Well, I can't guarantee that, but the Smithsonian Folkways just posted a clip of Mike Seeger talking about his childhood and his early musical training (Charlie Byrd, following Earl Scruggs around).
I love the way Seeger says that his parents would get them to hurry up to get ready for bed by "Get Along Home, Cindy" because if they didn't get to bed quickly, the music would stop. I do that with reading with Little Boy Blue with sporadic success -- I should totally try music instead.
More comments on Seeger from Folkways here.
Mike Seeger: Further Thoughts
This weekend I wrote a few words in memory of Mike Seeger, who died on Friday at the age of 75. I wrote it -- quickly, probably too quickly -- from the perspective of a listener, not a musician, with an attempt to place him in the broad context on children's music. Elizabeth Mitchell took issue with my description of his influence on children's music:
"I have to disagree with you though about his contribution to children's music. For me, personally, his work is enormously significant. The two collections that he made along with his family are definitive and essential. They bring Ruth Crawford Seeger's [his mother's] exquisite arrangements to life in extraordinary ways."And what I've noticed since then is that the strongest, most moving words from folks in the wake of his passing have come from musicians. Witness Bob Dylan's comments -- written in 2004:
"Sometimes you know things have to change... Somebody holds the mirror up, unlocks the door, and your head has to go into a different place. Mike Seeger had that effect on me. He played on all the various planes, the full index of the old-time styles, [and] he played these songs as good as it was possible to play them. What I had to work at, Mike already had in his genes."And now Cathy Fink & Marcy Marxer have weighed in with their own thoughts:
"In the past ten or so years, our casual friendship through folk festivals and jam sessions became a deeper one. Longer visits, longer talks, more music. Mike introduced Marcy to the cello banjo of the 1910’s and it was a life-changer. He enjoyed hearing her take the old instrument to new places that honor tradition and stretch it as far as it will go. He gave credibility to our Old Time Banjo Festival with brilliant performances, all the while, listening to and appreciating every note and song played by the other musicians."What's clear is that while casual fans might have appreciated him, it's the musicians who revered him the most, regardless of whether they play for 2-year-olds or 82-year-olds (or occasionally both simultaneously). Once again, my condolences to his family and wide circle of friends... Mike Seeger, Cathy Fink, Marcy Marxer & Adam Hurt - "Aint Gonna Work Tomorrow" [YouTube]
Video: Ella Jenkins and Christylez Bacon at Smithsonian Folklife Festival
I've been on a bit of a Smithsonian Folkways kick this week, working through some of their older stuff. In part that's because I know the annual Smithsonian Folklife Festival is being held this week. I went to the Festival one summer about 15 years ago, and I thought it was one of the cooler events I had the chance to attend in DC. They always pick 2 or 3 folk traditions to focus on and one of the foci of the 2009 edition is called "Giving Voice: The Power of Words in African American Culture." As part of a family concert today, Ella Jenkins and Christylez Bacon performed and there's video.
Non-embeddable video, but oh well... Go here to see video (right now it's at the top but I'm sure you'll have to scroll down as the Festival goes on). There's nothing particularly amazing about Jenkins' video except the fact that every single person is participating. Seriously, I've been to enough kids' shows to see how a lot of adults don't typically do all the interacting their kids do -- not here, which I think says volumes about Jenkins' command of an audience. (Look at all those adults up in front with her.) And Christylez does some pretty cool beatboxing mixed with go-go in his video.
You can also watch Jenkins perform with Cathy Fink & Marcy Marxer (and, I think Bacon) perform live in concert on Saturday starting at 5:30 East Coast time. Watch the webcast here.
Interview: Ella Jenkins
Ella Jenkins is a legend.
There are rising stars, stars, and superstars in the kids' music world, but Ella Jenkins is a flat-out legend, even though she might demur at the use of such a word.
Three weeks ago, just after her birthday, I talked with her about her start in the field of kids' music, her approach, and her long career recording for Folkways Recordings (now Smithsonian Folkways). Read on for her thoughts on all those things, plus find out one of her nicknames, how she chose the ukelele as an instrument, and be amazed by exactly how many languages she can use in one conversation.
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Zooglobble: The first thing I wanted to say is Happy Belated Birthday.
Ella Jenkins: Oh, thank you! I feel honored. I never tire of people saying it.
So you had a concert on Monday?
Yes. One of the branch libraries were celebrating their tenth anniversary. The person who had introduced me to that library, his name is Scott Draw. I had worked with him at another library, and he knew my birthday was on August 6th and he said, "That's when we're having our anniversary party, it would be nice if we could coordinate it. The Friends of the Library said they'd be happy to engage you if you could do a mini-concert."
And everybody sang Happy Birthday to you, I hope?
Oh, yes, they did that. We were trying to save it for the end, but somebody jumped the gun, I think [Laughs].
This is the fiftieth anniversary of your first album's release on Smithsonian Folkways [in 1957]...
I went to New York City in 1956 and met Moses Asch, who had faith in me and felt there was a possibility [of releasing an album]. He said, send me some material. I had actually brought him a demo disk with about four different songs. He said, you can probably do a recording, but you need to expand a bit, add a little instrumentation, and maybe we can do an album with you. But in the meantime, let's sign a contract, which let me know he was really serious.
That was in 1956, but in 1957 is when he released the album. It was a 10-inch [LP] and it was called Call and Response: Rhythmic Group Singing. That was my focus on how I would teach music, the call and response approach.
How did you settle on call and response as the primary way you wanted to teach music and lead and sing music?Review Two-Fer: Collections from Smithsonian Folkways and Yazoo
There was a time where not every kids’ musician had a Myspace page or was prepping a music video.
I’m talking, of course, about the late 1990s.
In the late 1990s, the only record company that seemed to anticipate the forthcoming resurgence of kids music was Smithsonian Folkways, which in 1998 issued the Smithsonian Folkways Children’s Music Collection, a 26-track CD culled from the venerable institution’s massive collection of children’s music recordings.
How venerable is the collection? Well, you need look no further than the four artists leading off the set -- Woody Guthrie, Ella Jenkins, Pete Seeger, and Lead Belly, who represent the most important kids’ musicians of the first three-quarters of the 20th century, the 1927 Yankees of kids’ music. Their tracks here are representative of the artists’ work -- Jenkins’ take on “Mary Mack,” a song she made her own, includes enthusiastic children’s participation, and while Seeger lends his sweet, clear voice to “All Around the Kitchen.”
There are other tracks here from Guthrie, Jenkins, and Seeger, but there are some other great tracks here from artists you’ve probably never heard, or even heard of. Lord Invader with the Calypso Orchestra turns in a rendition of “Merrily We Roll Along” guaranteed to get your family dancing around (or at least bobbing their heads). The Canadian folksinger Alan Mills has a gentle Animal Alphabet Song from the early 1970s. And “Hey, Coal Miner,” co-written by troubadour Larry Long and a 6th grade class in Alabama, combines both social history and fun chorus (“Hey… coal miner!”) into one infectious mix. While releases from the 1950s predominate, the album covers releases from the ‘60s all the way into the ‘90s.
There are a mix of age ranges here, some songs appropriate for kids as young as 2, with the upper range easily heading into double digits. As is always the case with Smithsonian Folkways releases, the liner notes to the album are an essential component of the release. You can hear samples at many online stores or you can also visit this page and the "Children's Music" program (#16) for another audio introduction to the overall collection.
This isn’t a perfect album to listen to straight through -- it’s more of an anthology than a mix tape, something you’d dip into occasionally, or to find some artist or song you want to explore further. Still, there is relatively little of the sense that you're listening to something "good for you" -- it's much more a sense of "fun for you." And there’s no better overview of 20th century children’s music than this album. Highly recommended.
Readers who find that the number of songs that they and their family enjoy off that album is fairly high may find themselves interested in another release of kids and family music which predates even the music on the Smithsonian Folkways collection. Yazoo Records’ The Story That The Crow Told Me, Vol 1, released in 2000, is a collection of rural American children’s songs recorded in the 1920s and ‘30s. Richard Nevins took 23 recordings from the original 78s and remastered them for the collection.
There are some definite gems collected on the CD. One has to believe that Dan Zanes had listened to Chubby Parker’s version of “King Kong Kitchie Kitchie Ki-me-o” before recording his own take -- Parker’s version has its own swing. Fisher Hendley & His Aristocratic Pigs (yes, that was their name and isn’t it awesome?) do a fun western-style “Hop Along Peter.” And Lew Childre’s “Horsie Keep Your Tail Up” has its own bluesy charms.
To me, the disk as a whole suffers somewhat from a certain sameness in musical approaches -- one song begins to blend into the next over its 67-minute runtime. I think the segment of fans who like the genre of music will really like this disk, maybe even more so than the Smithsonian disk, but it’s not going to be for everyone. I would note that the remastering is every bit Smithsonian's equal, but the liner notes are lacking, with only a few lyrical excerpts.
The album’s appropriate for all ages, but kids ages 3 through 7 will probably appreciate it more than others. You can hear samples here.
As you might gather from what’s already been written, if you’re just dipping your toes into kids music that was recorded, well, to be honest, before you were born, you’re better off starting out with the Smithsonian disk. But for its particular narrow genre, The Story That The Crow Told Me holds its own against the Smithsonian disk. The total audience may much less broad for this CD, but it's got its own charms. Recommended.
In the late 1990s, the only record company that seemed to anticipate the forthcoming resurgence of kids music was Smithsonian Folkways, which in 1998 issued the Smithsonian Folkways Children’s Music Collection, a 26-track CD culled from the venerable institution’s massive collection of children’s music recordings.
How venerable is the collection? Well, you need look no further than the four artists leading off the set -- Woody Guthrie, Ella Jenkins, Pete Seeger, and Lead Belly, who represent the most important kids’ musicians of the first three-quarters of the 20th century, the 1927 Yankees of kids’ music. Their tracks here are representative of the artists’ work -- Jenkins’ take on “Mary Mack,” a song she made her own, includes enthusiastic children’s participation, and while Seeger lends his sweet, clear voice to “All Around the Kitchen.”
There are other tracks here from Guthrie, Jenkins, and Seeger, but there are some other great tracks here from artists you’ve probably never heard, or even heard of. Lord Invader with the Calypso Orchestra turns in a rendition of “Merrily We Roll Along” guaranteed to get your family dancing around (or at least bobbing their heads). The Canadian folksinger Alan Mills has a gentle Animal Alphabet Song from the early 1970s. And “Hey, Coal Miner,” co-written by troubadour Larry Long and a 6th grade class in Alabama, combines both social history and fun chorus (“Hey… coal miner!”) into one infectious mix. While releases from the 1950s predominate, the album covers releases from the ‘60s all the way into the ‘90s.
There are a mix of age ranges here, some songs appropriate for kids as young as 2, with the upper range easily heading into double digits. As is always the case with Smithsonian Folkways releases, the liner notes to the album are an essential component of the release. You can hear samples at many online stores or you can also visit this page and the "Children's Music" program (#16) for another audio introduction to the overall collection.
This isn’t a perfect album to listen to straight through -- it’s more of an anthology than a mix tape, something you’d dip into occasionally, or to find some artist or song you want to explore further. Still, there is relatively little of the sense that you're listening to something "good for you" -- it's much more a sense of "fun for you." And there’s no better overview of 20th century children’s music than this album. Highly recommended.
Readers who find that the number of songs that they and their family enjoy off that album is fairly high may find themselves interested in another release of kids and family music which predates even the music on the Smithsonian Folkways collection. Yazoo Records’ The Story That The Crow Told Me, Vol 1, released in 2000, is a collection of rural American children’s songs recorded in the 1920s and ‘30s. Richard Nevins took 23 recordings from the original 78s and remastered them for the collection.
There are some definite gems collected on the CD. One has to believe that Dan Zanes had listened to Chubby Parker’s version of “King Kong Kitchie Kitchie Ki-me-o” before recording his own take -- Parker’s version has its own swing. Fisher Hendley & His Aristocratic Pigs (yes, that was their name and isn’t it awesome?) do a fun western-style “Hop Along Peter.” And Lew Childre’s “Horsie Keep Your Tail Up” has its own bluesy charms.
To me, the disk as a whole suffers somewhat from a certain sameness in musical approaches -- one song begins to blend into the next over its 67-minute runtime. I think the segment of fans who like the genre of music will really like this disk, maybe even more so than the Smithsonian disk, but it’s not going to be for everyone. I would note that the remastering is every bit Smithsonian's equal, but the liner notes are lacking, with only a few lyrical excerpts.
The album’s appropriate for all ages, but kids ages 3 through 7 will probably appreciate it more than others. You can hear samples here.
As you might gather from what’s already been written, if you’re just dipping your toes into kids music that was recorded, well, to be honest, before you were born, you’re better off starting out with the Smithsonian disk. But for its particular narrow genre, The Story That The Crow Told Me holds its own against the Smithsonian disk. The total audience may much less broad for this CD, but it's got its own charms. Recommended.Miss Mary Mack Pays 99 Cents To See the Elephants Jump Over the Fence
Ella Jenkins, First Lady of Children's Music, who's been recording music for kids for 50 years, has sadly been virtually absent from music downloading.
Until now. You can now get, oh, about 500 Ella Jenkins songs at the Smithsonian's Global Sound website. And the songs will soon make their way to other music download sites (such as familiar ones starting with the letter "i" or "e").
And while you're tooling around that website, make sure you check out this page and the "Children's Music" program (#16). It's a quality, 54-minute introduction to Smithsonian Folkways' kids' collection -- it includes not only the classics (Ella -- with an interview to boot, Woody, Lead Belly, Pete) but some other unfamiliar stuff, like an awesome "Brown Girl in the Ring" by Lord Invader and the Calypso Orchestra about 22 minutes in. Worth checking out if you've got the time.
