GM – FBF – “What most of us can only strive for—a rich musical heritage and the ability to express that heritage beautifully through my playing.” – Elizabeth Cotten

Remember – “I was just glad to get the Grammy. I didn’t know what the thing was. It’s the honor what I loved.” – Elizabeth Cotten

Today in our History – April 11, 1972 – Elizabeth “Libba” Cotten wins the National Folk 1972 Burl Ives Award for her contribution to American folk music.

Elizabeth “Libba” Cotten (1895-1987), best known for her timeless song “Freight Train,” built her musical legacy on a firm foundation of late 19th- and early 20th-century African-American instrumental traditions. Through her songwriting, her quietly commanding personality, and her unique left-handed guitar and banjo styles, she inspired and influenced generations of younger artists. In 1984 Cotten was declared a National Heritage Fellow by the National Endowment for the Arts and was later recognized by the Smithsonian Institution as a “living treasure.” She received a Grammy Award in 1985 when she was ninety, almost eighty years after she first began composing her own works.

Born in Chapel Hill, North Carolina, Libba Cotten taught herself how to play the banjo and guitar at an early age. Although forbidden to do so, she often borrowed her brother’s instruments when he was away, reversing the banjo and guitar to make them easier to play left-handed. Eventually she saved up the $3.75 required to purchase a Stella guitar from a local dry-goods store. Cotten immediately began to develop a unique guitar style characterized by simple figures played on the bass strings in counterpoint to a melody played on the treble strings, a method that later became widely known as “Cotten style.” She fretted the strings with her right hand and picked with her left, the reverse of the usual method. Moreover, she picked the bass strings with her fingers and the treble (melody strings) with her thumb, creating an almost inimitable sound.

Libba married Frank Cotten when she was 15 (not a particularly early age in that era) and had one child, Lily. As Libba became immersed in family life, she spent more time at church, where she was counseled to give up her “worldly” guitar music. It wasn’t until many years later that Cotten, due largely to a fortunate chance encounter, was able to build her immense talent into a professional music career. While working at a department store in Washington, D.C., Libba found and returned a very young and lost Peggy Seeger to her mother, Ruth Crawford Seeger. A month later, Cotten began work in the household of the famous folk-singing Seeger family.

The Seeger home was an amazing place for Libba to have landed entirely by accident. Ruth Crawford Seeger was a noted composer and music teacher while her husband, Charles, pioneered the field of ethnomusicology. A few years passed before Peggy discovered Cotten playing the family’s gut-stringed guitar. Libba apologized for playing the instrument without asking, but Peggy was astonished by what she heard. Eventually the Seegers came to know Libba’s instrumental virtuosity and the wealth of her repertoire.

Thanks largely to Mike Seeger’s early recordings of her work, Elizabeth Cotten soon found herself giving small concerts in the homes of congressmen and senators, including that of John F. Kennedy. By 1958, at the age of sixty-two, Libba had recorded her first album, Elizabeth Cotten: Negro Folk Songs and Tunes (Folkways 1957, now reissued as Freight Train and Other North Carolina Folk Songs, Smithsonian Folkways 1989). Meticulously recorded by Mike Seeger, this was one of the few authentic folk-music albums available by the early 1960s, and certainly one of the most influential. In addition to the now well-recorded tune “Freight Train,” penned by Cotten when she was only eleven or twelve, the album provided accessible examples of some of the “open” tunings used in American folk guitar. She played two distinct styles on the banjo and four on the guitar, including her single-string melody picking “Freight Train” style, an adaptation of Southeastern country ragtime picking.

As her music became a staple of the folk revival of the 1960s, Elizabeth Cotten began to tour throughout North America. Among her performances were the Newport Folk Festival, the Philadelphia Folk Festival, the University of Chicago Folk Festival, and the Smithsonian Festival. Her career generated much media attention and many awards, including the National Folk 1972 Burl Ives Award for her contribution to American folk music. The city of Syracuse, New York, where she spent the last years of her life, honored her in 1983 by naming a small park in her honor: the Elizabeth Cotten Grove. An equally important honor was her inclusion in the book I Dream a World: Portraits of Black Women Who Changed America, by Brian Lanker, which put her in the company of Rosa Parks, Marian Anderson, and Oprah Winfrey.

Cotten’s later CDs, Shake Sugaree (Folkways, 1967), When I’m Gone (Folkways, 1979), and Elizabeth Cotten Live (Arhoolie 1089), continued to win critical acclaim. Elizabeth Cotten Live was awarded a Grammy for the Best Ethnic or Traditional Folk Recording in 1985.

Elizabeth Cotten continued to tour and perform right up to the end of her life. Her last concert was one that folk legend Odetta put together for her in New York City in the spring of 1987, shortly before her death. Cotten’s legacy lives on not only in her own recordings but also in the many artists who continue to play her work. The Grateful Dead produced several renditions of “Oh, Babe, It Ain’t No Lie,” Bob Dylan covered the ever-popular “Shake Sugaree,” and “Freight Train” continues as a well-loved and recorded tune played by Mike Seeger, Taj Mahal, and Peter, Paul, and Mary, to name a few. Libba’s recordings, concert tours, media acclaim, and major awards are a testament to her genius, but the true measure of her legacy lies with the tens of thousands of guitarists who cherish her songs as a favorite part of their repertoires, preserving and keeping alive her unique musical style. Research more about this great American and share with your babies. Make it a champion day!

GM – FBF – I love it when I come across a New Jersey talent. Keyport, NJ is where Juanita Hall grew up and Matawan, NJ was laid to rest.

Remember – ” South Pacific was the musical that made me a household name and I enjoyed winning the award. – Juanita Hall

Today in our History – April 9, 1950 – Wins Tony Award for Best Supporting Actress ( South Pacific).

Juanita Hall (née Long, November 6, 1901 – February 28, 1968) was an American musical theatre and film actress. She is remembered for her roles in the original stage and screen versions of the Rodgers and Hammerstein musicals South Pacific as Bloody Mary – a role that garnered her the Tony Award – and Flower Drum Song as Madame Liang.

Born in Keyport, New Jersey, Hall received classical training at the Juilliard School. In the early 1930s, she was a special soloist and assistant director for the Hall Johnson Choir. A leading black Broadway performer in her day, she was personally chosen by Richard Rodgers and Oscar Hammerstein II to perform the roles she played in the musicals South Pacific and Flower Drum Song, as a Tonkinese woman and a Chinese-American, respectively.

In 1950, she became the first African American to win a Tony Award for Best Supporting Actress for her role as Bloody Mary in South Pacific. She also starred in the 1954 Broadway musical House of Flowers in which she sang and danced Harold Arlen’s Slide Boy Slide. She played the role of Bloody Mary for 1,925 performances on Broadway at the Majestic Theatre beginning on April 7, 1949. Her co-stars were Ezio Pinza and Mary Martin. In addition to her role in South Pacific, she was a regular performer in clubs in Greenwich Village, where she captivated audiences with her renditions of “Am I Blue?”, “Lament Over Love”, and Langston Hughes’ “Cool Saturday Night”.

Prior to her acting roles, she assembled her own chorus group (The Juanita Hall Choir) and kept busy with performances in concert, on records, in films, and on the air. She auditioned for “Talent 48”, a private review created by the Stage Manager’s Club. Later, she performed on radio in the soap opera The Story Of Ruby Valentine on the National Negro Network. The serial was broadcast on 35 stations, and sponsors of the broadcast included Philip Morris and Pet Milk.

In 1958, she recorded Juanita Hall Sings the Blues (at Beltone Studios in New York City), backed by an astonishing group of jazz musicians including Claude Hopkins, Coleman Hawkins, Buster Bailey, Doc Cheatham, and George Duvivier. In 1958 she reprised Bloody Mary in the film version of South Pacific, for which her singing part was dubbed, at Richard Rodgers’s request, by Muriel Smith, who had played the role in the London production. The same year, Hall starred in another Rodgers and Hammerstein Broadway show, Flower Drum Song.

Hall married actor Clement Hall while in her teens. He died in the 1920s; they had no children. Hall, a diabetic, died from complications of her illness. She had been living at the Percy William Actors home in East Islip, New York. Leonard Feather gave a particularly moving tribute to Hall at the time of her death when he proclaimed her “an expert student and practitioner in the art of singing the blues”. Research more about this American Shero and share with your babies. Make it a champion day!