Jack Dappa Blues Heritage Preservation Radio Folgen

On this episode of The African American Folklorist, I share the story of the born free, African American Traditional Music Practitioner Elijah Cox, who was a fiddler, Buffalo soldier, and recorded in 1935 at the age of 93 for the Library of Congress Elijah Cox was also interviewed and recorded for the Born in Slavery: Slave Narratives from the Federal Writers' Project, 1936-1938, which now lives can be found of the Library Of Congress Website.  As I share the story of Elijah, I make the case that he was and utilized the tools of the folklorist.  Written, Produced and Edited by Lamont Jack Pearley -  Credits for sound design & Music Elijah Cox - Run up on The Mountain, Slavery Days, Can’t put the saddle on the ol great mule Lamont Jack Pearley - Blues Journey  & Underground Slide Excerpts from "Fife and Drum Music of the American Revolution: Military Music in America series, vol. 1," produced by the Company of Military Collectors & Historians, Washington, D.C. with George P. Carroll, Director of Music -- from about 1976. (Improved audio from my earlier upload of this same.) https://www.underthehome.org Music Performer: Sturbridge Colonial Militia Music License Original Source: Sound Clip of Gunfire Original Source: Painting Title: Battle of Bunker Hill ember 1941 (part 2 of 6) Contributor Names - Lomax, Alan, 1915-2002 (Interviewer), Sturz, Elizabeth Lyttleton (Interviewer), Johnson, George (Interviewee), Jones, Lewis Wade, 1910-1979 (Interviewer) Johnson, Charles Spurgeon, 1893-1956 (Interviewer), Work, John W. (John Wesley), 1901-1967 (Transcriber) Created / Published Mound Bayou, Mississippi, 1941 Railroad Song, Contributor Names - Work, John W. (John Wesley), 1901-1967 (Collector), Gibson, Gus (Performer) Created / Published Georgia, 1941 Negro blues and hollers, Contributor Names, Stearns, Marshall Winslow, compiler. Lomax, Alan, 1915-2002, recordist. Work, John W. (John Wesley), 1901-1967, recordist. Jones, Lewis Wade, 1910-1979, recordist. House, Son, performer. Edwards, Honeyboy, performer. Martin, Fiddlin' Joe The Boll Weevil, Contributor Names - Work, John W. (John Wesley), 1901-1967 (Collector), Ezell, Buster (Performer) Created / Published Georgia, 1941 Coon Gi'nt (Coon jive), Contributor Names - Work, John W. (John Wesley), 1901-1967 (Collector), Stripling, Sidney (Performer)Created / Published Georgia, 1941 Rock My Soul in the Bosom of Abraham, Contributor Names - Work, John W. (John Wesley), 1901-1967 (Collector), Unidentified vocal quartet (Performer), Created / Published, Fort Valley, Georgia, 1941 John the Revelator, Contributor Names - Work, John W. (John Wesley), 1901-1967 (Collector), Heavenly Gate Quartet (Performer), Created / Published Nashville, Tennessee, 1941 If I Had My Way I'd Tear the Building Down, Contributor Names - Work, John W. (John Wesley), 1901-1967 (Collector), Heavenly Gate Quartet (Performer) Created / Published Nashville, Tennessee, 1941 Remember to Subscribe to the podcast and the Newspaper! 

This is part three, the last episode of the series of the Jack Dappa Blues Podcast Series in affiliation with Lonestar Blues & Heritage Festival about Henry Thomas, also known as Henry Ragtime Texas Thomas featuring our recurring guest The American Songster Dom Flemons.   On this last installment, we discuss the blues of Henry Thomas, the similarities of his songs to what W.C. Handy expressed he heard the first time he experienced the blues and the rich history of African American Traditional Music that comes out Texas.  Podcast also available on iHeart, iTunes, Apple Podcast, Radio Public, Spotify , Google Podcast and more! Henry Thomas was one of the oldest black musicians who recorded 23 cuts on Vocalion Records between the years of 1927 - 1929. his music is a great opportunity to hear what African American Traditional music sounded like near the end of the 19th century. Henry Thomas’ body of music connects the roots of black music in Africa, from the nineteenth and twentieth-century African American folksong to the essence of the blues, as well as everything in between and thereafter. Please Donate, subscribe and share! <form action="https://www.paypal.com/cgi-bin/webscr" method="post" target="_top"> <input type="hidden" name="cmd" value="_s-xclick" /> <input type="hidden" name="hosted_button_id" value="6SLMNYAVRSWTY" /> <input type="image" src="https://www.paypalobjects.com/en_US/i/btn/btn_donateCC_LG.gif" border="0" name="submit" title="PayPal - The safer, easier way to pay online!" alt="Donate with PayPal button" /> <img alt="" border="0" src="https://www.paypal.com/en_US/i/scr/pixel.gif" width="1" height="1" /> </form>

This episode of Jack Dappa Blues Radio is part two of my discussion with scholar Tyler D. Parry, Assistant Professor of African American and African Diaspora Studies Program and Book Review Editor: Black Perspectives, about his co-authored journal and the upcoming book titled ' Slavehounds and Abolition".  Dr. Parry gives great detail of the role of the bloodhound before, during, and after slavery.  He delves into the origins of the purpose this hybrid animal was created,  where they were trained and how it's been utilized for centuries as a weapon against the freedoms and lives of the "Blues People" on America. Follow Dr. Parry @ProfTDParry Support our platform by purchasing our Merch Join our Facebook Group, Page, Nonprofit Page and subscribe to our newsletter. noncommercial use of Robert Johnson's 'Hellhounds on My Trail" "I’ve got to keep moving, I’ve got to keep moving, blues falling down like hail, blues falling down like hail . . . And the days keeps on ’minding me, there’s a hellhound on my trail" Artist Robert Johnson Album Robert Johnson: Cross Road Blues Writers Robert Johnson Licensed to YouTube by Kontor New Media Music, SME (on behalf of 24 Blue Music); AMRA, LatinAutor, LatinAutor - PeerMusic, CMRRA, Concord Music Publishing, and 7 Music Rights Societies