FRC 209 - Dink Roberts: African American Banjo (Recordings from the collection of Bob Winans) | Dink Roberts

FRC 209 - Dink Roberts: African American Banjo (Recordings from the collection of Bob Winans)

by Dink Roberts

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	1.	Buffalo 01:16
	2.	Laid Poor Jesse in His Grave 01:44
	3.	Georgia Buck 01:14
	4.	Fox Chase 02:48
	5.	Unknown tune 01:22
	6.	Talk about dances 01:33
	7.	Talk about banjo style 00:57
	8.	Old Corn Liquor 00:31
	9.	Talk about dances 00:34
	10.	Coo Coo Bird 00:49
	11.	Black Eyed Daisy 00:37
	12.	Talk about music sources 01:07
	13.	I Shall Not Be Moved 01:07
	14.	Black Annie 00:52
	15.	Buffalo 01:21
	16.	Talk about right hand 00:20
	17.	Buffalo - additional verses 00:32
	18.	Talk about banjo technique 00:21
	19.	Buffalo 01:02
	20.	Jump Jim Crow 00:25
	21.	Jump Jim Crow 00:26
	22.	Roustabout 00:39
	23.	John Hardy 01:00
	24.	John Hardy 00:52
	25.	Talk 00:28
	26.	John Henry 00:53
	27.	Talk about older musicians 01:06
	28.	Laid Poor Jesse in His Grave 01:36
	29.	Little Brown Jug 00:49
	30.	John Henry 00:53
	31.	Laid Poor Jesse in His Grave 00:49
	32.	Black Annie 00:56
	33.	John Henry 00:53
	34.	Coo Coo Bird 01:07
	35.	If You Don't Like the Way I Do 02:12
	36.	James Roberts' Tune 00:58
	37.	Buffalo - with talking 00:55
	38.	Buffalo 01:20
	39.	James Roberts' Tune 01:51
	40.	Motherless Child 01:16
	41.	Black Annie 00:42
	42.	Julie Got a Rambling Mind 00:38
	43.	Julie Got a Rambling Mind 01:05
	44.	Down to the Spring 01:08
	45.	Sitting on Top of the World 02:31
	46.	Sitting on Top of the World 00:41
	47.	Coming Round the Mountain 00:54
	48.	Fox Chase 00:38
	49.	Buffalo 01:38

about

(From the collection of Bob Winans)

In the mid-1970s, while I was researching and writing about the connections between minstrel banjo and clawhammer/frailing banjo, other researchers (Bruce Bastin, Kip Lornell, Cece Conway, Tommy Thompson, and Mike Seeger) had been discovering and recording African American banjo players. Early in 1978, feeling a need to gain first-hand knowledge of these banjoists, I embarked on a trip to interview and record a number of them, with the assistance of Kip and Cece who generously introduced me to players they had been working with. One of the most important of these African American banjo players was Dink Roberts (1894-1989), whom I recorded outside his home in Haw River, NC. His playing sounds noticeably different (among other things, more rhythmically complex, i.e., “syncopated,” for lack of a better term) than that of southeastern white banjoists contemporary with him, so much so that when I first heard recordings of his playing I mistakenly thought he did not know what he was doing. But further listening and then visiting him convinced me that he was fully in control of the musical effects he wished to create; he was just operating from a different aesthetic. His playing was, in the most positive sense, “archaic,” and an essential link to an earlier African American playing style (he learned from black banjoists born in the 1870s). Dink’s music is truly “roots music.” – Bob Winans

credits

released November 19, 2015

Dink Roberts (tracks 1-29, 34-35, 37-38, 40-49), James Roberts (tracks 31-33, 36, 39).

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