It is conceivable that Doc Watson's four-week engagement at
a small folk club in New York City at the end of 1962 and beginning of 1963
represents one of the last major discoveries of authentic regional art in the
face of the nation-wide homogenization that followed World War II in America.
Thanks to radio (and even more profoundly, television) the sound of America was
becoming increasingly informed by what would become known as
"mass-media," effectively killing off, or at least significantly
changing, the many different strains of American music. Many in the
sophisticated New York audience may have been acquainted with the prevalent
form of folk music as demonstrated by groups like The Kingston Trio, but few
could have been prepared for the presence or talent that the unassuming, blind,
guitar player from Deep Gap, Tennessee was going to demonstrate.
The most amazing thing about the pristine performances
captured on this historic CD is how much Doc's onstage persona and abilities
were already in evidence at this early stage of the game. He was already a
seasoned performer, but his ability to mesmerize with his pleasant voice,
incredible guitar technique and seemingly endless repertoire of material from
all genres of music had to be a major revelation. Judging from the silence
during the performances, which is then punctuated by explosive bursts of
applause from the audience, this group of big city sophisti-cats had never seen
anything like Doc Watson.
Opening with the classic, unrepentant murder ballad
"Little Sadie," Watson immediately sets himself apart from collegiate
types who may have taken an academic fancy to folk forms. Watson's guitar
playing is never less than wonderful as he comfortably melds bluegrass accuracy,
blues leads, country picking and folk strumming with his own patented energetic
buoyancy informed by years of playing in every format conceivable. He played
gospel with his family, backed the great Clarence Ashley, played electric
guitar in a rockabilly outfit - in fact, it is this very diversity of
background and context that gives Doc Watson's performances their unique
quality. As a blind person approaching culture and art as a blank slate, he
seems to have absorbed all the positive attributes of each style while not
succumbing to the accepted performance clichés inherent within the genres. Thus
he is one of the truly distinctive interpreters in American music.
Doc Watson would prove to be one of the most venerable and
important voices in authentic American music until his death in 2012, but here
in this elemental recording we hear the early proof of his greatness. He runs
through a wonderful assortment of traditional songs, occasionally joined by
other soloists, but it is Doc Watson's amazing talent, confidence and
individualism that shines through on every song of this important release. If,
like me, you are a lover of the roots of American music, this CD should have a
place on your shelf as surely as Hank Williams, Louis Armstrong, Robert Johnson
or Chuck Berry does. Doc Watson represents the absolute best of American
tradition; it is authentic and heartfelt, and the beauty of the traditions
pours out of every note.
- Paul Epstein
No comments:
Post a Comment