Eden and John’s East River String Band have been playing, releasing CD’s and LP’s and touring America and Europe since way back in the days of old, around 2006 to be exact. The brain child of John Heneghan, Eden Brower was soon lured into the duo with promises of chocolate, a National Resonator Uke and her name being before John’s in their lengthy moniker.They play a vast spectrum of traditional American Blues, Country and Pop music ranging from the late 19th to the early 20th Century.
With John on vocals, guitar and mandolin and Eden on vocals, guitar, kazoo and the aforementioned resonator Uke, their love and reverence of old music shines through in every song. They have released four albums and often have special guests sitting in with them for their recordings and live performances, including Robert Crumb, the famed underground cartoonist who also does all the artwork for the band causing Eden to exclaim, ‘My legs are not THAT big!” to anyone who will listen.
The East River String Band has several projects coming out this year including a new album entitled, ‘Take a Look at That Baby” and they plan to play gigs from now until the end of time.
David Fricke of Rolling Stone Magazines said, “Eden And John cover country blues from the 78-rpm era with crisp fervor and a natural flair that suggests loving study and a respect for the original records”.
sleepy john estes yank rachel gary davis Robert Crumb R Crumb and his cheap suit serenaders Carolina chocolate drops dom flemons charley patton Mississippi john hurt blind lemon Jefferson son house gid tanner Charlie poole Memphis minnie Mississippi sheiks cannon’s jug stompers whistler’s jug band papa charlie jackson henry thomas skip james Gus Cannon sweet hollywaiians tommy johnson ernest stoneman peg leg howell blind blake leadbelly two poor boys mississippi sheiks bo carter tommy johnson R. Crumb East River String Band Dom Flemons Robert Crumb R Crumb and his cheap suit serenaders Carolina chocolate drops dom flemons charley patton Mississippi john hurt blind lemon Jefferson little hat jones gid tanner Charlie poole Memphis minnie Mississippi sheiks cannon’s jug stompers whistler’s jug band papa charlie jackson henry thomas charley patton skip james jim Jackson Gus Cannon sweet hollywaiians chubby parker papa charlie jackson jim jackson ernest stoneman skip james peg leg howell otis brothers he Dust Busters with Peter Stampfel The Little Brothers sleepy john estes yank rachel gary davis Robert Crumb R Crumb and his cheap suit serenaders Carolina chocolate drops dom flemons charley patton Mississippi john hurt blind lemon Jefferson son house gid tanner Charlie poole Memphis minnie Mississippi sheiks cannon’s jug stompers whistler’s jug band papa charlie jackson henry thomas charley patton skip james Gus Cannon sweet hollywaiians tommy johnson papa charlie jackson jim jackson ernest stoneman peg leg howell blind blake leadbelly Iam McCamy Ari Eisinger carolina chocolate drops hubby jenkins dom flemons
My name is John Tefteller-I have been buying and selling rare phonograph records for the past 35 years. I have a worldwide reputation for my knowledge of rare records, especially Blues 78’s.
My personal collection contains some of the rarest records on the planet. My auctions in Discoveries magazine have featured some of the rarest records on the planet. Many have sold for “record” prices. For top quality records, no one can top The World’s Rarest Records!
I have the world’s largest inventory of Blues, Rhythm & Blues and Rock & Roll 78’s with over 75,000 in stock. I also have a fabulous selection of over 100,000 45’s from the 1950’s and early 1960’s in the following categories: Blues, Rhythm & Blues, Rockabilly, Rock & Roll, Girl Groups, Surf and Country.
I am always interested in buying more rare records! I will pay top dollar for your rare Blues and Rhythm & Blues 45’s and 78’s in Near Mint condition. Before you sell your rare records to ANYONE, you should at least talk to me. I consistently pay the highest prices for records for my collection and am more than fair when buying for resale.
Why Sell Your Vintage 78 RPM Records to Joe Lauro?
IMMEDIATE CASH PAID.
FAST COURTEOUS SERVICE
WILL TRAVEL ANYWHERE FOR THE “RIGHT” COLLECTIONS. WE RECENTLY TRAVELLED TO HOLLAND TO PURCHASE A COLLECTION OF 3,000 VINTAGE 78 RPM RECORDS.
30 YEARS OF IMPECCABLE SERVICE AND REFERENCES
If you think you have the RECORDS WE BUY, use our simple 78 RPM RECORD INFO FORM to email or mail us a list of the Antique Records you have.
Joe Lauro has been collecting Vintage Shellac Records, Victrola Records and 78 RPM Records for 40 years. His collection of old 78 RPMs is known as one of the best in the world for circa 1925-1935 Jazz, Blues, Gospel and Country Music 78RPM Records.
Since 1975, Joe has held bi-monthly auction lists of duplicate records or recordings which he does not collect. He also sells old 78 RPM recordings from other collectors on consignment. His auctions are legendary amongst the small world of Vintage Shellac Record collectors.
Joe’s interest in old 78 RPM Blues, Jazz, Gospel and early Country music records began as a child. Home from school one day with the flu he turned on the old JOE FRANKLIN SHOW “MEMORY LANE”. Franklin, was a film and record collector and ran on the program a circa 1930 short film featuring EDDIE CANTOR… something about that film struck Joe and he began staying up late at night waiting for old re-runs of Eddie Cantor and Al Jolson films… and then, at age 15 began searching the local Antique stores (on his bicycle!) for their old Phonograph Records… I guess you can say it exploded from there!
If you want to sell your old 78 RPMs, Joe wants to buy them for his Vintage Shellac Record, Victrola Record and 78 RPM Record collection.
JOE LAURO’S HISTORIC MUSIC
We buy private collections & archives, store stocks and radio station libraries of 78 RPM records in these genres: 1920 and 1930s – Blues singers, Jazz Bands, Jug Bands, String Bands, Country, Gospel, Foreign (Greek, Turkish, Italian, Irish, Puerto Rican, Cuban Brazilian, African and more), and Soundtrack or Advertising Disks on labels like Okeh, Victor, Vocalion, Gennett, Brunswick, Paramount or Vitaphone. 1950s Rock & Roll, Blues Singers, Bebop Jazz, Rockabilly, and Do-Wop Vocal Groups on labels like Sun, Aristocrat, Dial, Gotham or Chance.
WE PAY TOP DOLLAR FOR 78 RECORDS IN CHOICE CONDITION! In addition to walk in collectors who frequent our three retail stores, we sell records by mail to all the serious collectors around the world, and in combination this gives us a solid customer base for both the rare and common records in your collection, allowing us to pay a premium for your records.
PRESERVATION We are not simply a record dealer or store. When we buy an important collection of 78s, they may become part of our ongoing preservation effort. We will transfer, remaster and add the important rarities in your collection to our website so future generations of passionate music fans can discover the amazing music of the 78 period.
DEPTH OF KNOWLEDGE
Our 78 buyer has 30 years of experience buying and selling 78s. He has purchased major 78 collections in the US and abroad, run worldwide mail order auctions and fixed price sales over this period, and will share his knowledge of the 78 market in an honest straightforward appraisal of your collection.
WE PAY FINDERS FEES
For any lead that culminates in the purchase of a quality collection of rare records by artists such as King Oliver, Bix Beiderbecke, Bessie Smith, Muddy Waters, Charley Patton, Charlie Poole, Charlie Parker or Charlie Feathers.
SELL YOUR 78 RPM RECORDS TO AMOEBA – CONTACT OUR 78 BUYER
Blues • Jazz • Country • Race Records •
Hillbilly Records • Foreign Records • Blues Singers • Jazz Bands • Jug Bands • String Bands • Gospel • Calypso • Cajun • African • Caribbean • Ethnic Music • Rock & Roll • Rockabilly • Doo-Wop Vocal Groups
I am Joel Slotnikoff, publisher of the BLUES WORLD web site. I have been auctioning 78 rpm records since 1995. During that time I have auctioned tens of thousands of rare records. I buy individual records and entire collections. I also accept records on consignment.
Many people contact me wanting to know the value of their 78 rpm records. The factors that create value are desireablility, rarity and condition. The most desireable categories of valuable 78 rpm records are pre-war blues, pre-war jazz and a few pre-war gospel and hillbilly records. Some of these, especially ones in good condition are worth into the thousands of dollars. There are also quite valuable post-war records of blues and rock and roll. The best publicly available price guide I am aware of is Jerry Osborne’s “Rockin’ Records.” It is available as a book and also as a (paid) weekly internet feed.
Most classical, dance band (1940s) and pop records have very little if any value.
To determine if your records have value you can email me a list. All I need to know is label and artist. If you have a great many records you could start by sending a list of 25 or 50 and that will usually give a good indication if the records have significant value. Of course there can always be on very valuable one in the midst of hundreds of worthless ones. Send your list to email@example.com and I will be glad to advise you if you are sitting on trash or treasure.
I can assist you in disposing of your collection of blues, jazz and hillbilly 78s, or that of a relative. I purchase collections outright and also accept records on consignment at favorable rates.
Record sellers who sell their records on eBay have a number of limitations:
1. In any given week (the normal length of an eBay auction) some collectors may be on line,
while others may be busy, tired or otherwise occupied.
2. And some collectors do not have internet or participate in eBay auctions.
3. Many collectors are skeptical of eBay auctions where records are sold by amateur sellers
who do not know how to properly grade the condition of a record.
4. Horror stories abound of records graded “Mint” that turn out to me in much lesser
condition, improperly packaged records that break in transit, and outright rip-offs.
By contrast, my hard copy catalog goes out to hundreds of top collectors in the United States, Europe and Japan. They have a month to look through the catalog at their leisure and submit their bids.
With their 2010 Nonesuch debut, Genuine Negro Jig—which garnered a Best Traditional Folk Album Grammy last year—the Carolina Chocolate Drops proved that the old-time, fiddle and banjo-based music they’d so scrupulously researched and passionately performed could be a living, breathing, ever-evolving sound. Starting with material culled from the Piedmont region of the Carolinas, they sought to freshly interpret this work, not merely recreate it, highlighting the central role African-Americans played in shaping our nation’s popular music from its beginnings more than a century ago. The virtuosic trio’s approach was provocative and revelatory. Their concerts, The New York Times declared, were “an end-to-end display of excellence… They dip into styles of Southern black music from the 1920s and ’30s—string-band music, jug-band music, fife and drum, early jazz—and beam their curiosity outward. They make short work of their instructive mission and spend their energy on things that require it: flatfoot dancing, jug playing, shouting.”
On Leaving Eden, produced by Nashville stalwart Buddy Miller—the go-to guy for artists ranging from Robert Plant to Emmylou Harris—and recorded in his home studio, the Carolina Chocolate Drops illustrate their own adaptability to growth and change as the original lineup expands from three to five players for this recording and their new repertoire incorporates more blues, jazz and folk balladry alongside brilliantly rendered string-band tunes. The group’s founding members Rhiannon Giddens and Dom Flemons, both singers and multi-instrumentalists, were used to working together (CCD had evolved out of their previous group, Sankofa Strings) but they needed back-up for their second full-length Nonesuch disc. Help came in the form of three new players: beat-boxer Adam Matta, introduced to the band by their friends in NYC’s Luminescent Orchestrii (with whom they’d released a live EP on Nonesuch in 2011) and Brooklyn-based guitarist, banjo player and singer Hubby Jenkins and New Orleans-based cellist Leyla McCalla, both of whom the band had befriended via the Music Maker Relief Foundation, which helps to support elder roots artists and encourage young talent. Jenkins is now a full-time member of the group; Matta, after touring with CCD throughout 2011, will make occasional guest appearances; and McCalla will round out CCD’s 2012 touring line-up.
Flemons points out: “There’s a new diversity that comes from the new ensemble. My thought process of how I put together songs for the Carolina Chocolate Drops now is more like working with a jazz group. I could make it work in any sort of way. Based on the players that you have, you can do different things with the arrangements. It was helpful that Hubby also played guitar. Up to then, I was the only one in the group who worked with chords. Rhiannon plays her instruments melodically instead of around chords and the rhythm of the chords. I had been working on ‘Mahalla’ [an arrangement of a joyfully upbeat piece from spoon-wielding South African slide guitarist and YouTube phenomenon Hannes Coetzee] for a while on my own, just on the banjo, and I would have liked to have guitar on it too, but I couldn’t get anyone to back me up. Hubby happened to know the song as well, so that track came out of Hubby being there. Adam brought a great, pumping bass vocal part to ‘Po’ Black Sheep,’ and ‘Country Girl’ also has Adam’s particular flavor—along with Leyla’ s cello.”
Title track “Leaving Eden”—written by Giddens’ friend and fellow Greensboro, North Carolina resident, Laurelynn Dossett—had long been on Giddens’ to-do list, but until now it hadn’t found a place in CCD’s set. With this new lineup, its time had come, and the song became the veritable centerpiece of the album. McCalla’s cello lends gravity to this elegiac number about the falling fortunes of a mill town, sung with plainspoken eloquence by Giddens, one of several stunning vocal performances from this Oberlin Conservatory-trained singer.
Giddens brings a hip hop-style, declamatory flair to her self-penned “Country Girl,” egged on by Matta’s beat-boxing; she takes an overtly bluesy turn on Ethel Waters’ wry 1920′s-era confession, “No Man’s Mama;” and concludes the album with a powerful a capella rendering of “Pretty Bird” by the late Hazel Dickens, the West Virginian bluegrass singer-songwriter and activist (and spouse of roots music champion Mike Seeger). Giddens admits, “It’s not in the style I usually sing in. I first heard that song about seven years ago. I was in Scotland and I checked this CD out of the Edinburgh library, and I thought it was awesome. This song is not one I perform a lot because it’s so intense; I’ve only done it on stage a handful of times. Hazel had just passed recently, so I pulled the song out and said, ‘Hey, Buddy, how about this?’”
Miller had come recommended by several colleagues whose opinions Flemons and Giddens trusted, but, for Flemons, knowing that Miller had produced the late Solomon Burke’s Nashville album sealed the deal. The easy-going Miller served as editor and arbiter over the course of two separate weeks of sessions, as the revamped group pored through existing repertoire and new ideas. The performances were all captured live in Miller’s home studio, with everyone playing together in one room, resulting in a recording that has a palpable warmth and immediacy as these players found an instinctive, unified groove. As Flemons recalls, “When we did the first session with Hubby, Adam, Rhiannon and myself, we just cut everything we’d put together in the short period we had. From there, we had about half a record’s worth of stuff and we all had to take a step back and think about how we wanted to approach the rest of it. When we went back to Nashville, we rented an old house and did a week-long rehearsal. It was a melee of tunes, everything we were thinking about. We had about 18 tunes on top of the ones we’d already recorded and we gave them to Buddy; he sat down and figured out what pieces he thought would be the most effective. We went back to the studio in Buddy’s house again and did another week’s worth of recording, and that was the rest of the record. We worked until the last possible minute.”
The neophyte Jenkins, who learned his craft busking on the streets and in the subways of New York City, admits the first session, for him, was initially “very nerve wracking. I had only been in the group a month. I was still getting to know these people and they were getting to know me. It was a week when we got to really dig into each other’s musical philosophies and the way we think about music and approach music and how we can mix those together and just bond. And the first recording session turned out to be just great. Buddy’s style is very open, he’ll let something happen and watch something grow. That was definitely necessary for us on that session. Before the next session we spent a week where we just played together. We each brought some songs and sat around every day and when through them, bounced ideas off each other, got excited about things. And I felt like that was really the key to creating the band’s sound, that one week in Nashville when we had the house together and just played every day. By the time we came in for the second recording session, we had a more concrete idea of who we were as a band and what we wanted to do with that sound. And Buddy Miller was ready to take it on.”
Though often striking out in new directions, CCD return to familiar turf with tracks like “Riro’s House,” a traditional piece they’d learned from their mentor, 90 year-old North Carolinian fiddler Joe Thompson, and “West End Blues,” paying tribute to the venerable Piedmont guitarist and banjo player Etta Baker. Once again they break out such unique instrumentation as jugs and bones; Giddens records for the first time with a 5-string cello (or bass) banjo, while Flemons employs his quills, a pan-pipe instrument of African origin with a distinctive Irish pennywhistle lilt to it
“We want to remain true to the roots of how we started,” Giddens explains. “We’re always going to have a string band on our records. But we don’t want to just do Piedmont style fiddle-banjo-guitar tunes; there’s more to our musical life than that. We grow in a healthy, slow way that reflects our true development as musicians and as a band.” Over the past year, CCD have played to a remarkably wide range of concert-goers, with appearances at the Newport Jazz Festival, the Grand Ole Opry, the Cambridge Folk Festival in London and as part of the Dave Matthews Band Caravan, among many other events. Continues Giddens, “We’ve held on to our original fans and we’ve now got a lot more younger people coming to our shows and more people of color, which is fabulous. We’ve been working off that actively, doing stand-up shows where we cut the talking down a bit, keep the tunes coming, and get everybody dancing. And we still have our shows where we sit and talk about the material, do our slow waltzes and stuff like that. It keeps everything flowing.”
— Michael Hill
We’re about to be a part of the biggest bluegrass festival at sea and we’d love for you to join us! Mountain Song Productions is partnering with Sixthman to fill an entire luxury cruise liner with more than a dozen bluegrass and acoustic artists including David Grisman Sextet, Del Mcoury Band, Carolina Chocolate Drops, Steep Canyon Rangers, Tim O’Brien, Bryan Sutton, Kruger Brothers and many more!
Mountain Song at Sea will set sail February 1-4, 2013, from Miami to Great Stirrup Cay, Bahamas aboard the Norwegian Sky, a luxurious ship full of all the amenities you’d expect – pools, hot tubs, a casino and music on multiple stages, around every corner. There’s something special that happens when a group of artists who share a passion for their music and a community of like-minded fans gather together to journey aboard one ship. Mountain Song at Sea will provide experiences that you can’t get anywhere else – shows with your favorite artists in intimate venues, spontaneous artist collaborations, jams, interactions with artists and through it all the creation of friendships and your own Mountain Song at Sea community. Artists will host Q&A sessions and other activities, like a poker tournament, beer and wine tastings, workshops, games, and more!
You’ve never seen this many bluegrass fans at sea! The entire ship has been chartered for the inaugural Mountain Song at Sea festival, and will be full of like-minded fans just like you. Every person on board will be there for one thing: to live and breathe all the amazing music for three full days! So prepare to sail on the greatest music festival celebrating the traditions, the legends and new evolutions of bluegrass! Reserve your spot for just $145pp down and for you families, kids sail free! Check out www.mountainsongatsea.com to find out more details about the event and how you can be a part of the pre-sale and get yourself onboard!
See you there!
Sweet Hollywaiians are based in Osaka,Japan.
They were originally street musicians who share a common passion of Hawaiian, Swing, Ragtime, Blues, Calypso and Italian for the 1920s~1930s string band tradition in collecting the music of long forgotten legends like Sol Hoopii, King Bennie Nawahi, Roy Smeck and Eddie Lang.
This string quartet containing a dozen of string instruments like a Hawaiian steel guitar (a lap steel guitar), banjo, tipple, ukulele, mandolin, a bass and guitars. Most of the members are multi-instrumentalist and they change their instruments song by song.
Since they founded their band in 2002, so far they have released four Albums, “Ticklin’ The Strings”, “Hula Girl”. ” ‘O Surdato ‘nnammurato”, “Maile Swing”. And they have gone to many over sea live performances and earn the great reputations from the audiences in the U.S.A, Canada, France, Belgium, Netherlands and of course Japan.
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