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Henry Street Folklore



Last Updated: 7/15/2009

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Thursday, July 26, 2007 
Our recently released album, Friends of Old Time Music, has been picked as among the best box sets of the year by the New York Times, the New Yorker, USA Today, the Wall Street Journal, the Boston Globe, the Chicago Sun-Times, and many other major publications. Here are some review quotes:

The New York Times:

"A tiny, scholarly outfit called Friends of Old Time Music put on a series of concerts in the early '60s at high-school and college auditoriums in Greenwich Village; a man named Peter Siegel recorded the shows with a fairly cheap microphone; and this, at last, is the result, a boxed set of awesome and concentrated power, demonstrating exactly the lure of the particular American musical traditions that got deep into a generation of musicians like the young Bob Dylan. (The first F.O.T.M. concert occurred a month after his arrival here, and many of the concert performers were among the mysterious characters assembled on one of his treasured possessions, Harry Smith's 'Anthology of American Folk Music.') Here is the scarily intense Kentucky-mountain tenor Roscoe Holcomb, the blues-influenced white singer Dock Boggs, the elegant ensemble workings of the bluegrass bands led by Bill Monroe and the Stanley Brothers and the purring euphony of Mississippi John Hurt; also, some of the revivalists' own bands, including the New Lost Ramblers and the Greenbriar Boys. With strong, clear sound, it makes you understand what the fuss was all about."   —  Ben Ratliff

The Boston Globe:
"These archival concert tracks of masters such as Mississippi John Hurt, the Stanley Brothers, and Bill Monroe form a precious, wildly beautiful document_"    —  Scott Alarik

New York Daily News:
"A magnificent collection of 55 live recordings by "rediscovered" singers like Mississippi John Hurt and geniuses like Bill Monroe and Maybelle Carter. This isn't just about preserving history, though it does that. It's about the way great living music goes on."    —  David Hinckley

fROOTS (UK):

"From the opening tracks of this set, we are witnesses to a Golden Age. Current talk of a 'folk revival' can seem like a hollow boast: where are the masters of traditional forms to join the young enthusiasts on stage today? We have to look to the 'world music' field for rare moments of revelation like these.

"What might seem a curious choice -- mixing black country blues willy-nilly with Appalachian mountain music -- works beautifully... The unified atmosphere of these performances is aided by the exquisite production. Applause from one track fades gently into the opening bars of the next, as if we are listening to three seamless concerts. This sort of effect is easier to achieve with the modern digital equipment to hand, but producer Peter Siegel has done a terrific job maintaining the warmth of his own original recordings in the treacherous transfer out of the analogue domain.

"Highlights? There are so many, from the Stanley Brothers and Doc Watson to some of the best performances by Jesse Fuller I've ever heard... There are 55 tracks here and not a dud among them. The excitement of performers and audiences discovering one another is palpable. Nothing post-modern here, just the unalloyed joy of listening to the virtuosi that rural cultures used to produce by the hundreds in the days before they started imitating themselves." —  Joe Boyd

San Francisco Chronicle:
"An exciting three-disc collection that contains the palpable thrill of the culture clash of bringing backwoods music to the big city."   —  Joel Selvin

The Steve Earle Show (Air America Radio):
"This is a really cool box set. I suggest that you go out and get it."    — Steve Earle

No Depression:
"…possibly the best recordings ever by such disparate characters as Dock Boggs, Jesse Fuller, and Maybelle Carter. As the collection's subtitle implies, the folk revival starts here."   — Ed Ward

In The Groove:
"It was through the genius of Peter Siegel, who arranged the sound for the concerts and recorded all of them on reels of tape, that complete sound records of the performances – the first trip North for many of the artists after 25 years – are available for researchers.  Better still is the fact that Smithsonian Folkways has just issued a fabulous three-disc box set – Friends of Old Time Music… The sound is superb and the 50 page long-form liner note booklet is informative… Highly recommended."  — Steve Ramm

Sunday, February 25, 2007 
Partial Discography of Albums Produced by Peter K. Siegel

Doc Watson at Gerdes Folk City, by Doc Watson (Sugar Hill)

Friends of Old Time Music (Boxed Set), by Clarence Ashley, Horton Barker, Annie Bird, Dock Boggs, Gaither Carlton, Maybelle Carter, Jesse Fuller, The Georgia Sea Island Singers, The Greenbriar Boys, Roscoe Holcomb, Mississippi John Hurt, Fred McDowell, Sam McGee, Bill Monroe and His Blue Grass Boys, The New Lost City Ramblers, McKinley Peebles, Fiddlin' Arthur Smith, Hobart Smith, Joseph Spence, The Stanley Brothers, Stanley Thompson, Doc Watson, Ed Young (Smithsonian Folkways)

Pioneering Women of Bluegrass, by Hazel Dickens and Alice Gerard (Smithsonian Folkways)

The Spring of '65, by Joseph Spence and the Pinder Family (Rounder)

Ambush on All Sides, by Jade Bridge (Rounder/Henry Street)

As Quick as Fire: The Art of the Norwegian Hardanger Fiddle, by Knut Buen (Rounder/Henry Street)

Somos Boricuas, by Los Pleneros de la 21 (Rounder/Henry Street)

Tides and Sand: The Art of the Chinese Hammered Dulcimer, by Sisi Chen (Rounder/Henry Street)

Neil Young Live at the Fillmore East (as recording engineer), by Neil Young and Crazy Horse (Reprise)

Roy Buchanan, by Roy Buchanan (Polygram)

Second Album, by Roy Buchanan (Polygram)

We the People, by Ellen McIlwaine (Polygram)

Aquashow, by Elliott Murphy (Polygram)

Folk Fiddling from Sweden, by Björn Ståbi & Ole Hjorth (Nonesuch)

A Bell Ringing in the Empty Sky, by Gorô Yamaguchi (Nonesuch)

The Real Bahamas, Volume I (Co-produced with Jody Stecher), by Joseph Spence, Frederick McQueen, Pinder Family, others (Nonesuch)

The Real Bahamas, Volume II (Co-produced with Jody Stecher), by Joseph Spence, Frederick McQueen, Pinder Family, others (Nonesuch)

Sarangi: The Voice of a Hundred Colors, by Ram Narayan (Nonesuch)

Vidwan: Songs of the Carnatic Tradition, by Ramnad Krishnan (Nonesuch)

Woodsmoke and Oranges, by Paul Siebel (Elektra)

Have a Marijuana, by David Peel and the Lower East Side (Elektra)

The American Revolution, by David Peel and the Lower East Side (Elektra)

Morning Again, by Tom Paxton (Elektra)

The Things I Notice Now, by Tom Paxton (Elektra)

Monday, January 29, 2007 
[Note: this was written and posted to bgrass-l on December 1, 1996, the 30th anniversary of Carter Stanley's death]

On December 1, 1966, thirty years ago, Carter Stanley slipped away from us.  I was thinking the other day about what he might have done if he had lived.  For a few seconds, I apparently let myself believe he was still here.

I envisioned him standing on stage at age 71 with Ralph and maybe George Shuffler, half-cradling, half-leaning on his guitar, laughing quietly, knowing that he -- and they -- were among the best that ever had been.  For that brief moment I felt serenely happy, felt like I had just awakened from an awful dream, and realized what a great sadness the passing of Carter Stanley has been for me.

The Stanley Brothers are my favorite bluegrass band, and their records are probably my number one desert island choice in any genre of music. I was lucky enough to see them a number of times and even to record them on one occasion.  Together, they distilled the aching sorrow of the twilight of an era, and offered an emotional homeplace to carry into the future.

Alcoholism is a cruel and insidious disease that has probably been responsible for more loss in most of our lives than we even realize. For me, one of its cruelest acts was to deprive Carter and his audience of a period when his music might have come into its own in a new way.

At the time of his death, Carter had been recognized by contemporary folk audiences, had played at Oberlin and Antioch, NYU and Chicago, Newport and the Ash Grove.  But there was still a long way to go. Much of his mature recorded output was marred by the commercial whims of King Records, by Syd Nathan's feeling that the banjo wouldn't sell, or because Syd had a new copyright or an idea for a novel arrangement.

King Records was where it was, and thank God for it.  The Stanley Brothers' King sessions produced some of the very best bluegrass ever recorded.  What, after all, could be better than "The Memory of Your Smile" or "How Mountain Girls Can Love"?  But despite what Syd knew about bluegrass, bluegrass was heading in a direction that he could never understand or even imagine.  It would have been great to have the Stanley Brothers on Rounder or Rebel or Sugar Hill, performing whole new generations of Carter's songs without weird stereo or fingerpoppin'.  It would have been great for Carter to find new fans at the Smithsonian's Festival of American Folklife (initiated in 1967), to win a National Heritage Fellowship as Ralph did in 1984, to become a beloved elder statesman like Bill Monroe or Ralph.

Maybe it was the time and place.  Maybe the cheapo plastic and buzzy-distorted cutting heads contributed to it.  But the Stanley Brothers produced at once the most unearthly and the friendliest music I have ever heard.  Thanks are due Gary Reid for keeping the best versions of the Stanleys' work current and available.  I get something new from each new box (as well as something old from their Mercury 78s and old buzzy Starday albums).  What I get most of all is the humanity, honesty, and acceptance of a music that speaks directly to my hopes and my fears.  Carter and Ralph gave me that by putting one weary foot in front of another, walking another mile, and singing the songs of strangers in a strange new world.

Peter K. Siegel, Henry Street Folklore, Brooklyn, NY

Monday, January 29, 2007 
Before I was ever allowed to produce an album, I had years of full-time apprenticeship training in the art and science of record production and audio engineering. This took place at Elektra Records and Folkways Records. I can't tell you how many tape recorder heads I aligned and how many pieces of white leader I stuck in between songs. (This is something like washing pots when you are learning to be a chef.) Among the people who taught me were Paul Rothchild, Jac Holzman, Mark Abramson, Moses Asch, and Ralph Rinzler.

Now that I have told you how well-trained I am, I hope you will never listen to one of my albums and say "Wow, what a great producer."  I revere the artistry of the musicians I work with, and the whole idea is for the production to be transparent so you can say "Wow, what great music."

Miraculous technology exists today, but you don't have to use it all every time. Although I have spent thousands of hours in recording studios, I like good acoustic environments like churches and good concert halls. There is a place for overdubbing, but the greatest performances are usually captured live, all in one piece. Besides, that makes future discographers' jobs so much easier!