Nearly 20 years ago, City of Bristol Tennessee Councilman David Shumaker had an idea to host a music festival in Historic Downtown Bristol. Bristol had recently been named the official “birthplace of country music” by the U.S. Congress in 1998, and Shumaker thought a great way to celebrate our legacy was to develop a music festival. He began talking to the City of Bristol’s Community Relations Director Terrie Talbert, and with a lot of hard work, a community call out for volunteers, and months of planning, the first Bristol Rhythm & Roots Reunion was held in October 2001.
Since then, the festival has grown from 7,500 to over 40,000 attendees each year. In addition, the festival hosts 120 bands on 16 stages throughout the three-day weekend in September. Bristol Rhythm has earned many accolades, including being named as one of Rolling Stone’s “Top 20 Tours and Festivals.”
This year, we are taking a look back at the festival with a fun docuseries called Bristol Rhythm & Roots Reunion: Celebrating 20 Years in 2020. Our marketing team has been working with Loch & Key Productions to pull together the interviews, old video footage, and photographs to make this film series possible.
The docuseries includes four episodes, and the first episode focuses on how the festival began all those years ago. You can check out Episode 1 below:
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We will share the other three episodes in the coming months, available via our YouTube Channel.
We would love to know if you attended during the first few years of Bristol Rhythm, and if so, please share some of your favorite memories with us!
A blog post does not seem sufficient to explore the full life of A.P. Carter, but we wanted to celebrate this special day and so I’ve instead pulled together five interesting details from A. P.’s story.
Lightning Strike
A.P. was full of quirks – from his daydreaming to his wandering ways to the tremor he carried with him his whole life. A.P.’s mother Molly Bays Carter attributed her firstborn son’s shaking to a thunderstorm she encountered one day when she was pregnant with him. She was standing under an apple tree when lightning struck, the energy traveling down to the ground and all around her – as Zwonitzer and Hirshberg report, Molly always said that this lightning strike “shot such a bolt of fright into her swollen belly that the baby inside would be afflicted with that very nervous energy for each and all of his days.” The tremor that affected A.P.’s body also came through in his voice, which carried a bit of a quaver when talking and singing. And the nervous energy seemed to push A.P. to always be on the move, hitting the road for days on end, and keeping his mind busy and turned inward.
A rare moment when A.P. was sitting still. Courtesy of Dale Jett
All in a Day’s Work
While A.P.’s dream was to make money from music – a dream that he, with Sara and Maybelle, fulfilled – that wasn’t the only work he did. As with so many people during the early part of the 20th century, working hard, and doing a multitude of jobs, was a necessity to take care of family. When A.P. met Sara for the very first time, he was a traveling fruit tree salesman. (Incidentally, he was so struck by Sara – and her singing voice – on this first meeting that he bought from her rather than the other way around; he went home with an order for a set of dishes.) He also farmed his land and worked sawmills at various times, and then after his music career came to an end, he set up a grocery store in Maces Spring, though from all accounts he didn’t keep regular hours and his business wasn’t as brisk as he would probably like. However, his store served as a gathering place, and one imagines a place where music was made, perhaps leading him on to his dream of a permanent home for music-making, fulfilled in his daughter Janette’s establishment of the Carter Family Fold after A.P.’s passing.
A.P.’s penchant for wandering in his search for new (old) songs is well known – a habit referred to as “songcatching.” Along the way, A.P. went back into the hills of Appalachia and into the factories in the urban areas, always on the hunt for a song he hadn’t heard before. He didn’t always go on this search on his own, and his songcatching travels with African American musician Lesley Riddle are also a familiar element of the Carter history. A.P. met Lesley, also known as “Esley,” in Kingsport, Tennessee – initially as a source of good songs to learn. Soon they were traveling together, which must have been challenging as they passed down the roads and into the towns of a segregated South. Often A.P. had to find a separate place for Lesley to stay and eat, either with friends, family, or others who didn’t discriminate based on the color of his skin. Lesley had a head for remembering the tunes and lyrics of the songs they heard, acting like a “human recorder” in some ways, and they spent a lot time going over the songs they brought home and working them up with Sara and Maybelle. Lesley noted that there were times when he’d have to get up and walk away just to have a break from that intense focus. But all that songcatching led the Carters to a wonderfully huge and varied repertoire, including songs A.P. wrote himself, a discography that is one of the most influential in country music history.
A.P.’s Guitar
The museum was fortunate to have a piece of A.P.’s musical career on display a few years ago at our first special exhibit, The Carter Family: Lives and Legacies. On loan from his grandson Dale Jett, A.P.’s 1936 Martin 000-28 style guitar had a story to tell. A.P. bought this guitar in a pawn shop in San Antonio or Del Rio, Texas for $65–$75 dollars. In the 1930s, Martins were being made out of the best materials with the best craftspeople – all handmade rather than by machines, and this guitar’s top was made from spruce found in the Appalachians and considered the best tone wood. While A.P. isn’t really known for his guitar playing and he certainly didn’t play an instrument too often for The Carter Family performances or recordings, he did play this Martin on border radio from time to time, and it can be seen in a promotional Christmas card from this period that featured the musical family. The guitar is still played today by Jett.
So much of life is down to the vagaries of chance, and A.P.’s story is no different. The Carters’ place in country music – indeed, in American music as a whole and beyond – is significant. But their story still has a “what if” element, and that comes from the LifeMagazine photo shoot that happened in the fall of 1941. Focusing on the original Carter Family and their children, the photo shoot took place in Virginia with the intention of a story about the Carters and their music appearing in the magazine later that year. However, the photo spread never appeared as it was pushed off the pages by the bigger news of the attack on Pearl Harbor. The photographer Eric Schaal did keep one of the images – a portrait of himself with A.P. – framed in his home, later saying that A.P. “was the most exotic subject he’d ever photographed.” And so the question remains: What would have happened to the Carters, and to A.P., if that spread and their story had been published to the wide and varied audience found in the readership of Life?
This question was asked by Columbia Records in an advertisement in the Johnson City Chronicle on Wednesday October 3, 1928. That advertisement, seeking musicians specializing in regional old-time music, ran in various papers in Johnson City in anticipation of recording sessions spearheaded by visionary producer Frank Walker and now known as the Johnson City Sessions of 1928–29. Though more obscure than the famed Bristol Sessions that took place a year prior, the Johnson City Sessions, only 25 miles down the road, illustrate a more diverse and possibly equally important catalog of music that continues to have a significant impact on folk and roots musicians to this day.
Original Columbia Records advertisement published in the Johnson City Chronicle on October 3, 1928. Image from Ted Olson and Tony Russell’s The Johnson City Sessions 1928-1929, Bear Family Records: 2013
Ted Olson, writer and researcher of the Johnson City Sessions Bear Family 4 CD boxset, notes:
“The Johnson City Sessions were one of several significant location recording sessions conducted by commercial recording companies in Appalachia during the 1920s and 1930s. But the Johnson City recordings were unique. More than those from the other rival sessions of that era, they documented the broad sweep of the Appalachian song and tune repertoire, from the traditional to the contemporary, from the familiar to the obscure, and from the serious to the silly. While some of the recordings made in Johnson City during 1928 and 1929 were in the country music mainstream, other recordings stood out as truly unusual, even avant grade, anticipating future directions for as-yet-unborn music genres such as bluegrass, revivalistic folk, rock ‘n’ roll, and Americana. And looking back at those sessions 90 years later, one can’t help but wonder if country music might have taken a different course had the Great Depression not obliterated the distribution and potential influence of those exuberant, truth-telling Johnson City recordings. People in the 1930s depended upon art – and particularly music – to guide them out of the Depression, and the Johnson City recordings could have helped set a higher standard for relevancy in country music moving forward.”
Some of the songs recorded during these sessions have become standards in old-time repertoire including “Tell It to Me,” a riotous tune from the Grant Brothers who a year prior recorded in Bristol as the Tenneva Ramblers, or “The Coo Coo Bird” from the great Clarence Ashley, an artist whose music career was rejuvenated during the folk revival. “Old Lady and the Devil,” by Bill and Belle Reed, later found a home on Harry Smith’s Anthology of American Folk Music, a collection that would influence countless folk musicians including a young Bob Dylan.
This impact is being celebrated in downtown Johnson City on Saturday, October 19, during an all-day event to mark the 90th anniversary of these sessions. The event will feature leading folk and roots artists, including Dom Flemons, Willie Watson, Amythyst Kiah, Bill and the Belles, Nora Brown, The Brother Boys, and many more. Roy Andrade, Associate Professor and head of the Old-Time Program at East Tennessee State University, notes that “the 90th anniversary of the Johnson City Sessions is exciting for those of us involved in old-time music in this town – the music is still very much alive here and the celebration will help us remember that the story is still being written.” And featured artist Amythyst Kiah says that the celebration is timely in that “the Johnson City Sessions is a celebration of the roots of American music and the preservation of a musical legacy that has captured the imagination of people all over the world.”
We don’t know about you, but we are EXCITED! After several years of prep by the filmmakers – including extensive interviews, research time in archives and libraries, conversations and debates, music performances galore, long road trips and late nights, and editing and production – PBS’s Country Music: A Film by Ken Burns is finally here!
The first 2-hour episode – “The Rub (Beginnings – 1933)” – airs on PBS on Sunday, September 15 at 8pm ET, and its blurb notes: “‘Hillbilly music’ reaches new listeners through phonographs and radio, launching the careers of country music’s first big stars – the Carter Family and Jimmie Rodgers.” For those of you who know us already, you know that the Carter Family and Jimmie Rodgers recorded for the very first time here in Bristol, Tennessee-Virginia at the now famous 1927 Bristol Sessions. And you know that our town celebrates this history and its impact and legacy in so many ways, including the Birthplace of Country Music Museum, Bristol Rhythm & Roots Reunion, and Radio Bristol. (By the way, if you didn’t know this, it’s a cool history so come visit us!)
PBS promotional images from Country Music. Left: Episode 1 (Downtown Bristol, c.1927. Courtesy of Bristol Historical Association ). Center: Episode 5 ( The Grand Ole Opry at the Ryman Auditorium, Nashville, c, 1960. Courtesy of Les Leverett photograph, Grand Ole Opry Archives). Right: Episode 5 (Johnny Cash at his home in California, 1960. Courtesy of Sony Music Archives).
For us, seeing this musical heritage recognized and celebrated by a filmmaker like Ken Burns is pretty amazing. The documentary features Bristol’s story and the many people who were part of that story, exploring their integral role in the development of early commercial county music. Over eight episodes and sixteen and a half hours of viewing, the film traces the path of country music – “a uniquely American art form” – from its influences and origins in ballads, blues, and sacred music through its evolution into different sounds and manifestations and then on to its global popularity today. Viewers will get the chance to see footage and photographs, and hear stories and histories, never before revealed, along with interviews with over 80 artists. This is TV worth watching.
BCM was fortunate to get to spend some time with the Country Music filmmakers and their wider team during the research process and then again in March 2019 as the Country Music kick-off road show hit the highways and byways. Back in 2014, not long after the museum opened, we shared some of our own research into the photographs and media used in the museum with Florentine Films, later giving them access to some of our collection for digital scanning and research purposes. We also had a fun day facilitating filming with a local phonograph collector, spending time with him beforehand to find the perfect machine and then getting to watch the filming in action a couple of months later!
And then, on Sunday, March 24, 2019, Burns – along with his Emmy Award-winning creative team including producers Dayton Duncan and Julie Dunfey – arrived in Bristol on a large tour bus to kick off the promotion for Country Music. They were also joined by Old Crow Medicine Show’s frontman Ketch Secor, whose love of the history of country music made him a frequent collaborator with the team. This event at the Birthplace of Country Music Museum was the start of their 30-city promotional road show tour. You can hear more about that event in our blog post here.
What’s great about a Ken Burns project is that not only is all of the research and in-depth stories and interviews presented via the film itself, but there will also be a host of ways to explore the subject even more deeply – from a book to the soundtrack (as a 2-disc CD and a 5-disc DC box set) to vinyl LPs to DVDs and Blu-Rays of the full show. The DVD and Blu-Ray extras include a preview program, a behind-the-scenes look at how the film was made, and material gleaned from hours of interviews. All of these items will be on sale and available at The Museum Store!
Everything to do with Country Music has been a thrill for us – from being able to help the Florentine Films team in a small way to getting to be the first leg on the promotional road show to seeing Bristol’s important musical history honored and celebrated in the resulting documentary. It has also been wonderful to see Burns talking about Bristol as a place that people should come visit as part of their pilgrimage to truly explore the history of country music – we hope to see you here soon! But most of all, we are so grateful to see the overwhelming passion, engaged interest, and profound understanding that Burns and his team have shown when they talk about country music. This is music and history that we love, and we are proud to see it represented in such a deeply respectful way.
* The first four episodes of Country Music will begin airing on Sunday, September 15 and run through Wednesday, September 18, and then episodes 5–8 will air the following week on Sunday, September 22 through Wednesday, September 25 at 8:00–10:00 p.m. ET.
