Thoughts on the J. H. Carter recordings

[Buell Cobb]

(Also posted on Facebook)

Fearless singing. Fearless. (Love Bob Denson's "Now!" the split second before a plunge.) For the singers, no thought at all of "authentic." It is the thing itself. Breathtaking tempos. (Take a gander at "Morgan," 3rd song on Side 1 of the singing at Oneonta, Nov. 30th, 1958), Or on some songs, slower than we ever hear them now, moving around inside each spacious note (Try "Ortonville," 8th selection at Liberty, Tape 2, Nov.10, 1956).

Minor music that's really minor, tinglingly so with its bent notes and scoops (and major that can sound a little minor itself!). What Judy Hauff famously called the "Sacred Harp shuffle," syncopating regular 2/4. And sometimes inescapable alto (!). We'll hear "Halleluyer," "Hosanner" and "Jurdan" and other things -- before "we" all showed up to straighten things out a bit...

And traditional formats. Happily, over the decades, we've made Leading a more democratic institution (by trimming songs and lessons), with each singer present being given the opportunity (and expectation). But here each song gets its full due, virtually every repeat taken. And 2-song lessons from the leaders, even at big singings and conventions.

Probably few of us will have time to listen patiently to the entirety of this material. I suggest sampling, stopping to take in ones where the balance is good, with stray voices subdued, or where the song selections are pleasing. If you weary of fastest tempos, take a break with the singing April 12, 1959, from Antioch Church near Ider, stronghold of the Wootten family, where blend of sound was prized. Or finally, for just mellow Sacred Harp, listen to the small-group singing at Leonard Lacy's home, the next-to-last tape. Leonard in his prime was the great singing master in the northeastern corner of the state, and his wife is here with the lilting tribble. Probably Mr. & Mrs. Carter are singing, too. 

Maybe also Noah & Margie Lacy? Lindburg? Reba Dell might be able to guess at it...

The origin of this project: A mutual friend suggested that Vera Carter Floyd get in touch with me about the recordings she had never been able to hear. I immediately thought of and contacted Nathan Rees. And I cannot credit and thank him enough, on behalf of all of us, for many hours of superb work to bring these to us (with help from Seth Langer and Keillor Mose). As well as other editing, re-mastering, as I understand it, was required to get the proper pacing. The thrilling surprise for me is the fidelity of sound!

Vera's grandfather never shared with her his thoughts about the recordings. She guesses that he stopped recording in early 1960 for health reasons. In time, her father, now gone, ended up with the tapes, and then her brother, who shared them with her. Obviously, Mr. Carter was recording for posterity; care was taken to signify dates, locations, song selections. But could he have imagined us, at this far remove, being stirred by what he so clearly loved?

Buell Cobb

Birmingham, AL

[Baltimore Shape Note Singing]

Thank you for these "thougths" I'm been listening to these.
Some of these recordings, notably "Shape Note Singing at Freeman Wootten's Home, Apr. 24, 1959", have original compositions by J.H. Carter. Maybe it's stated somewhere and I've missed it, but have the printed tunes been made available or preserved anywhere?

[Buell Cobb]

> ,,,have the printed tunes been made available or preserved anywhere?

No, apparently.

.

Buell Cobb

Birmingham, AL

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