There was a point in my musical life where I decided that I’m committed, with no holds barred. Not long after that I stopped taking bookings where I was supposed to draw an audience.

Drawing an audience is a big distraction from playing. If I have time to spend on preparing for a gig, I want it to benefit people’s ears – things like practicing, working on the set list, improving my equipment. Quality is hyperefficient. I have limited resources. The music is the best place to invest them..

Also, drawing a crowd is a con game. Making It In The Music Business is not what I’m about. As much respect as I have for people who make this game work, they are vastly outnumbered by people getting fleeced.

So I direct my attention to pre-existing crowds in need of music. Parties, for example. Problem solved. But then there’s a new problem – the music isn’t what they’re there for.

So last night I happened to play a gig for an audience which was there for other reason than to listen, and it was awesome. A quiet room. Comfortable seats. Ability to follow the phrases back and forth. I felt like they were disappointed when the big dumb songs arrived instead of relieved that the pointy headed stuff was finally over.

Maybe I can find a way to achieve both goals.

This usage of my song “Talk About Suffering” for a Nike spot is well done. I like the synchronization.

Pomme Chan | Nike Cortez 40/40 from London Sessions Productions on Vimeo.

There’s a Corey Harris gig in NYC on January 14 that I’d go to if I were still back east, which relates to an incredible video I posted a while back: Sittin´ On Top Of The World – Otha Turner & Corey Harris

Those guys both excel at the African roots of American music, which were buried as far as possible because of european looniness WRT Africa, like Heart of Darkness. Otha’s thing is pretty much straight quills AFAICT. Harris’ playing is creative and beautiful in a genre (blues) that is mainly formulaic machismo. Speaking as a musician with a related creative strategy, I have a lot of respect for where he takes it.

More awesomeness in the tradition of americana africana:

(1) Ali Farka Toure and Corey Harris play a Skip James tune. (2) From way back in 1961: Sid Hemphill & Lucious Smith – Old Devil’s Dream. (3) A short documentary on Otha Turner at FolkStreams.

(→ More quills posts on Soupgreens)

The Colored Aristocracy of St Louis is a small book with a long impact. It was somewhat malicious in a sharply observed way:

In 1858, Cyprian Clamorgan wrote a brief but immensely readable book entitled The Colored Aristocracy of St. Louis.The grandson of a white voyageur and a mulatto woman, he was himself a member of the “colored aristocracy.” In a setting where the vast majority of African Americans were slaves, and where those who were free generally lived in abject poverty, Clamorgan’s “aristocrats” were exceptional people. Wealthy, educated, and articulate, these men and women occupied a “middle ground.” Their material advantages removed them from the mass of African Americans, but their race barred them from membership in white society.

The Colored Aristocracy of St. Louis is both a serious analysis of the social and legal disabilities under which African Americans of all classes labored and a settling of old scores. Somewhat malicious, Clamorgan enjoyed pointing out the foibles of his friends and enemies, but his book had a serious message as well. “He endeavored to convince white Americans that race was not an absolute, that the black community was not a monolith, that class, education, and especially wealth, should count for something.” Despite its fascinating insights into antebellum St. Louis, Clamorgan’s book has been virtually ignored since its initial publication.

I love that this gives tiny details of ordinary lives that have long been forgotten.

50 years later or so that became the title of a cakewalk:

And then the cakewalk was stripped down to its core and became a standard of the old time fiddle and banjo repertoire.

The melody of the Elvis Presley song “Love Me Tender” comes from a 19th century pop tune called “Aura Lee.”

It’s hard to make this song work for our contemporary ears. It’s so over the top sentimental, and the harmonies are unbearably sweet. So I was happy to find a version I liked: the 1938 cover by The Shelton Brothers.

Ze Frank used the Joy Drops recording of “French Blues” for one of his comic masterworks, Why The Republicans Have No Heart (And Democrats Have No Balls).

I can sweat for months over a video performance and not get 500 plays, and this has nearly 50,000 plays so far. Sweet deal.

I’m obsessing on a blues mandolin-banjo player named Charlie McCoy. Here are three tunes of his from Archive.org.

Charlie McCoy and Bo Chatman – Corrina Corrina

Charlie McCoy – Baltimore Blues

Papa Charlie – Coal Man Blues (misattributed as “Jackson” instead of “McCoy”)

My recording of Frog in the Well was used in an ad for a farm tour in Culpeper, VA.

Making music has a narcissistic side. I’m happy to have my playing be useful.

My Homestyle Mandolin Matched Set got used in a moonshine ad.

That bit of playing has gotten used quite a lot. I hardly worked on it at all – I got lucky and it came out right.

This comes up because I sometimes play the 1882 Rough On Rats jingle.

The Joy Drops are playing The Frog and Fiddle on Friday night. Start time 8:30 PM.

If you’re hungry, there’s very delicious African cooking.

Dwight Shackleford will be joining us on washboard and accordion. Here’s a snippet of duo accordion and guitar: La poule pend p’us – micro mp3.