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Off 29Aug and 5Sep, but We Have a Surprise—Ol’ Sinc!

Dr Janie and I have to go down to Maryland to help clear everything out of my parents’ home, now that both my father and mother are gone.  My mother survived only three months past her 101st birthday (see HERE for the 100th), and none of her three sons can take over the house and property (10 acres in Montgomery County), so they must be sold (see HERE for a photo of the house).

We’ll be airing what I call Generic Hours on Saturday August 29th, and again on Saturday September 5th—but, for the first time, we’re going to air two GHs that I recorded with my friend and colleague, Ol’ Sinc (Brian Sinclair).  I’m not sure of the dates; it was probably in 2000.  Sinc had (and has) a lot of fans in the Hillbilly listening audience, and even if you’re a newbie (by HAH standards), you’ll enjoy hearing some of Sinc’s razor-sharp wit and memorable quips.

Ol' Sinc and Danni Leigh at some local club (date and photographer unknown).

Ol’ Sinc and Danni Leigh at some local club (date and photographer unknown).

We’ll probably have one hour in the 11:00 AM slot on each Saturday.  Circle those two dates on your calendar, and if you’re not going to be near your radio (or computer, or iPhone), see HERE for instructions how to record HAH on your Mac or PC.

In honor of the photo of Sinc and Danni Leigh (who was clearly too country for ‘country’ radio), here’s one of the tracks we liked to play—should pull it out again!  /CL

HA’pennings: Bruce Millard and Wayworn Travelers Coming By

Wayworn TravelersOld friend Bruce Millard (Hokum’s Heroes) has put together a new band focusing on music of The Carter Family.  They’re playing at Club Passim Thursday, 6Aug15.  Bruce will be bringing some members of the band to HAH this Saturday (1Aug15), about noon.  I’m looking forward to hearing them.  Bruce is long an exponent of old-time country, blues, and the roots we love, so I expect good things.

The impressionistic photo of the band (above) is neat; details in the picture below (is that Lowell House?)/CL

Wayworn Travelers showUPDATE: That was a fun, impromptu session, with Bruce sitting next to me, Elijah perched on the countertop behind with an autoharp (the first on WHRB?), and Anita somehow squeezed between Bruce and the counter.  Despite the small space and the overly-warm studio, they sounded great, and I heard compliments about Anita’s clear, delightful vocals.  Hope they keep gigging, and hope they come back to HAH soon. /CL

In Maryland This Week: Pre-recorded Show

FYI, I took Amtrak Northeast Regional No. 93 to DC on Wednesday, in order to help with the melancholy task of inventorying the decades of stuff in my parents’ home.  Won’t be back in time for the show Saturday, so enjoy some pre-recorded Generic Hours.  You may not have heard them all before.  I’ll be back next week.

In the meantime, here’s a bonus photo, from an earlier trip:


On the Northeast Corridor, looking south toward the Hell Gate Bridge, and New York City, 20Jan14 (Photo copyright © L. E. Joiner).

HA’pennings: “The Kelley Gibson Story” (Kickstarter Project)

Received this note from Ken Irwin (co-founder of Rounder Records) Thursday to WZBC’s Cousin Kate and me with news about a film documentary on Eric Gibson‘s son Kelley (Eric is of course half of The Gibson Brothers):

Dear Friends,

My apologies if you’ve already seen this inspiring clip about Kelley Gibson, Eric Gibson’s (of the Gibson Brothers) son, who is autistic and is also a very talented musician.

Anyway, the clip tells the tale, and a director has stepped up, who would like to do a documentary about Kelley.

Click HERE to get to the website and play the video clip.

Click HERE to get to the website and play the video clip.

The link to the Kickstarter campaign is below, in case you’d like to contribute and spread the word.  There are only 10 days remaining [ends Sunday, July 5th, at 5 PM EDT].  I don’t know if it’s possible to spread the word on the air but thought it was worth sending along as I know you both run into a lot of people who would have an interest.

I think it’s a really worthwhile cause and the end result, the documentary, should be really interesting and inspiring.

Having met Kelley at a festival last summer, and watching him interact with others and jam with other musicians, I was very impressed and very moved.

Again, sorry if you are already aware of this campaign, and if I’m just being redundant.  Wouldn’t be the first time!



Click HERE for the short video and information about the Kickstarter project.  Ken says to add Marian Leighton Levy‘s name (also Rounder co-founder) as well.  I’ll mention it on the air. Remember, the deadline is July 5th. /CL

Tex Logan (1927–2015) — Part II

Part I is HERE.

Levels: 28, 1.25, 255; output 245 Unsharp mask: 135, 1.5, 15 Brt -8 (or more); Con +3 Full frame

Tex Logan and Everett Lilly at the Newport Folk Festival, 1965. Copyright © John Byrne Cooke, used by permission.

It was Tex Logan‘s association with Wilma Lee and Stoney Cooper that led him to Bill Monroe in 1951, and the recording of his song, now a bluegrass and country standard, “Christmas Time’s A-Comin’.”  Richard Thompson, in his Bluegrass Today remembrance, describes it:

. . . That summer, his draft into military service imminent, [Tex] Logan spent the summer working with Wilma Lee and Stoney Cooper once more.  His last show with the Coopers was in October 1951 at a coliseum in Baltimore. Also on the bill were Bill Monroe and the Blue Grass Boys, Flatt & Scruggs, Cowboy Copas and Wayne Raney.

An admirer of Bill Monroe’s, Logan now had an opportunity to meet and talk with Monroe. While working with the Lilly Brothers, Logan had written a Christmas song, his signature song Christmas Time’s A-Comin’, with Monroe in mind. With the help of Buck Graves, Logan played and sang the song for Monroe, who agreed to record it.

Later Logan taught Monroe the song and arrangements were made for Logan to play the fiddle on the cut. Unfortunately, due to automobile trouble, Logan was unable to get to Nashville in time for the recording session. Later Monroe played the recording during a telephone call to Logan, who approved the performance.

The session at the Castle Studio, 28Oct51, in the Tulane Hotel in Nashvile featured Bill (lead and mandolin), Edd Mayfield on guitar and harmony, James Bowers on banjo, Shorty Sheenan on bass, Owen Bradley on vibes, and Gordon Terry playing the fiddle.  Here’s the Decca record:

Frank Lane later recounted that he and Pete first played the song with Tex when “woodsheddin'” at home, before Bill Monroe; much later, in the 1980s, they recorded it privately with Tex at Frank Lane’s studio in Florida.

Tex got his MSc from MIT in 1956, and then went to work for Bell Labs in New Jersey.  He worked toward a PhD at Columbia at night, and received it in 1965.  At Bell Labs he was ‘Ben’, where (to quote the obituary by Daniel E. Slotnik in The New York Times)

As an engineer and mathematician, Dr. Logan patented a device that reduced echoes over telephone lines with his Bell Labs colleague John Kelly and, with the mathematician Lawrence Shepp, devised mathematical methods to interpret CT scan data into accurate images. His studies helped make it possible for chemists and astronomers to draw accurate interpretations from incomplete data.

Dr. David Donoho, a professor of statistics at Stanford University, said that Dr. Logan’s two careers were not as incongruous as they seemed. In an interview on Friday he described Dr. Logan’s scientific studies as attempts to break signals into their simplest parts and his music as creating complex sounds out of simple notes.

“His day job was analysis,” Dr. Donoho said. “His night job was synthesis.”

Tex-Bell nwsltr

Bell Labs Newsletter, 1966; from left: Bill Monroe, Tex Logan, Mike Seeger, Winnie Winston (?). From the Jim Moss Official Bluegrass and Swing Music Magazine, for April 2008.  — Caption reads: “This was provided by Tex Logan’s daughter, Laura (Bitsy) Logan.  She says that Tex does not play much fiddle these days, but that he was playing with Peter Rowan in the 80’s.”

Tex’s musical sideline even made the Bell Labs Newsletter in 1966 (see right), which concludes with Ben saying, “Music leaves a door open for you into another world—to escape from math and engineering once in a while.”

He never stopped playing.  In 1959 he sat in with Wilma Lee and Stoney Cooper at Sunset Park in West Grove, PA, where he met Mike Seeger, and later that year recorded “Katy Hill” and “Natchez Under the Hill” for Mountain Music Bluegrass Style on Folkways.  The connection with Mike and The New Lost City Ramblers led to the Newport Folk Festival in 1963, and again with The Lilly Brothers and Don Stover in 1965.  Record producer Paul Rothchild recruited Tex to record with The Charles River Valley Boys for their second Prestige LP.

Fred Bartenstein, who later came to Cambridge, worked with Nancy Talbott and the Boston Area Friends of Bluegrass and Old-Time Country Music, and as ‘Hillbilly Fred’ co-hosted Hillbilly at Harvard for a time, grew up near Tex Logan and in his teens got to know him well; in a remembrance in Bluegrass Today, Fred recounts:

As I was then too young to drive, Tex took me along on a number of his bluegrass road trips, including Carter Stanley’s Memorial Concert in early 1967 at the University of Maryland, and Bill Monroe’s first Bean Blossom festival later that year. On those trips, I revelled in Tex’s stories of the early days of country music and the people he knew or had played with (those mentioned above plus Hawkshaw Hawkins, the Lane Brothers, Pete Cassell, and Bill Monroe). I think Tex Logan was Bill Monroe’s closest friend, and the only person I ever saw who could push Bill into a different (usually quicker) tempo. . .

Besides Fred’s memories, the Bluegrass Today article “Tex Logan Remembered” also features remembrances from Everett Lilly, Jr., who recounts some of his encounters with Tex, including a Lilly Brothers trip to Japan in 1978; from Peter Rowan, with whom Tex played occasionally after Pete’s stint with Bill Monroe; and from Bluegrass Boy Doug Hutchens.

Tex also played in 1969 at the Camp Springs Festival in Reidsville, NC, where Carlton Haney presented a marathon History of Bluegrass, focusing on Bill Monroe; Carlton brought one famous picker after another on stage to play with Bill, including Tex Logan.  Looking for live cuts featuring Tex, I came across a series of recordings from that festival, hosted by Fred Robbins on his website, HERE.  The audio of the first tape is poor, but 2 and 3 are eminently listenable, and an extraordinary record:

Story of BG, Camp Springs,  part 2
Story of BG, Camp Springs, part 3

Each page displays the list of songs and performers, so go there and be prepared to spend some time.

Tex and Bill Monroe had a long association, focusing on Tex’s famous barbecue parties at his home in Madison, New Jersey, and at Bill’s Bean Blossom Festival, as Richard Thompson describes:

Logan was renowned for his wonderful parties, although lesser known was the fact that he was a great cook. His barbecue parties at his rather grand Madison, New Jersey, home were in honor of Bill Monroe and were attended by many other professional bluegrass musicians as well as some fans.

Julian ‘Winnie’ Winston described them thus ….

“When the food was well on its way to being digested, and night began to fall, everyone went inside to his spacious den, where they were treated to an hour-long show by Bill Monroe and his whole band. As the hour drew to a close, Bill often called others up to play, and the playing continued until daybreak.”

Logan developed a friendship with Bill Monroe and the Father of Bluegrass Music invited him to bring his barbecue to cook at Monroe’s June Bean Blossom festival. For nine years starting in 1969 Logan oversaw the Barbecue Bean Day, when he dished up a free meal of beans, onions and bread for the patrons.

He played the fiddle at the festival with any band that was happy to have him on board and, often he had his own show backed by the Blue Grass Boys.

Here are Tex and Bill playing “Katy Hill” together at Bean Blossom:

Finally, Jim Rooney has graciously given me permission to reprint a remembrance of Tex that he posted in one of his Facebook pages:

I first laid eyes on Tex in 1953. It was in the studios of WCOP in Boson. My buddy Dick Curley and I had found our way in to the radio station after hearing The Confederate Mountaineers (Everett & Bea Lilly, Don Stover & Tex) on their daily radio broadcasts and deciding that we wanted to see them in person. Tex cut quite a figure, tall and handsome in a Clark Gable sort of way, and very physical as he moved in on the mike with his fiddle. When he played, he put everything he had into it. I’d never heard anything like it before—or since. I wouldn’t have known it then, but I was witnessing a totally original musician. The one and only Tex Logan.

In the weeks following I saw Tex several times on the Hayloft Jamboree shows at Symphony Hall or, most memorably, on the night of my brother John’s graduation from Harvard, at a joint called the Mohawk Ranch on the corner of Dartmouth Street and Columbus Avenue in Boston. Even in a place like this, Tex would give you something to remember him by. It was a sound that would get in your head and stay there.

In subsequent years I saw Tex when he sat in with Bill Monroe in New York in late 1962 and later in 1964 in Boston. At a party after Monroe’s concert in Boston Tex jammed all night with Joe Val, Peter Rowan and myself. Tex wouldn’t stop. He kept going. He wouldn’t let his fiddle go. It possessed him.

Over the years we became friends. Tex and his daughter Jody came to Bill Monroe’s festival at Beanblossom, Indiana, every year. Whenever Bill Monroe was in the New York area, Tex would have a big party for Bill at his house in Madison, NJ. Tex would take a couple of days off from work (from the Bell Labs where he was dreaming up communications gadgets which would change our lives). He would put on a white lab coat and spend two days cooking up Texas barbecue. A couple of hundred people would come—musicians from all over the Northeast, co-workers at Bell—and after we all ate, the music would start. Tex had a big Tudor-style house with a big room in the middle just right for music. He’d have a sound system set up, and off we’d go. The whole point of the night was to stay up until dawn with Tex and Bill Monroe. It was a “take no prisoners” situation. I think that those times were what Tex lived for. He had to go to the limit.

For about 10 years I had my 50th birthday party at the Station Inn. One year Tex and Jody were in town and I invited them to come on. To my great surprise they did come down, bringing Bill Monroe with them. Needless to say, that might have been my best birthday present ever! But Tex did something I’ll never forget. He asked if he could use the telephone and called his wife Peggy up and held the telephone up the entire time so she could hear our set with Bill Monroe! Only Tex Logan would have done that.

In the early ’80s Bill Keith, Peter Rowan and I did some tours in Italy. We especially loved playing in Naples where the people are very warm and demonstrative. One night we were talking and it occurred to us that the Neapolitans would really take to Tex and his playing. The more we thought about it, the more we liked it, so we called Tex up and invited him to come with us for our next visit to Naples. We played in a big tent which held about 1500 people. From the moment Tex started to play they were on their feet, whistling, yelling. Tex’s music was their music—from the heart, from deep down inside.

Tex Logan, Peter rowan, Bill Keith in Naples

From left: Tex Logan, Peter Rowan, Bill Keith in Naples, c. 1981. Photo by Dino Luglio. From Jim Rooney; used by permission.

The last time that I saw Tex was at his 85th birthday party organized by Jody. It was a wonderful night of music, but the highlight for me was when Tex got up and played “Sally Goodin” for about twenty minutes. He took his time getting up. As always, he was dressed impeccably—hat on at just the right angle, pants with a crease you could cut butter with, boots shined. He fussed with his fiddle, fussed with his amp, started playing, making faces because it didn’t sound right, then he leaned into it, he bore down, and never let it go. There it was. That sound. That Tex Logan sound. Cross tunings like nobody else had. He pushed it. He pulled it. He finally let it go. That was it for me. Nearly 60 years earlier I had first heard that sound. It pulled me into the path I have followed ever since. Thanks, Tex.

P.S. I’m supposed to say, “Rest in Peace.” but that wasn’t Tex’s style. He was full of energy and restlessness. Always reaching. But he’s got lots of time and space to move around in now–to keep reaching for that sound he always heard in his head.

Much love to Jody—a better daughter no father ever had.

—Jim Rooney

On April 24th, this note from Jody Logan was posted on a Folk, Bluegrass & Traditional Music page:

RIP Dad passed away peacefully just 30 minutes ago in my arms. I was singing “Wayfaring Stranger” and told him to let himself go and cross over … I am at hospital hugging him one last time … I will make funeral arrangements later I was blessed for 58 years I will always be your little girl.

On June 20th, 1966, at Tex Logan’s home in Madison, NJ, Bill Monroe along with Peter Rowan sang the “Wayfaring Stranger,” a memorable performance which fortunately has been preserved.  The whole concert is on YouTube, HERE.  It’s about an hour and a quarter; click ‘More’ and you’ll see a list of songs; “Wayfaring Stranger” is number 13, about 46:50 into the recording.  It has also been released on a Smithsonian Folkways CD, Bill Monroe and the Bluegrass Boys: Live Recordings 1956–1969; Off the Record Volume 1 (SF CD 40063).  The recording features Peter Rowan on guitar, Don Lineburger on banjo, James Monroe on bass, Gene Lowinger, Tex Logan, and Richard Greene on fiddles.  /CL