass and old-time licks with lyrics reflecting Jewish traditions. “Nefesh is a Hebrew word which loosely translates as the soul or animating spirit of all living things,” they explain on the band’s website. “The mountain is a cross-cultural symbol used widely in Jewish text as well as in bluegrass and old-time musical forms.”
Bluegrass and old-time are two different approaches to traditional 20th-century American roots music, performed by ensembles made up mainly of stringed instruments such as fiddle, banjo, mandolin and guitar.
Nefesh Mountain’s 2016 debut album featured bluegrass greats Sam Bush, Mark Schatz, Scott Vestal, Rob Ickes and Gary Oleyar, and it included songs called “Singin’ Jewish Girl” and “Adonai Loves Me.” Lindberg and Zasloff are among the current crop of musicians who blend their deep-seated Jewish identities with an equally deep connection to traditional roots music—a fusion that some performers and critics dub “Jewgrass.”
New Orleans-based Mark Rubin, 51, a veteran of both the American roots and klezmer scenes, takes a different tack on his new album, Songs for the Hangman’s Daughter. In songs such as “Southern Jews Is Good News” and “Teshuvah,” Rubin, who was born in Stillwater, Okla., bluntly attempts to reconcile his experience as a culturally Jewish musician in the American South.
“It is not religious music in the usual sense,” says music critic Ari Davidow. Rubin “is in-your-face about who he is and how he doesn’t fit stereotypes. He is not just making a statement to anti-Semites who see Jews as aliens, but also to Jews of the coasts who find it alien to imagine that there are Jews who live in redneck territory, proudly embracing redneck values.”
The involvement of Jews with American roots music goes back decades, to the folk and old-time music revival that kicked off in the late 1950s and in which Jewish musician, musicologist and filmmaker John Cohen was a key figure. (Today, one of the top bluegrass artists is Jewish musician Noam Pikelny, recipient of the first annual Steve Martin Prize for Excellence in Banjo and Bluegrass in 2010, though he does not address his Jewish identity in his music.)
Mandolin and clarinet virtuoso Andy Statman and award-winning scholar and performer Henry Sapoznik, now director of the Mayrent Institute for Yiddish Culture at the University of Wisconsin, were both pioneers of the klezmer revival movement. They had been steeped in old-time and bluegrass before turning to Yiddish sources in the 1970s.
.... Read full article