3,091 research outputs found
Polly Stewart Oral History Project: Interview with Hal Cannon
No full textRecording of an interview by Jennifer Bott and Polly Stewart with Hal Cannon, a participant in the Utah folk music scene of the 1960s. Jennifer Bott [now Bateman] served as sound engineer. Transcript by Laura R. Marcus [now Green]. One of the interview recordings that Polly Stewart and Jennifer Bott conducted for the Utah Folk Music Revival Oral History Project, 2004-20111. Hal Cannon background-education and early interest in folk music; 2. Learning to play music/playing in Stormy Mountain Boys, playing out; 3. Talking about repertoire in the Stormy Mountain Boys; 4. Passion for music; 5. Talking about studies at the University of Utah and Rhode Island School of Design/continuing to play music, Uncle Lumpy; 6. Talking about influence of national performers/reflecting on regional scenes; 7. Talking about newgrass; 8. Talking about the folk music social set in Utah in the 1960s/tappig into the national bluegrass scene; Talking about the band, Uncle Lumpy (and the Friends of Calvin Coolidge); 9. Talking about the folk music zeitgeist in the 1960s; 10. Talking about Tut Taylor as instrument dealer and Mormon Bishop, his dealings in the area/story of Hal Cannon\u27s Martin D-45 guitar; 11. Talking about the Deseret String Band/Bertram Levy connection/national old-time music scene in the 1970s; 12. Talking about the revivalist conundrum; 13. Deseret String band history/talking about being a folklorist; 14. Keeping up with music/current musical project
Polly Stewart Oral History Project: Interview with Wally Bryner, part 2
No full textRecording of an interview by Polly Stewart with Wally Bryner, a participant in the Utah folk music scene of the 1960s. Jennifer Bott [now Bateman] served as sound engineer. Transcript by Laura R. Marcus [now Green]. One of the interview recordings that Polly Stewart and Jennifer Bott conducted for the Utah Folk Music Revival Oral History Project, 2004-20111. Longevity of the Stormy Mountain Boys/Friendships among group members/versatility in singing roles; 2. Serving as Mission President in Mongolia/bringing Mongolian music back to Stormy Mountain Boys; 3. Wrap-up/talking about ceremony for giving Utah Urban Pioneers trove to repositor
Polly Stewart Oral History Project: Interview with Tom Carter
No full textRecording of Part 2 of an interview by Polly Stewart with Tom Carter, a participant in the Utah folk music scene of the 1960s. Jennifer Bott [now Bateman] was the sound engineer; transcript by Laura R. Marcus [now Green]. One of the interview recordings that Polly Stewart and Jennifer Bott Bateman conducted for the Utah Folk Music Revival Oral History Project, 2004-20111. Getting started on banjo; 2. Taking guitar lessons with Bruce Phillips and then Dave Roylance; 3. Gravitating towards old-time music-as opposed to bluegrass/learning the fiddle/playing in various bands/meeting Hal Cannon; 4. Talking about different bands and players in the 1960s; 5. Connecting with the counter culture aspect of folk music/"politics of the dispossessed"; 6. Talking about musical technique; 7. Talking about the sensibility of the folk music lifestyle; 8. Talking about the group photograph patterned after one of the New Lost City Ramblers; 9. Comparing old-time and bluegrass music and their related sensibilities; 10. Talking about Rhode Island days/playing in bands there/friendships with Hal Cannon, Leonard Coulson, and Skip Gorman; 11. Comparing old-time with bluegrass music; 12. Talking about a band with Chris Montague and Dick (Byron) Bron
Polly Stewart Oral History Project: Interview with Tanyu Howard
No full textRecording of an interview (part 2) by Polly Stewart with Tanyu Howard, a participant in the Utah folk music scene of the 1960s. Jennifer Bott [now Bateman] served as sound engineer. Transcript by Laura R. Marcus [now Green]. One of the interview recordings that Polly Stewart and Jennifer Bott conducted for the Utah Folk Music Revival Oral History Project, 2004-20111. Musical repertoire from childhood-mostly gospel; 2. Learning to play the autoharp; 3. Navigating the disease, Stiff Man Syndrome over the past ten years; 4. Talking about the name, Tanyu; 5. Finding musical companions at BYU/friendship with Byron; 6. Playing music informally/career paths in education and industry-design and manufacturing; 7. Joy in making things with his hand
Polly Stewart Oral History Project: Interview with Art Hansen
No full textRecording of an interview by Polly Stewart with Art Hansen, a participant in the Utah folk music scene of the 1960s. Jennifer Bott [now Bateman] served as sound engineer. Transcript by Laura R. Marcus [now Green]. One of the interview recordings that Polly Stewart and Jennifer Bott conducted for the Utah Folk Music Revival Oral History Project, 2004-20111. Background/childhood; 2. Getting interested in bluegrass/learning to play stringed instruments; 3. Playing with others/playing with the Stormy Mountain Boys; 4. Finding inspiration in the Kingston Trio; 5. Other musical influences/music in the family; 6. Playing with the Stormy Mountain Boys/band history/musicianship; 7. Other work in music/finding a career working in prison/bringing music to the prison; 8. Influence of national performers-Bill Monroe, Alan Munde; 9. Talking about playing by the book versus a more inventive approach; 10. Stormy Mountain Boys playing at festivals; 11. Hope that bluegrass continues on in future generation
Polly Stewart Oral History Project: Interview with Wally Bryner, part 1
No full textRecording of an interview by Polly Stewart with Wally Bryner, a participant in the Utah folk music scene of the 1960s. Jennifer Bott [now Bateman] served as sound engineer. Transcript by Laura R. Marcus [now Green]. One of the interview recordings that Polly Stewart and Jennifer Bott conducted for the Utah Folk Music Revival Oral History Project, 2004-20111. Background in folk music/playing folk music while serving in the army; 2. Learning to play bluegrass banjo/bluegrass music as proselytizing tool on LDS mission in Germany; 3. Learning banjo solos from listening to records; 4. Beginning medical school/playing with friends in a band/starting to sing folk music/building own banjo; 5. Becoming a member of the Stormy Mountain Boys/learning to play bass and sing/Stormy Mountain Boys history; 6. Stormy Mountain Boys recordings over the years; 7. Longevity and special dynamic of the Stormy Mountain Boys; 8. Bluegrass masters like Doyle Lawson and Earl Scruggs training younger musicians in their bands, perpetuating the tradition; 9. Concern for the preservation of traditional bluegrass music/changes and innovation in musical styles and recording aesthetics; 10. Talking about Stormy Mountain Boys bass player Tim Morriso
Polly Stewart Oral History Project: Interview with Jim Sorrels
No full textRecording of an interview by Polly Stewart with Jim Sorrels, a participant in the Utah folk music scene of the 1960s. Jennifer Bott [now Bateman] served as sound engineer. Transcript by Laura R. Marcus [now Green]. One of the interview recordings that Polly Stewart and Jennifer Bott conducted for the Utah Folk Music Revival Oral History Project, 2004-20111. Talking about work in photography; 2. Jim Sorrels talking about the guitars he has owned; 3. Talking about musical repertoire and performing activities during the folk era; 4. Writing protest songs about current events during the folk era; 5. Remembering the Intermountain Folk Music Council-activities and a booklet of songs published by the IFMC which included some of Jim Sorrels\u27s songs; 6. Remembering Dean Bentley as a supporter of the Intermountain Folk Music Council; 7. Talking about Rosalie Sorrels/talking about the Utah Urban Pioneers Concert and documentation of it; 8. Talking about continued interest in folk music after split with Rosalie Sorrels; 9. Talking about current health, bout with cancer; 10. Talking about studio and photography projects; 11. Reflecting on the Salt Lake City folk music revival/talking about the impact and experience of teaching guitar at the University for fifteen years; 12. Keeping up with the current music scene in Salt Lake City; 13. Talking about inspiration for protest songs that he has written/reflecting on former Salt Lake City Police Chief Cleon Skousen and his activitie
Polly Stewart Oral History Project: Interview with Chris Montague
No full textRecording of an interview by Polly Stewart with Chris Montague, a participant in the Utah folk music scene of the 1960s. Jennifer Bott [now Bateman] served as sound engineer. Transcript by Laura R. Marcus [now Green]. One of the interview recordings that Polly Stewart and Jennifer Bott conducted for the Utah Folk Music Revival Oral History Project, 2004-20111. General background; 2. Becoming interested in music/learning to play guitar; 3. Discovering the banjo/getting into bluegrass music; 4. High school bands, the Wind River Boys/playing in the Weiser Fiddle Contest; 5. Playing with Hal Cannon and Tom Carter, Uncle Lumpy; 6. Talking about the mindset required in playing and relationship to the music Playing music in college/forming bluegrass fusion band Puddle City in Portland, Oregon; 7. Dissolution of Puddle City/staying in touch with other band members Coming back to Salt Lake City/meeting and playing music with wife, Liz; 8. Talking about ways of "reading" music-sight-reading, tablature, by ear/music for banjo/learning, playing, and jamming styles; 9. Playing with Uncle Lumpy for Utah Urban Pioneers Concert Playing music with wife Liz and others/winding up interview; 10. Talking about music in the famil
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