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Spook Season: Graveyard Hunts for Bristol Sessions Artists

1927 and 1928 Bristol Sessions History Personalities Tourism Uncategorized
October 12, 2024
Posted on by Julia Underkoffler

By Julia Underkoffler, Collection Specialist at the Birthplace of Country Music Museum

Happy spooky season! This time of year, many people seek out ghost tours and other spooky adventures, many of which take place in cemeteries. People who visit cemeteries for specific or unique tombstones are called “tombstone tourists.” But did you know you can also learn a lot about history in a cemetery? 

Originally founded by Jim Tipton in 1995 to document where famous people were buried, Find a Grave soon opened up to allow a passionate online community to document, recover, and preserve the history held in cemeteries worldwide. Over 250 million graves have now been documented. Anyone can create an account to contribute to this open resource! You can also build “virtual cemeteries” with collections of gravesites from different cemeteries. I have done one for my ancestors on both sides of my family tree and one for the 1927 Bristol Sessions!

So far, there are 43 members in the Bristol Sessions Virtual Cemetery and graves in 7 different states – Virginia, Tennessee, Kentucky, West Virginia, Mississippi, New Mexico, and California. As you explore the cemetery, you will notice that most of the artist’s gravestones are not particularly ornate; they are just simple markers, and some are not marked at all. Now, let’s explore exactly where the session artists are buried!

Large marble statue of a woman standing on a casket in the center of a garden.
Image of Peer’s resting place was added to Findagrave.com by Gardens of Memory841.
  • Ralph Peer
    • Buried next to his wife Monique, who accompanied him on his Bristol Sessions trip, in Forest Lawn Cemetery in Glendale, California. 
  • Ernest “Pop” Stoneman and his wife Hattie 
  • The Stonemans invited nine of their friends and family members to record with them at the Bristol Sessions. 
    • Pop Stoneman’s older brother George Stoneman
      • Buried in McKenzie Cemetery in Grayson County, Virginia.
    • Hattie’s twin siblings Bolen and Irma Frost
      • Buried in Ballard Cemetery in Galax, Virginia.
    • Kahle and Edna Brewer
      • Buried in Felts Memorial Cemetery in Galax, Virginia. 
    • Iver Edwards
      • Buried in Monta Vista Gardens in Galax, Virginia.
grassy hill with numerous old tombstones.
Image of Old Quaker Cemetery in Pipers Gap, Carroll County, Virginia was added to findagrave.com by Dan.
  • Alexander “Uncle Eck” Dunford  
    • Buried in Old Quaker Cemetery in Pipers Gap, Virginia
  • Ernest Phipps and his Holiness Quartet all stayed near Corbin, Kentucky, and are buried within a four-mile radius of each other.
    • Ernest Phipps and A. G. Baker 
      • Buried in Pine Hill Cemetery in Corbin, Kentucky.
    • Rolan Johnson
      • Buried in Felts Chapel Cemetery in Corbin, Kentucky.
    • Ancil McVay
      • Buried in Rest Haven Cemetery in Corbin, Kentucky.
  • John Preston (J.P.) Nester
    • Buried in Cruise Cemetery in Hillsville, Virginia.
  • Norman Edmonds 
    • Buried in Gardner Memorial Cemetery in Hillsville, Virginia. 
  • The Bull Mountain Moonshiners 
    • Charles M. McReynolds, the grandfather of Jim and Jesse McReynolds
      • Buried in Hazelton Stallard Cemetery in Coeburn, Virginia.
    • William McReynolds  
      • Buried in Hazelton Stallard Cemetery in Coeburn, Virginia.
    • Howard Greear 
      • Buried in the Greear Family Cemetery in Flatwoods, Virginia. 
    • Charles Greear
      • Buried in Greenwood Memorial Gardens located in Coeburn, Virginia.
    • Bill Deane. 
      • The only member of the Bull Mountain Moonshiners I have not yet been able to find is Bill Deane.
Bronze grave marker that says "Mother Maybelle Carter, The First Lady of Country Music. God has picked his wildwood flower."
Image of Maybelle’s resting place was added to findavgrave.com by Randy McCoy.
  • The Carter Family,
    • Alvin Pleasant Carter, and his wife, Sarah
      • Buried in Mount Vernon Methodist Church Cemetery in Hiltons, Virginia, along with their three children,Gladys, Janette, and Joe.
    • Sarah’s cousin, Maybelle Carter
      • Buried in Hendersonville Memory Gardens in Hendersonville, Tennessee, next to her husband (and A.P.’s cousin) Ezra. Their three girls, Helen, June, and Anita, are buried there as well. And yes, June is buried next to Johnny Cash.
  • Two members of The Alcoa Quartet are buried in cemeteries that are about five miles from each other. I have been unable to identify stones for the other two members, the brothers John Edgar and James Herbert Thomas. 
    • William Burrell Hitch
      • Buried in Mount Lebanon Cemetery in Maryville, Tennessee 
    • John Leonard “Lennie” Wells.
      • Buried in Grandview Cemetery in Maryville, Tennessee.
  • The Shelor Family stayed in the Meadows of Dan area and were buried in cemeteries about three miles from each other. 
    • Joe Blackard
      • Buried in the Joseph Blackard Cemetery in Meadows of Dan, Virginia.
    • Joe’s daughter Clarice, her husband Jesse, and Jesse’s brother Pyrhus are all buried in the Meadows of Dan Baptist Church Cemetery in Meadows of Dan, Virginia. 
  • Couple James Whiley and Flora Baker are buried in Baker Cemetery in Dungannon, Virginia.
  • Red Snodgrass and His Alabamians
    • Thomas P. Snodgrass and his brother Ralph Campbell Snodgrass are buried in Sunset Memorial Park in Albuquerque, New Mexico. 
Large headstone with the word "Rodgers" in the middle. with a pot of white flowers and a guitar laid in front.
Image of Jimmie Rodgers resting place was added to findagrave.com by Gregory Leonard Watson.
  • Jimmie Rodgers 
    • Buried in Oak Grove Baptist Church Cemetery in Meridian, Mississippi.
  • Tenneva Ramblers
    • I believe I have found Jack Pierce (Shelby Hills Cemetery) and Claude Slagle (East Hill Cemetery) in Bristol, Tennessee. However, I have not yet been able to locate Jack’s brother Claude or James “Jack” Grant. Except for Jimmy Rodgers, The Jimmie Rodgers Entertainers (soon to be called the Tenneva Ramblers) were all from Bristol. A chance visit to their hometown gave this Asheville-based band an opportunity to audition for the Bristol Sessions.
  • The West Virginia Coon Hunters 
    • Wesley’ Bane’ Boles 
      • Buried in Zion United Methodist Church Cemetery in Nebo, Virginia, and his place of rest is unmarked.
    • Vernal Vest
      • Buried in Trail Cemetery in Princeton, West Virginia. 
    • Clyde S. Meadows 
      • Buried in Big Run Cemetery in Diana, West Virginia. 
    • It is not easy to say for sure where Joe Stephens and Fred Belcher have been laid to rest. Several possible locations have been identified, but with no birth or death dates to go off of, we can’t say for certain.
  • The Tennessee Mountaineers was a church group of around twenty people from Bluff City, Tennessee. Here is where three of the members I have identified so far are buried:
    • Roy Hobbs, the brother-in-law of A. P. Carter 
      • Buried in Blue Ridge Memorial Gardens in Roanoke, Virginia. 
    • Father and daughter duo George and Georgia Massengill (Warren). At 12 years old, Georgia was the youngest participant in the sessions and the only one still alive when the museum opened in 2014.
      • Buried in Morrell Cemetery in Bluff City, Tennessee.
  • Blind Alfred Reed
    • Buried in Elgood Cemetery in Elgood, Virginia.
  • B. F. Shelton
    • Buried in Corinth Cemetery in Corbin, Kentucky.
  • Alfred Karnes 
    • Buried in McHargue Cemetery in Lily, Kentucky.
  • Henry Whitter
    • No stones have been found using what we believe are Whitter’s birth and death dates. However, it is not uncommon for the dates on older graves to be slightly off, and this stone, located in Eden Cemetery in Summerset, Kentucky, is assumed to be Whitter’s most likely resting place.
Image of Whitter’s resting place was added to findagrave.com by NashvilleTony.

Lastly, there are five artists – Walter Mooney, Tom Leonard, Paul Johnson, Charles Johnson, and El Watson – whom we know virtually nothing about beyond their names and that they played at the Bristol Sessions. Hopefully we will find their final resting places one day as we continue to research. 

I have always had an interest in cemeteries, the artistry behind making gravestones, and the preservation of them. I even decided to write my master’s thesis on the similarities between public history practices and cemeteries! Creating a virtual cemetery for the Bristol Sessions artists was a passion project that allowed me to view the content of the museum where I work through my favorite historical lens and it doesn’t stop here! If you are interested in exploring more virtual cemeteries, check out the other two I have made: BCM VIPs – people who have carried on the musical tradition and innovated the sounds of Bluegrass, Country, and American, and Women in Old-Time –  a special cemetery dedicated to the women who were featured in our special exhibit, I’ve Endured: Women In Old Time Music,   which is now traveling. All of these virtual cemeteries are updated regularly as I continue to research, so stay tuned for more!

The Transformative Power of Traditional Music: How I Learned to Stop Worrying and Love the Dulcimer. Part I

Museum Music & Songs Personalities Uncategorized
May 18, 2024
Posted on by Guest Blogger

Trigger Warning: This post contains content about suicide. If you or a loved one is struggling with suicidal thoughts, please contact the 988 Suicide & Crisis Hotline.

I didn’t come from a particularly musical family. My father sang in the church choir and I had a half-sister who played piano. Other than that, there weren’t any musicians in my family. In fact, there wasn’t a great deal of music in my community in general. My only real exposure to live music was the choir at our church. Attending church wasn’t something I enjoyed as a child, but those hymns were always a highlight of my Sunday mornings. It was simple accompaniment: usually just a piano and one or two acoustic guitars. The guitar fascinated me. I asked my parents for one many times, but we couldn’t afford one. I was also very young and my parents were concerned that I might not stick with it.

Woman with short brown hair and glasses wearing a pink cardigan and jean skirt sits in a floral chair with crossed legs and holding a dulcimer upright in her lap.
Image provided by Roxanne McDaniel

I was a quiet child and a bit of a loner. It was difficult to make friends, but music was the thing I always found refuge in. My mother was a big classic rock fan, and she probably influenced my musical tastes more than anyone. I began listening to music obsessively at an early age, but the music that I listened to put me a little out of step with the other kids at school. They all had CD players and were listening to what was current. I was carrying around a walkman, listening to my mom’s old Aerosmith cassettes.

My mom also bought me my first instrument when I was about four years old. It was a Hohner harmonica in the key of C. I never learned to play it well, but I carried it with me almost everywhere I went all the way through middle school. When I was 11, after years of asking, my parents bought me an acoustic guitar. There wasn’t anyone to teach me, so I had to learn a lot from books, as well as lots of trial and error. Once I started getting comfortable with the guitar, I began trying to write songs of my own. It was very therapeutic for a young person as lonely and unhappy as I was.

In my late teens and early adult years, I became increasingly withdrawn. I’d always felt different but was afraid to say why. It made me the subject of a lot of rumors and bullying. It reached a point where I had to make a decision. I could continue keeping my secret and being miserable or try to be happy. I took my chance and revealed to everyone that I was transgender. The reaction I received was hostile. People were threatening to hurt me, I had my tires flattened at work, and I was removed from the church I had belonged to since birth. Things reached such a low point that I even tried to take my own life by crashing my car. Thankfully, I failed, but I will never forget the ambulance ride. A paramedic asked me, “Can I give you some advice? You need to get out of this town”. I knew he was right.

I don’t tell this part of the story to be sensational or to make a political statement. I just feel that it’s necessary to provide this information for context and to give a framework for what follows.

Roxanne McDaniel photographed in Bristol on 8/2/23. Pat Jarrett/Virginia Humanities

Life became dangerous for me; I had to keep my head down and be careful for a while. I needed to leave, but I needed a place to run to. Music was the only thing I was passionate about, and I wanted to go back to school. A friend told me about the bluegrass program at ETSU, and I applied. I wasn’t particularly interested in bluegrass or old-time music, but I figured I would be fine with it if it meant I had somewhere to go. It was ironic: the treatment I had been receiving back home, combined with the negative stereotypes of the region I’d begun believing, had made me want to distance myself from all things Appalachian. Yet, here I was running towards one of the most stereotypically Appalachian things I knew of. When my acceptance letter arrived, I was overjoyed. I didn’t know what to expect, but at least life was going to be different.

During this time, I had become interested in dulcimers by happening across a video online. It was of a dulcimer player named Wendy Songe playing a tune called “King of the Faeries.” The instrument had an almost ethereal sound I found captivating. I bought a cheap dulcimer and practiced for hours on end. I began listening to artists who played the dulcimer, such as Jean Ritchie, Joni Mitchell, David Schnaufer, Stephen Seifert, and Sam Edelston. Edelston was particularly interesting to me because his playing of classic rock songs on dulcimer brought together the two musical worlds I found myself in.

A Conversation with CALT Fellow Pierceton Hobbs

Music & Songs Personalities
May 6, 2024
Posted on by Guest Blogger

Pierceton Hobbs is a SWVA musician and recipient of the Greater Bristol Folk Arts & Culture Team’s Central Appalachia Living Traditions (CALT) Tradition Bearer Fellowship in 2022-23. This fellowship provides financial support, professional development, and public presentation opportunities for people working in traditional or folk arts and culture.

Tell us all about your CALT Tradition Bearer project

I was very honored to be rewarded the CALT Tradition Bearer Fellowship Grant to support my work as a teaching and recording artist.  I used my funds to acquire necessary equipment to practice my art as well as finish a recording project of original music.  

How has the grant impacted your craft and your ability to do this work?

Without this grant, I wouldn’t have been able to complete my album.  It has been a work in progress since 2022 because of funding issues. I started with an expansive vision and beautiful friends who own a basement studio. They graciously lent their knowledge and expertise in laying down the bones with me.  With help from the CALT Tradition Bearer Fellowship Grant, I have finally completed all production and the project is in post-production with a release date set for August 31! 

White man with backwards ballcap, glasses, and overalls sitting in front of a mic stand. A guitar sits on his lap and he is smiling and resting his head on one arm propped on the guitar.
Image courtesy of Pierceton Hobbs.

Who are your biggest inspirations for your artistic and creative work and music making? 

This is a loaded question, aha! There are so many beautiful people who have either mentored me in some way or helped me come into my own. Apologies in advance if I miss anybody:  

Folks: 

Tyler Hughes, Sam Gleaves, Thomas Cassell, Will Cassell, Kenny Miles, Hayden Miles, Linda Jean Stokely, Montana Hobbs, Larah Helayne, Don Rogers, Jesse Wells, Matthew Carter, Don Rogers, Mitchella Phipps, John Haywood, Rich Kirby, Senora May, Corbin Hayslett, Chris Rose, Anna Mullins, Ron Short, W.V. Hill, A.K. Mullins, Jimmy Mullins, Ron Kennedy…

Performers: 

Circus No. 9, Wayne Graham, The Local Honeys, Foddershock, Sparklehorse, 49 Winchester, Geonovah, The Empty Bottle String Band, The Foodstamps, Kaleb N.F.I., Amythyst Kiah, The Stanley Brothers, Jim & Jesse, The Carter Family… 

 

Why do you think your work is important to preserving and sharing Appalachian Folkways?

I consider myself a community-based artist.  Every faucet of the work I partake in contributes to capacity building in a resource-deprived area. We have to build the supportive artist community we want to see together! 

As a tradition-bearer, I also pass along tunes I have learned (and continue to learn) to students in the local Junior Appalachian Musicians program.  

A white man sits playing a guitar in front of a mic on a stage with a quilted backdrop.
Image courtesy of Pierceton Hobbs.

You are an Appalachian artist, a musician, songwriter and storyteller. Tell us what these roles mean to you.

The most astounding thing for me is the tendency of Appalachian artists to stick together like burrs in the wilderness fighting to land somewhere fertile to grow…no matter the genre or level of experience there is support to be had out there. 

Songwriting has always proved important in highlighting disparities everywhere, especially here. For me, it’s about comfort. I spill words to get things off my chest, hairy or otherwise. I write and arrange in the context as if I were a spectator or fan looking for something comforting to listen to whether that be happy, mad, melancholy, sad, or silly – it’s all related to human emotion. I try to make music that I want to listen to.  

Stories from Appalachia are fluid and ever-changing.  I love folktales and carry a few with me but emerging stories are my favorite. I think we’re putting away trauma and collectively lifting each other up…not “by the bootstraps” but with open arms.   

Your music tells the honest and true stories of life in Appalachia, be it an original composition or your rendition of a traditional song. What do you want people to take away from hearing these stories and experiences?

I tend to hope listeners have an open mind.  

Interpretations of meanings are just as diverse as the experiences we have in life.  

A white man in a baseball cap and overalls playing a guitar while singing.
Image courtesy of Pierceton Hobbs.

You also teach students music, tell us about the rewards of this experience

My students are a blessing! I feel as though they teach me more about the world around me than all of the world’s wisdom combined.  

It feels especially rewarding when I show them the basics on any number of instruments and they take flight on their own! When I see that creative spark flare, I think I’ve done what I’m supposed to do. 

What is the most difficult thing about being a musician in the Appalachian region? What is the easiest? What do you like most about it?

It’s hard for me to share anything easy about being an artist here. As we talked about earlier, Appalachian artists are very supportive of each other and it’s a beautiful thing. With that being said, there are still so many limiting factors for artists in the region including but not limited to a lack of creative spaces, funding, healthcare, resources, services, transportation, and venues. This subdues our ability to thrive!  

A white man with glasses and a jean jacket is singing into a mic and holding a guitar.
Image courtesy of Pierceton Hobbs.

Pierceton, is a hotdog a sandwich?

NO! A HOTDOG IS A STAPLE MEAL STEAMING WITH SUSTENANCE AND COMFORTING WARMTH! ESPECIALLY WITH CHILLI! 

What projects are you currently working on/ and or what’s next for Pierceton Hobbs You could mention any upcoming craft shows this summer, workshops etc.

2024 is a busy and exciting year for me! This summer, I’ll be assisting teachers instructing traditional music at Cowan Creek Mountain Music School the last week in June.  This summer, I’ll be performing and releasing singles in anticipation for an album release on August 31! My first show after the release will be at Bristol Rhythm and Roots Reunion on September 15th!  

Folks can keep up with my artistic endeavors by visiting piercetonhobbs.com or on social media (links are accessible on my website). 

 

 

Karma Chameleon: The Ever-Changing Muse of “In the Pines”

1927 and 1928 Bristol Sessions History Music & Songs Personalities
April 24, 2024
Posted on by Charlene Baker

In February Birthplace of Country Music announced In the Pines, a new music experience coming to Historic Downtown Bristol, TN-VA June 1. Dwight Yoakam, Elle King, Paul Cauthen, and Wyatt Flores are slated to perform at the inaugural event, but the inspiration for the concert goes much deeper than the artists who will take the stage that day.  It is a celebration of Bristol’s music legacy, bridging the traditions of the past with the innovation of the present.

In the Pines takes its name from a song recorded for the 1927 Bristol Sessions by the Tenneva Ramblers called “The Longest Train I Ever Saw.” From its origins of Southern Appalachia in the 1870s, “In the Pines” emerges as both a muse and a chameleon, seamlessly adapting its melody and lyrical essence to the unique styles and interpretations of every artist who dares to unravel its enigmatic allure. The song is believed to have been the combination of two songs, “In the Pines” and “The Longest Train;” the writer is unknown. It has been recorded under many titles over the years, with some artists adding their own lyrics.

“In the Pines” and all of its adaptations serve as a metaphor for Bristol’s creative music scene, which draws inspiration from the roots of Appalachia yet continuously evolves into new territory and genres. Below are a few interesting examples of the versatile tune that continues to shape-shift over time:

In 1923, King Oliver‘s Creole Jazz Band released a version for Okeh records entitled “Where Did You Stay Last Night” as a B-side for “Dipper Mouth Blues.” Louis Armstrong and his wife Lil Hardin Armstrong, both members of Oliver’s band before Armstrong left the group to pursue a solo career, are listed as composers of the track. This jazz instrumental stands out in sharp contrast to numerous other versions, showcasing a remarkable level of creativity and innovation that sets it apart as a distinctive and captivating interpretation of the timeless song.

The Tenneva Ramblers, an old-time string band based in Bristol, Tennessee, recorded “The Longest Train I Ever Saw” for producer Ralph Peer of the Victor Talking Machine Company on the iconic 1927 Bristol Sessions. The Ramblers were briefly a backing band for Jimmie Rodgers under the moniker Jimmie Rodgers Entertainers, Rodgers and the group were supposed to audition for Peer together under that name. Instead, Rodgers auditioned as a solo act. There’s some controversy as to why the band split, but Rodgers’ solo performances for Peer would be his first recordings. The Tenneva Ramblers, sometimes performing as the Grant Brothers, remained active on various radio stations until the 1950s but never achieved the level of stardom enjoyed by Rodgers.

“Father of Bluegrass” Bill Monroe recorded “In the Pines” in 1941 and 1952 as an anthem of heartache and sorrow–a man “pining” for the girl who cast him aside. The crooning “who hoo hoo hoo” vocal harmonies mimicking the sound of a train whistle in that distinct “high lonesome sound,” combined with Monroe’s innovative bluegrass instrumentation, helped elevate the song to that of a country standard for decades to come.

In 1944 Huddie Ledbetter, a.k.a. Lead Belly, first recorded “(Black Girl) Where Did You Sleep Last Night” for release on the New York-based label Musicraft Records. Though he is responsible for the wider popularization of the song, he is often incorrectly cited as its author. Lead Belly’s interpretation was inspired by the 1917 transcription collected by Cecil Sharp and he went on to record several more versions of the track. It has been documented that when performing the song live Lead Belly adjusted the lyrics to “Black girl” for black audiences and “My girl” for white. His haunting depiction of a cheating lover and a grizzly decapitation is in stark contrast to Bill Monroe’s more G-rated tale of lost love, perhaps made darker by Lead Belly’s own past as a convicted murderer.

Joan Baez is an icon and activist who, during the folk music revival of the 1960s, marched for social justice and change during a time of segregation and political unrest in the United States. Baez’s rendition of “In the Pines” shares lyrical similarities with Lead Belly’s version, yet her voice and the contemporary context in which she sang it infused the song with a novel significance for the era. Baez’s iteration was a commentary on racism and violence against Black people from a woman’s perspective. The Black girl referred to in the song is fraught with anguish over the gruesome killing of her father and the disappearance of her lover as she mourns–or pines–her life away, leaving her cold and distant from an unjust world. Joan performed the song live during her concerts from 1961 to 1963, a volatile time in the civil rights movement, but it was not released until 1982. “In the Pines” appears on the album “Very Early Joan,” which contained 23 other previously unreleased live recordings.

Kurt Cobain‘s raw interpretation of “In the Pines” not only paid homage to Lead Belly, but also served as a poignant symbol of the grunge era’s cultural ethos. Prior to the performance Kurt erroneously credits Lead Belly as the writer of “In the Pines,” while declaring him the band’s favorite performer. By infusing the song with his own emotive intensity during Nirvana‘s iconic MTV Unplugged performance in 1993, Cobain brought this traditional folk tune to a new generation. It resonated deeply with Gen X in what is known as the “grunge” era,  which was defined by a sense of non-conformity and disillusionment of society norms. Tragically, Cobain’s performance of the song stands as a haunting reminder of his artistic legacy, forever tied to his untimely death at the age of 27 just a few months after the show aired.

Xavier Dphrepaulezz, a.k.a. Fantastic Negrito, recorded a searing version of  “In the Pines” for his Grammy Award-winning album The Last Days of Oakland, released in 2016. Growing up in Oakland, California, Xavier was one of 14 children. After leaving home at the age of 12, he went into the foster care system. He hustled the streets of L.A. to survive and lost a brother and a cousin to gun violence. “In the Pines” resonated deeply with Xavier. In his version of the song, he added the verse “Black girl, Black girl, your man is gone/ Now you travel the road alone / And you raised that child all by yourself / Then the policeman shot him down” to emphasize the trauma Black women face when their lives are impacted by such senseless acts. The haunting video below is the accompanying “docu-narrative” featuring one such mother whose son was tragically killed.