103 NCMusicAd Coltrane Stewart webJohn Coltrane, April 1966 © Chuck Stewart Photography, LLC

 

Coming November 2018 . . .

The Oxford American’s 20th Annual
Southern Music Issue & CD

Featuring
NORTH CAROLINA

 

Reserve your copy today.

 

Come on and raise up.

 


Chuck Stewart’s photography provided by Fireball Entertainment Group, courtesy of Chuck Stewart Photographs of John Coltrane, Archives Center, National Museum of American History, Smithsonian Institution

 

During Sweet Auburn’s heyday, a brotherhood of gifted guitar-playing soul singers, though largely unknown by a wide audience today, formed a loose collective. They wrote songs together, recorded them, encouraged one another, and competed fiercely, each believing in a coming personal glory that never came.

Alice Swoboda discusses her brief recording career and her stunning song “Potter’s Field.”

My manager at that time told me that we’re in the wrong location. He said, “You’re writing light years ahead of your time and you would be better recognized if we were in the Bay Area.” But it is what it is, and it was what it was.

Bessie Jones nurtured a prodigious repertoire of songs—hundreds of them, for work, play, worship, instruction—as both a rite and as a vocation. Her vision was one of radical egalitarianism, inspired by the enduring collective, expressive folk traditions—occupational, recreational, spiritual—of the black rural South and her ardent faith in a kind of ecstatic liberation theology, which found activist application in the civil rights movement.

Beverly “Guitar” Watkins is seventy-six years old. She is wearing house slippers, a hair net, and an Atlanta Hawks t-shirt on backwards. She is probably the greatest living blues guitarist that no one has ever heard of.

MC Shy D brought hip-hop to Atlanta. Or anyway, he brought Atlanta to hip-hop—in the mid-eighties, he was the first rapper from the city to break out of it, to tour the country and make a name for himself. He became an object of adulation to the whole region.

The Rock*A*Teens came along in the early nineties, after a string of tragedies rocked the Cabbagetown community. As Atlanta-based journalist Doug Deloach told me: “To tell the story of the Rock*A*Teens is to also tell the story of Cabbagetown and all the bands that came before them.”

Johnny Mercer drew from the same black musical traditions as Elvis would a generation later and made, if not quite a billion dollars, certainly an inexhaustible fortune, and left behind a half-dozen of America’s most indelible melodies besides.

I don’t know if the term “Cosmic Southerner” is something I came up with or if I read it somewhere or heard someone say it, but it’s an idea I’ve carried with me for a long time. Pharoah Sanders, André 3000, and Benjamin from the band Smoke are true Cosmic Southerners. Atlanta’s Col. Bruce Hampton is another.