https://www.johnbyrnecooke.com/about daily 0.75 2020-04-30 https://www.johnbyrnecooke.com/contact daily 0.75 2025-02-27 https://www.johnbyrnecooke.com/gallery daily 0.75 2025-01-24 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/1587964938902-HS9T7GOSEBLLWZTGCEC5/Leonard+Cohen+Copyright+.png Gallery Leonard Cohen https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/1588014930501-PHSPJECFYFX9NDWF8PEQ/Janis%2B4.jpg Gallery https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/1588035779148-VML2FSCDMW28B8JD7X8F/Joan+Baez+1.png Gallery https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/1588035894881-J2K0752S9XHMFPBFIFCP/Janis%2B1.jpg Gallery https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/1588035982519-WKECEY7A9CULIGK53DD4/Janis%2B3.jpg Gallery https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/1588036011003-HU4RF9974B03TA2UNQ2C/Bob%2B%2526%2BJoan.jpg Gallery https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/1588177636360-093DQGQ0O7H102QFISC5/Bob%252525252BDylan%252525252BMotorcycle.jpg Gallery https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/1588177677570-4MB54STWGDU4USWINII7/Bob%2BDylan%2BPool.jpg Gallery https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/1588181913769-S5K49PH22BPAT2A0GBXA/Janis%25252B2.jpg Gallery https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/1588181474824-VNGWSHFG67CZA9KQAJG8/Janis%2B%2526%2BSam-2.jpg Gallery https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/1588181500984-QEI9GL47MHIUQGSHZNAY/Janis%2B5-2.jpg Gallery https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/1588180459340-QDIWPLL5E90H2YYW07ZD/Janis+6-2.png Gallery https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/1588180459873-FNRO6VEQWF9OAW1IB4WG/janis+8-2.png Gallery https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/1588180458888-ZCQMVIUV4QSKP32A9FDV/Janis+Motorcyle-2.png Gallery https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/1588180458623-7GB78PRBVCSNPFIURUI5/Janis+Rothchild-2.png Gallery https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/1588180460658-VJSMDK7GD7F3IOOKNX9C/Janis-2.png Gallery https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/1588182180518-7B3Y5V0Y7EI9LBQ2IAM5/Jimi-2.jpg Gallery https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/1588180461125-4CF100LDELDLQ6J4LOEB/Joan+Baez+2-2.png Gallery https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/1588180460732-CZONDA0OTTC15AC17Q29/Joan+Baez+4-2.png Gallery https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/1588181931073-EJZTW5LAWFFMA2DJ4SBW/Michelle-2.jpg Gallery https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/1588181608713-6VA7GC3FBOYFHB8V0MCJ/Bob+Dylan+Backstage-2.png Gallery https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/1588181612129-O6ZY48EBUBWH6DN3Q85D/Bob+Harmonica-2.png Gallery https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/1588181619225-2CI194ZAKHMTW5FF4FKO/Bob+Dylan+Shaving-2.png Gallery https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/1588181623579-WD606TO8UUWTHS2U0EJU/Bob+Dylan+Car-2.png Gallery https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/1588181629771-GICU7TUTY2CNO1RDDJQF/Bob+Dylan+3-2.png Gallery https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/1588181955522-E2YEK2UKLDKHP5TULDVG/Willie+Dixon.png Gallery https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/1588181630946-LC03BETG5YBXPDORJM97/bob+dylan+%26+fam-2.png Gallery https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/1588181641247-WDKH9MMNBYB58RTULQ73/Bob+Dylan+6-2.png Gallery https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/1588181645011-LJQT3J17M24EZAVONXQQ/MJH+-2.png Gallery https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/1588181650631-MLMLW9AUYJOC5IC5Y5NB/Garfunkel-2.png Gallery https://www.johnbyrnecooke.com/home daily 1.0 2026-02-18 https://www.johnbyrnecooke.com/store daily 0.75 2025-01-24 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/1587523692247-0FW5U2KJ5E4V899V13ON/91Y3yjjTQrL.jpg Store - On The Road with Janis Joplin. As a road manager and filmmaker, he helped run the Janis Joplin show—and record it for posterity. Now he reveals the never-before-told story of his years with the young woman from Port Arthur who would become the first female rock and roll superstar—and depart the stage too soon. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/1586822875916-5ECKUMND0P1XZ70SEOVD/RITY-JBC-000067+Bob+Dylan+At+The+Philharmonic+Hall+NYC+10-31-64+copy.jpg Store - Photo Prints Official description of the print: Hand numbered with estate chop mark in the margin, signature stamp on verso, archival pigment print on Hahnemühle Photo Rag Pearl, 100% cotton paper fine art paper. https://www.johnbyrnecooke.com/artist-photo-template daily 0.75 2025-01-13 https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1589846853455-RXDWCTPVKAHJKI4LTGEL/20140301_Trade-151_0124-copy.jpg Artist Photo Template Testing Captions https://www.johnbyrnecooke.com/peter-albin daily 0.75 2025-01-13 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/979a2adf-c0d2-4201-af35-1ed05a05e290/Screenshot+2024-10-28+at+11.31.24%E2%80%AFAM.png Peter Albin (Big Brother & the Holding Company) Image No. 68-6-43: Peter Albin at Houston, no. 1 November 23, 1968, Big Brother & the Holding Company performance at the Music Hall in Houston https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/76f717ef-45ff-4353-96c0-ddfbc73d5945/Screenshot+2024-10-28+at+11.41.32%E2%80%AFAM.png Peter Albin (Big Brother & the Holding Company) Image No. 68-6-39: Peter Albin at Houston, no. 2 November 23, 1968, Big Brother & the Holding Company performance at the Music Hall in Houston https://www.johnbyrnecooke.com/sam-andrew daily 0.75 2025-01-13 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/f6fc481a-018b-48f7-8a56-611f37c5eee1/Screenshot+2024-10-28+at+1.14.01%E2%80%AFPM.png Sam Andrew (Big Brother & the Holding Company, Kozmic Blues Band) Image No. 68-5B-26: Sam Andrew at Newport 1968 Newport Folk Festival, Big Brother & the Holding Company performance, Saturday evening, July 27 https://www.johnbyrnecooke.com/paul-arnoldi daily 0.75 2025-01-13 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/01938f31-610b-4631-8144-96e3e441395d/Screenshot+2024-10-28+at+1.19.07%E2%80%AFPM.png Paul Arnoldi Image No. 64-9-9: Geoff Muldaur and Paul Arnoldi Club 47, Cambridge, Mass., July 1964 Multiple-threat instrumentalist Geoff Muldaur wails here on the clarinet, accompanied by Paul Arnoldi, who is either holding some other sort of musical instrument to his mouth or taking a sip of coffee. https://www.johnbyrnecooke.com/clarence-ashley daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/193c12fe-a86f-42e9-8014-891e09c90e80/Screenshot+2024-10-28+at+1.27.05%E2%80%AFPM.png Clarence "Tom" Ashley Image No. 63-11-4: Clarence Ashley New York City, October 1963 Harry Smith included two of Clarence Ashley's early recordings on his Anthology of American Folk Music ("The Coo-Coo Bird," 1929, and "The House Carpenter," 1930). In 1960, Ralph Rinzler had to persuade Clarence, who was called "Tom" by his friends, that people in the cities really wanted to hear the old-time music before Ashley would pick up his banjo again. None of the "rediscovered" traditional musicians had more fun in the folk music boom than Tom Ashley. Here, he's playing in a loft party in Greenwich Village after a concert. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/c50930e1-0c4d-46b3-ab11-f04b04b91477/Screenshot+2024-10-28+at+1.29.00%E2%80%AFPM.png Clarence "Tom" Ashley Image No. 63-6N-39 Clarence Ashley at Newport workshop 1963 Newport Folk Festival At a daytime workshop on old-time music, Clarence Ashley sings a song accompanied by John Cohen on banjo and Mike Seeger on guitar. Behind Ashley, Dock Boggs plays along. Mrs. Boggs is sitting against the far wall. https://www.johnbyrnecooke.com/joan-baez daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/056ff261-874a-4c03-8db2-50578db192a6/Screenshot+2024-10-28+at+1.39.42%E2%80%AFPM.png Joan Baez Image No. 64-18-20: Joan Baez in tartan cap Philharmonic Hall, New York City, October 31, 1964 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/aaa2837d-a23f-4b12-a3b6-a5326cfc26bb/Screenshot+2024-10-28+at+1.41.06%E2%80%AFPM.png Joan Baez Image No. 63-8N-25: Joan Baez a capella 1963 Newport Folk Festival Sunday, July 28 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/37eb2843-2e97-4541-ae04-842af5c5f93d/Screenshot+2024-10-28+at+1.43.48%E2%80%AFPM.png Joan Baez Image No. 63-4N-21: Protest Song Workshop 1963 Newport Folk Festival Saturday, July 27 Joan Baez sings at a daytime workshop on protest songs. Photographer Jim Marshall looks on. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/9b8fe3d5-b759-4bff-a2d1-bd0a3b9b943d/Screenshot+2024-10-28+at+1.42.40%E2%80%AFPM.png Joan Baez Image No. 66-13-2: Joan Baez in striped jersey California, 1966 https://www.johnbyrnecooke.com/billy-baker daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/cebf4592-acab-4ee3-83c6-bec03b8b8ea7/Screenshot+2024-10-28+at+1.47.49%E2%80%AFPM.png Billy Baker (Bill Monroe & the Bluegrass Boys) Image No. 63-2N-6 Bill Monroe and the Blue Grass Boys 1963 Newport Folk Festival (Left to right) Bessie Lee Mauldin (bass), Billy Baker (fiddle), Bill Keith (banjo), Bill Monroe (mandolin), Del McCoury (guitar) Shortly after World War II, Bill Monroe added a 5-string banjo player named Earl Scruggs to his band. Scruggs' revolutionary melodic fingerpicking style of playing the banjo, together with Monroe's mandolin playing, high-tenor lead singing, and his close-harmony vocal arrangements, created the distinctive sound that came to be called bluegrass music. In the early 1960s, it was Earl Scruggs, together with Lester Flatt, another alumnus of Monroe's group, who introduced bluegrass to folk audiences in the northeast. It seemed the folk revival might pass the founder by, until Ralph Rinzler brought Bill Monroe and the Blue Grass Boys to the 1963 Newport Folk Festival. https://www.johnbyrnecooke.com/john-perry-barlow daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1589846853455-RXDWCTPVKAHJKI4LTGEL/20140301_Trade-151_0124-copy.jpg John Perry Barlow Testing Captions https://www.johnbyrnecooke.com/richard-bell daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/09fade2d-7cb7-4911-9752-249a895431bc/Screenshot+2024-10-28+at+1.56.26%E2%80%AFPM.png Richard Bell (Full Tilt Boogie Band) Image No. CP4 Ken Pearson, Janis Joplin, Brad Campbell Columbus, Ohio, June 1970 Janis relaxes with Full Tilt Boogie Band members Ken Pearson (organ) and Brad Campbell (bass) in a Columbus park on a day off between gigs. Full Tilt pianist Richard Bell is standing at rear. https://www.johnbyrnecooke.com/big-brother daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/7154b57b-8cc7-4212-9eab-e19453c7424b/Screenshot+2024-10-28+at+2.04.37%E2%80%AFPM.png Big Brother & the Holding Company Image No. 68-C6-21: David Getz in motion Big Brother & the Holding Company performance, 1968 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/ef4ebc68-e6f1-45ff-8c47-14b47b003fc4/Screenshot+2024-10-28+at+2.06.58%E2%80%AFPM.png Big Brother & the Holding Company Image No. 68-6-34 Peter Albin at Houston, no. 3 November 23, 1968, Big Brother & the Holding Company performance at the Music Hall in Houston https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/94a499dd-ae84-46a5-bf82-ecb3441af046/Screenshot+2024-10-28+at+2.08.17%E2%80%AFPM.png Big Brother & the Holding Company Image No. 68-8-2: James singing Big Brother & the Holding Company performance, 1968 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/3267f5c2-9aee-4336-ae95-2532a73d2dba/Screenshot+2024-10-28+at+2.09.34%E2%80%AFPM.png Big Brother & the Holding Company Image No. 68-5B-28: James Gurley at Newport 1968 Newport Folk Festival, Big Brother & the Holding Company performance, Saturday evening, July 27 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/76f717ef-45ff-4353-96c0-ddfbc73d5945/Screenshot+2024-10-28+at+11.41.32%E2%80%AFAM.png Big Brother & the Holding Company Image No. 68-6-39: Peter Albin at Houston, no. 2 November 23, 1968, Big Brother & the Holding Company performance at the Music Hall in Houston https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/ecf97352-51df-4a07-8c9d-582454c8bd40/Screenshot+2024-10-28+at+1.14.01%E2%80%AFPM.png Big Brother & the Holding Company Image No. 68-5B-26: Sam Andrew at Newport 1968 Newport Folk Festival, Big Brother & the Holding Company performance, Saturday evening, July 27 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/979a2adf-c0d2-4201-af35-1ed05a05e290/Screenshot+2024-10-28+at+11.31.24%E2%80%AFAM.png Big Brother & the Holding Company Image No. 68-6-43: Peter Albin at Houston, no. 1 November 23, 1968, Big Brother & the Holding Company performance at the Music Hall in Houston https://www.johnbyrnecooke.com/theodore-bikel daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/e236b4de-1346-4b6a-afe9-adc602fa4a8e/Screenshot+2024-10-28+at+2.14.09%E2%80%AFPM.png Theodore Bikel Image No. 63-3N-11: We Shall Overcome, no. 2 1963 Newport Folk Festival Bob Dylan closed his triumphant debut set at Newport by calling out Joan Baez and Peter, Paul and Mary, to join him in "Blowin' in the Wind." (PP&M's recording of the song had reached no. 2 on Billboard's Top 100 singles chart a few weeks before the festival.) For an encore, they were joined by the Freedom Singers, Pete Seeger, and Theodore Bikel in a moving rendition of the civil-rights anthem "We Shall Overcome" that had the sell-out audience of 13,000 on their feet, singing along. https://www.johnbyrnecooke.com/benny-birchfield daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/724d36ba-ec56-49ab-a7ee-739c09f7eeb4/Screenshot+2024-10-28+at+2.17.08%E2%80%AFPM.png Benny Birchfield (Osborne Brothers) Image No. 63-4-11 Three-part harmony Club 47 Mt. Auburn, Cambridge, Mass., 1963 (Left to right) Sonny Osborne, Bobby Osborne, Benny Birchfield https://www.johnbyrnecooke.com/elvin-bishop daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/afe8de8b-071d-4ce7-8011-b8b549741f9b/Screenshot+2024-10-28+at+2.20.20%E2%80%AFPM.png Elvin Bishop (Butterfield Blues Band) Image No. 65-C5-2 Elvin Bishop and Mike Bloomfield The Unicorn, Boston, Mass., 1965 Butterfield's use of two lead guitar players was unusual, but it worked. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/94042376-4964-4884-bf04-01fdc8f23652/Screenshot+2024-10-28+at+2.20.53%E2%80%AFPM.png Elvin Bishop (Butterfield Blues Band) Image No. 65-C5-6 The Paul Butterfield Blues Band The Unicorn, Boston, Mass., 1965 Paul Butterfield, Elvin Bishop, drummer Sam Lay (behind Elvin), Mike Bloomfield (l. to r.) Paul Butterfield, widely recognized as one of the best blues harmonica players of his day, black or white, was also a topnotch blues vocalist. His Chicago-style blues band revolutionized a lot of folk fans' attitudes about electrified music. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/74578796-01a9-47e8-b0ac-167e4cd6d48f/Screenshot+2024-10-28+at+2.21.21%E2%80%AFPM.png Elvin Bishop (Butterfield Blues Band) Image No. 65-C5-5 Elvin Bishop and Mike Bloomfield in motion The Unicorn, Boston, Mass., 1965 https://www.johnbyrnecooke.com/mike-bloomfield daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/afe8de8b-071d-4ce7-8011-b8b549741f9b/Screenshot+2024-10-28+at+2.20.20%E2%80%AFPM.png Mike Bloomfield (Butterfield Blues Band) Image No. 65-C5-2 Elvin Bishop and Mike Bloomfield The Unicorn, Boston, Mass., 1965 Butterfield's use of two lead guitar players was unusual, but it worked. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/94042376-4964-4884-bf04-01fdc8f23652/Screenshot+2024-10-28+at+2.20.53%E2%80%AFPM.png Mike Bloomfield (Butterfield Blues Band) Image No. 65-C5-6 The Paul Butterfield Blues Band The Unicorn, Boston, Mass., 1965 Paul Butterfield, Elvin Bishop, drummer Sam Lay (behind Elvin), Mike Bloomfield (l. to r.) Paul Butterfield, widely recognized as one of the best blues harmonica players of his day, black or white, was also a topnotch blues vocalist. His Chicago-style blues band revolutionized a lot of folk fans' attitudes about electrified music. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/74578796-01a9-47e8-b0ac-167e4cd6d48f/Screenshot+2024-10-28+at+2.21.21%E2%80%AFPM.png Mike Bloomfield (Butterfield Blues Band) Image No. 65-C5-5 Elvin Bishop and Mike Bloomfield in motion The Unicorn, Boston, Mass., 1965 https://www.johnbyrnecooke.com/david-cohen-blue daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/878d535e-216a-4849-a758-a4ce4f172c92/Screenshot+2024-10-28+at+2.27.22%E2%80%AFPM.png David (Cohen) Blue Image No. 65-15N-9: Songwriters in Shades Dick Fariña, Donovan, and David Blue backstage at the 1965 Newport Folk Festival https://www.johnbyrnecooke.com/dock-boggs daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/5e55d381-d713-4720-985c-c4d3e211e011/Screenshot+2024-10-28+at+2.31.17%E2%80%AFPM.png Dock Boggs Image No. 63-8-26 Dock Boggs at the Club 47 Club 47 Mt. Auburn, Cambridge, Mass., July 1963 Harry Smith included Dock Boggs' 1928 recordings of "The Country Blues" and "Sugar Baby" on his landmark six-LP collection Anthology of American Folk Music, which was first put out by Folkways Records in the 1950s and has recently been reissued on CD by Smithsonian Folkways. In the folk boom of the 60s, Boggs was one of many traditional performers to influence a new generation of musicians. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/3a4f5e31-16c8-4e4f-80c0-e170e6ae5ec3/Screenshot+2024-10-28+at+2.32.24%E2%80%AFPM.png Dock Boggs Image No. 63-8-21: Dock and Mrs. Boggs Club 47 Mt. Auburn, Cambridge, Mass., July 1963 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/166cd969-7db2-4caa-807d-f92d717191c0/Screenshot+2024-10-28+at+2.33.26%E2%80%AFPM.png Dock Boggs Image No. 63-8-34 Dock Boggs and Mike Seeger Club 47 Mt. Auburn, Cambridge, Mass., July 1963 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/7702cd0d-8ab4-48b9-afe4-3baefc1628cd/Screenshot+2024-10-28+at+2.34.23%E2%80%AFPM.png Dock Boggs Image No. 63-4N-11 Dock Boggs and John Cohen 1963 Newport Folk Festival Wearing a necktie in the July heat, Dock takes part in an old-time workshop, accompanied by John Cohen of the New Lost City Ramblers. At left, behind Dock, Clarence Ashley sings along. At right, Cohen's NLCR bandmate, Mike Seeger, listens. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/916baae7-8b44-4119-996e-062b2870017f/Screenshot+2024-10-28+at+2.35.23%E2%80%AFPM.png Dock Boggs Image No. 63-8N-10 Dock Boggs at Newport 1963 Newport Folk Festival, Sunday, July 28 Dressed in a suit and tie for his evening performance, Dock takes the main Newport stage on the last night of the 1963 Folk Festival. Fog drifting onshore from Naragansett Bay made the performers and the microphones seem to glow. https://www.johnbyrnecooke.com/mrs-boggs daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/3a4f5e31-16c8-4e4f-80c0-e170e6ae5ec3/Screenshot+2024-10-28+at+2.32.24%E2%80%AFPM.png Mrs. Boggs Image No. 63-8-21: Dock and Mrs. Boggs Club 47 Mt. Auburn, Cambridge, Mass., July 1963 https://www.johnbyrnecooke.com/kozmic-blues-band daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/9402d2a4-77d7-47c7-b1dc-8fac0729d601/Screenshot+2024-10-28+at+2.43.41%E2%80%AFPM.png Kozmic Blues Band Image No. 69-4-4: Janis Triumphant Frankfurt, West Germany, April 12, 1969, in performance with the Kozmic Blues Band https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/f9ad85b1-3403-4494-8bcd-73ffb53c5ada/Screenshot+2024-10-28+at+2.45.21%E2%80%AFPM.png Kozmic Blues Band Image No. 69-4-5 (Detail): Blown Away Frankfurt, West Germany, April 12, 1969, in performance with the Kozmic Blues Band Janis's only European tour took her to Stockholm, Amsterdam, Frankfurt, Paris, Copenhagen, and London, where she sold out the Royal Albert Hall and had the staid Brits dancing in the aisles. In Frankfurt, American servicemen and their families made up most of the audience and Janis pulled out all the stops for them. No one was appreciating the note she was hitting at the moment I took this picture more than the bass player, Brad Campbell. https://www.johnbyrnecooke.com/roger-bush daily 0.75 2025-01-24 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/943ad389-4c32-49bd-adca-08fd75a7a275/Screenshot+2024-10-28+at+2.48.02%E2%80%AFPM.png Roger Bush (Kentucky Colonels) Image No. 64-14-35 The Kentucky Colonels Club 47, Cambridge, Mass., October 1964 (Left to right) Roger Bush, Roland White, Billy Ray Lathum, Clarence White https://www.johnbyrnecooke.com/paul-butterfield-blues-band daily 0.75 2025-01-24 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/94042376-4964-4884-bf04-01fdc8f23652/Screenshot+2024-10-28+at+2.20.53%E2%80%AFPM.png Paul Butterfield Blues Band Image No. 65-C5-6 The Paul Butterfield Blues Band The Unicorn, Boston, Mass., 1965 Paul Butterfield, Elvin Bishop, drummer Sam Lay (behind Elvin), Mike Bloomfield (l. to r.) Paul Butterfield, widely recognized as one of the best blues harmonica players of his day, black or white, was also a topnotch blues vocalist. His Chicago-style blues band revolutionized a lot of folk fans' attitudes about electrified music. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/afe8de8b-071d-4ce7-8011-b8b549741f9b/Screenshot+2024-10-28+at+2.20.20%E2%80%AFPM.png Paul Butterfield Blues Band Image No. 65-C5-2 Elvin Bishop and Mike Bloomfield The Unicorn, Boston, Mass., 1965 Butterfield's use of two lead guitar players was unusual, but it worked. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/74578796-01a9-47e8-b0ac-167e4cd6d48f/Screenshot+2024-10-28+at+2.21.21%E2%80%AFPM.png Paul Butterfield Blues Band Image No. 65-C5-5 Elvin Bishop and Mike Bloomfield in motion The Unicorn, Boston, Mass., 1965 https://www.johnbyrnecooke.com/brad-campbell daily 0.75 2025-01-24 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/f9ad85b1-3403-4494-8bcd-73ffb53c5ada/Screenshot+2024-10-28+at+2.45.21%E2%80%AFPM.png Brad Campbell (Kozmic Blues Band, Full Tilt Boogie Band) Image No. 69-4-5 (Detail): Blown Away Frankfurt, West Germany, April 12, 1969, in performance with the Kozmic Blues Band Janis's only European tour took her to Stockholm, Amsterdam, Frankfurt, Paris, Copenhagen, and London, where she sold out the Royal Albert Hall and had the staid Brits dancing in the aisles. In Frankfurt, American servicemen and their families made up most of the audience and Janis pulled out all the stops for them. No one was appreciating the note she was hitting at the moment I took this picture more than the bass player, Brad Campbell. https://www.johnbyrnecooke.com/gaither-carlton daily 0.75 2025-01-24 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/b702dd8b-7fa5-4aef-b1f8-e12e67f1795b/Screenshot+2024-10-28+at+2.58.50%E2%80%AFPM.png Gaither Carlton Image No. 64-C1-20 Doc Watson and Gaither Carlton 1964 Newport Folk Festival Like Doc, the old-time fiddler Gaither Carlton was first introduced to urban folk audiences as a member of Clarence Ashley's family of musicians. Carlton was the father of Doc's wife, Rosalee. https://www.johnbyrnecooke.com/maybelle-carter daily 0.75 2025-01-24 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/7deb8fe1-9282-401a-9abb-118f799adc2a/Screenshot+2024-10-28+at+3.03.07%E2%80%AFPM.png Maybelle Carter Image No. 63-8N-4A NLCR and Maybelle Carter on Autoharp 1963 Newport Folk Festival (L-to-R: John Cohen, Maybelle Carter, Tracy Schwarz) Accompanied by two members of the New Lost City Ramblers, Maybelle Carter plays the Autoharp, an old-time instrument brought into the folk revival by the recordings of the Carter Family and Mother Maybelle's live performances. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/1661f48f-2e22-411e-9ca0-f1cdf2816eb4/Screenshot+2024-10-28+at+3.04.35%E2%80%AFPM.png Maybelle Carter Image No. 63-8N-3 NLCR and Maybelle Carter on guitar 1963 Newport Folk Festival (L-to-R: John Cohen, Maybelle Carter, Tracy Schwarz) Mother Maybelle plays the distinctive Carter Family-style guitar that influenced a new generation of guitar pickers during the folk boom. https://www.johnbyrnecooke.com/kamala-chakravarty daily 0.75 2025-01-24 https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1589846853455-RXDWCTPVKAHJKI4LTGEL/20140301_Trade-151_0124-copy.jpg Kamala Chakravarty Testing Captions https://www.johnbyrnecooke.com/chambers-brothers daily 0.75 2025-01-24 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/2661eb48-e4dd-4271-9620-652552bc5879/Screenshot+2024-10-28+at+3.12.50%E2%80%AFPM.png Chambers Brothers Image No. 65-16N-43 Chambers Brothers - Gospel Workshop (4 shot) 1965 Newport Folk Festival Joe, Lester, Willy and George Chambers (l. to r.) came from the black gospel churches of Los Angeles to the clubs and coffeehouses of the folk scene. Their four-part harmonies could move an atheist to prayer. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/375bbf60-cf09-41fc-97a4-85f111710aa8/Screenshot+2024-10-28+at+3.13.56%E2%80%AFPM.png Chambers Brothers Image No. 65-16N-41 Chambers Brothers - Gospel Workshop (3 shot) 1965 Newport Folk Festival Joe, Lester, and Willy Chambers (l. to r.) https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/e2e688b3-b7dc-4840-ab04-db1c083ee709/Screenshot+2024-10-28+at+3.15.04%E2%80%AFPM.png Chambers Brothers Image No. 65-C5-3: Red-hot Blues The Unicorn, Boston, Mass., 1965 The Chambers Brothers also performed electric blues of the jumping variety before turning up the volume and recording "Time Has Come Today," their mid-60s space-out hit. https://www.johnbyrnecooke.com/george-chambers daily 0.75 2025-01-24 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/2661eb48-e4dd-4271-9620-652552bc5879/Screenshot+2024-10-28+at+3.12.50%E2%80%AFPM.png George Chambers Image No. 65-16N-43 Chambers Brothers - Gospel Workshop (4 shot) 1965 Newport Folk Festival Joe, Lester, Willy and George Chambers (l. to r.) came from the black gospel churches of Los Angeles to the clubs and coffeehouses of the folk scene. Their four-part harmonies could move an atheist to prayer. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/e2e688b3-b7dc-4840-ab04-db1c083ee709/Screenshot+2024-10-28+at+3.15.04%E2%80%AFPM.png George Chambers Image No. 65-C5-3: Red-hot Blues The Unicorn, Boston, Mass., 1965 The Chambers Brothers also performed electric blues of the jumping variety before turning up the volume and recording "Time Has Come Today," their mid-60s space-out hit. https://www.johnbyrnecooke.com/joe-chambers daily 0.75 2025-01-24 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/2661eb48-e4dd-4271-9620-652552bc5879/Screenshot+2024-10-28+at+3.12.50%E2%80%AFPM.png Joe Chambers Image No. 65-16N-43 Chambers Brothers - Gospel Workshop (4 shot) 1965 Newport Folk Festival Joe, Lester, Willy and George Chambers (l. to r.) came from the black gospel churches of Los Angeles to the clubs and coffeehouses of the folk scene. Their four-part harmonies could move an atheist to prayer. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/375bbf60-cf09-41fc-97a4-85f111710aa8/Screenshot+2024-10-28+at+3.13.56%E2%80%AFPM.png Joe Chambers Image No. 65-16N-41 Chambers Brothers - Gospel Workshop (3 shot) 1965 Newport Folk Festival Joe, Lester, and Willy Chambers (l. to r.) https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/e2e688b3-b7dc-4840-ab04-db1c083ee709/Screenshot+2024-10-28+at+3.15.04%E2%80%AFPM.png Joe Chambers Image No. 65-C5-3: Red-hot Blues The Unicorn, Boston, Mass., 1965 The Chambers Brothers also performed electric blues of the jumping variety before turning up the volume and recording "Time Has Come Today," their mid-60s space-out hit. https://www.johnbyrnecooke.com/lester-chambers daily 0.75 2025-01-24 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/2661eb48-e4dd-4271-9620-652552bc5879/Screenshot+2024-10-28+at+3.12.50%E2%80%AFPM.png Lester Chambers Image No. 65-16N-43 Chambers Brothers - Gospel Workshop (4 shot) 1965 Newport Folk Festival Joe, Lester, Willy and George Chambers (l. to r.) came from the black gospel churches of Los Angeles to the clubs and coffeehouses of the folk scene. Their four-part harmonies could move an atheist to prayer. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/375bbf60-cf09-41fc-97a4-85f111710aa8/Screenshot+2024-10-28+at+3.13.56%E2%80%AFPM.png Lester Chambers Image No. 65-16N-41 Chambers Brothers - Gospel Workshop (3 shot) 1965 Newport Folk Festival Joe, Lester, and Willy Chambers (l. to r.) https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/e2e688b3-b7dc-4840-ab04-db1c083ee709/Screenshot+2024-10-28+at+3.15.04%E2%80%AFPM.png Lester Chambers Image No. 65-C5-3: Red-hot Blues The Unicorn, Boston, Mass., 1965 The Chambers Brothers also performed electric blues of the jumping variety before turning up the volume and recording "Time Has Come Today," their mid-60s space-out hit. https://www.johnbyrnecooke.com/willy-chambers daily 0.75 2025-01-24 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/2661eb48-e4dd-4271-9620-652552bc5879/Screenshot+2024-10-28+at+3.12.50%E2%80%AFPM.png Willy Chambers Image No. 65-16N-43 Chambers Brothers - Gospel Workshop (4 shot) 1965 Newport Folk Festival Joe, Lester, Willy and George Chambers (l. to r.) came from the black gospel churches of Los Angeles to the clubs and coffeehouses of the folk scene. Their four-part harmonies could move an atheist to prayer. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/375bbf60-cf09-41fc-97a4-85f111710aa8/Screenshot+2024-10-28+at+3.13.56%E2%80%AFPM.png Willy Chambers Image No. 65-16N-41 Chambers Brothers - Gospel Workshop (3 shot) 1965 Newport Folk Festival Joe, Lester, and Willy Chambers (l. to r.) https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/e2e688b3-b7dc-4840-ab04-db1c083ee709/Screenshot+2024-10-28+at+3.15.04%E2%80%AFPM.png Willy Chambers Image No. 65-C5-3: Red-hot Blues The Unicorn, Boston, Mass., 1965 The Chambers Brothers also performed electric blues of the jumping variety before turning up the volume and recording "Time Has Come Today," their mid-60s space-out hit. https://www.johnbyrnecooke.com/charles-river-valley-boys daily 0.75 2025-01-24 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/951f75e2-d734-493b-9a40-8749b51aae05/Screenshot+2024-10-28+at+3.28.40%E2%80%AFPM.png Charles River Valley Boys Image No. 65-11-30 On the Banks of the Charles (Left to right: Joe Val, John Cooke, Everett Alan Lilly, Bob Siggins.) The Charles River Valley Boys got together at Harvard College to play old-timey music. When banjoist Bob Siggins learned Scruggs-style picking, the band added bluegrass to its repertoire. John Cooke joined the CRVB when the original guitar player indefinitely extended a European sojourn. After the group disbanded in 1968, Joe Val, the great mandolinist and high-lonesome singer, founded his own group, the New England Bluegrass Boys. Joe and his Boys appeared several times on "Prairie Home Companion" in its early years. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/e7b9096f-5460-43c8-b733-27960274063d/Screenshot+2024-10-28+at+3.30.11%E2%80%AFPM.png Charles River Valley Boys Image No. 65-11-22: Sitting on the Fence Cambridge, Mass., July 1965 (Left to right: John Cooke, Everett Alan Lilly, Joe Val, Bob Siggins.) https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/92827273-38be-48a7-be60-6fd2dc847dbb/Screenshot+2024-10-28+at+3.31.13%E2%80%AFPM.png Charles River Valley Boys Image No. 65-11-28 Picking by the River Cambridge, Mass., July 1965 (Left to right: John Cooke, Everett Alan Lilly, Joe Val, Bob Siggins.) https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/47af9355-b0a8-4124-b92b-1078a8c005d9/Screenshot+2024-10-28+at+3.32.31%E2%80%AFPM.png Charles River Valley Boys Image No. 65-11-32 Goofing Around (Left to right: John Cooke, Joe Val, Everett Alan Lilly, Bob Siggins) https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/a4362d68-77f0-4d7e-a62b-683e835114f5/Screenshot+2024-10-28+at+3.33.56%E2%80%AFPM.png Charles River Valley Boys Image No. 68-4N-14 Joan Baez and Charles River Valley Boys 1968 Newport Folk Festival (Left to right: Joe Val, Joan Baez, Bob Siggins, Clay Jackson.) https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/0fa50ea3-cf60-4eae-8ea0-ca1d2682d5e4/Screenshot+2024-10-28+at+3.35.04%E2%80%AFPM.png Charles River Valley Boys Image No. 65-12-20 Bob Siggins, Tex Logan and Joe Val Tex Logan's home, New Jersey, July 4, 1965 The Charles River Valley Boys' second album for Prestige Records, "Bluegrass Get Together," featured the powerhouse fiddling of Tex Logan. The year after we made the album, Tex invited us to his New Jersey home for some Texas hospitality on the Fourth of July. Picking, it goes without saying, ensued. Here, Tex indicates the location of the note he's looking for. ("Bluegrass Get Together" and the CRVB's first album for Prestige, "Bluegrass and Old Timey Music" are both included in full on the 2003 Prestige/Folklore CD "The Charles River Valley Boys," PRCD-24280-2.) https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/5aec2053-d027-4785-9d51-6b2c615f6089/Screenshot+2024-10-28+at+3.36.58%E2%80%AFPM.png Charles River Valley Boys Image No. 65-12-23: Getting On Down Tex Logan's home, New Jersey, July 4, 1965 Tex leans into his fiddle, accompanied by Joe Val on guitar and Bob Siggins on banjo. https://www.johnbyrnecooke.com/john-cohen daily 0.75 2025-01-24 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/5aa7359c-fdcc-4fe4-84eb-a0dab12d394b/Screenshot+2024-10-28+at+3.42.24%E2%80%AFPM.png John Cohen (New Lost City Ramblers) Image No. 65-16N-34: New Lost City Ramblers 1965 Newport Folk Festival (L-to-R: Tracy Schwarz, John Cohen, Mike Seeger) The New Lost City Ramblers brought old-time string band music to the folk revival before it could rightfully be called a revival. Formed in New York City by Mike Seeger, John Cohen and Tom Paley (who was later replaced by Tracy Schwarz), the group made three albums for Folkways by 1961. The NLCR's recordings and performances, together with the appearance on the folk circuit of Clarence Ashley's family of traditional musicians, were the two most important factors in the revival of interest in old-time music that has continued to the present day. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/7deb8fe1-9282-401a-9abb-118f799adc2a/Screenshot+2024-10-28+at+3.03.07%E2%80%AFPM.png John Cohen (New Lost City Ramblers) Image No. 63-8N-4A NLCR and Maybelle Carter on Autoharp 1963 Newport Folk Festival (L-to-R: John Cohen, Maybelle Carter, Tracy Schwarz) Accompanied by two members of the New Lost City Ramblers, Maybelle Carter plays the Autoharp, an old-time instrument brought into the folk revival by the recordings of the Carter Family and Mother Maybelle's live performances. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/1661f48f-2e22-411e-9ca0-f1cdf2816eb4/Screenshot+2024-10-28+at+3.04.35%E2%80%AFPM.png John Cohen (New Lost City Ramblers) Image No. 63-8N-3 NLCR and Maybelle Carter on guitar 1963 Newport Folk Festival (L-to-R: John Cohen, Maybelle Carter, Tracy Schwarz) Mother Maybelle plays the distinctive Carter Family-style guitar that influenced a new generation of guitar pickers during the folk boom. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/91dacb92-b005-43f3-9143-f5c688c68f1e/Screenshot+2024-10-28+at+3.44.23%E2%80%AFPM.png John Cohen (New Lost City Ramblers) Image No. 63-8N-14 Tex Logan with the New Lost City Ramblers 1963 Newport Folk Festival During their evening performance, the NLCR invited the dynamo fiddler Tex Logan to play an old-time hoedown with them. https://www.johnbyrnecooke.com/leonard-cohen daily 0.75 2025-01-24 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/5604571b-205a-445d-acb7-5afeb02c054d/Screenshot+2024-10-28+at+3.46.28%E2%80%AFPM.png Leonard Cohen Image No. 67-C3-1 Leonard Cohen, Judy Collins and Friends 1967 Newport Folk Festival By 1967, Judy Collins was evolving beyond her folk roots and performing an eclectic repertoire that reflected her wide-ranging tastes. She did more than any other singer to bring Leonard Cohen's songs to a popular audience with her recordings of "Suzanne," "Bird on the Wire," "Story of Isaac," "Sisters of Mercy" and other Cohen compositions. At right is Mary Martin, who introduced Judy to Leonard in 1966. https://www.johnbyrnecooke.com/judy-collins daily 0.75 2025-01-24 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/5604571b-205a-445d-acb7-5afeb02c054d/Screenshot+2024-10-28+at+3.46.28%E2%80%AFPM.png Judy Collins Image No. 67-C3-1 Leonard Cohen, Judy Collins and Friends 1967 Newport Folk Festival By 1967, Judy Collins was evolving beyond her folk roots and performing an eclectic repertoire that reflected her wide-ranging tastes. She did more than any other singer to bring Leonard Cohen's songs to a popular audience with her recordings of "Suzanne," "Bird on the Wire," "Story of Isaac," "Sisters of Mercy" and other Cohen compositions. At right is Mary Martin, who introduced Judy to Leonard in 1966. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/80feced7-cd23-4a5a-bb07-4d81283f13f9/Screenshot+2024-10-28+at+3.48.35%E2%80%AFPM.png Judy Collins Image No. 67-C3-12 Judy Collins and Mimi Fariña 1967 Newport Folk Festival https://www.johnbyrnecooke.com/maria-damato-muldaur daily 0.75 2025-01-24 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/156cb192-6c52-4964-93d1-9aaa88caf7a8/Screenshot+2024-10-30+at+5.44.57%E2%80%AFPM.png Maria D'Amato Muldaur Image No. 63-11-32: Maria D'Amato New York City, October 1963 Maria D'Amato played in the Even Dozen Jug Band in New York before moving to Cambridge, joining the Jim Kweskin Jug Band, and marrying Geoff Muldaur. At a music party in artist Harry Jackson's Greenwich Village loft, Maria plays with painter-musician Bob Neuwirth (L.) and old-time guitarist Tex Isley (R.). Visible between Maria and Tex is a fragment of Jackson's painting "The Range Burial," which now hangs in the Buffalo Bill Historical Center in Cody, Wyoming. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/f31948af-ca4e-4ef7-8ed1-4973c43ac00c/Screenshot+2024-10-30+at+5.46.44%E2%80%AFPM.png Maria D'Amato Muldaur Image No. 65-16N-23: Maria and Jenni Muldaur Viking Hotel, Newport, R.I., July 1965 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/2187fa6a-94b3-45ee-8cd4-0c6d171476df/Screenshot+2024-10-30+at+5.47.57%E2%80%AFPM.png Maria D'Amato Muldaur Image No. 64-9-7: Lovebirds Onstage Club 47, Cambridge, Mass., July 1964 Maria D'Amato and Geoff Muldaur, the summer before they were married. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/7ce539fc-c993-4cc8-a48e-2a14914f68c8/Screenshot+2024-10-30+at+5.48.58%E2%80%AFPM.png Maria D'Amato Muldaur Image No. 64-11N-63: Jim Kweskin Jug Band 1964 Newport Folk Festival (Left to right) Mel Lyman, Maria D'Amato (soon to be Muldaur), Geoff Muldaur, Jim Kweskin, Bill Keith The Jim Kweskin Jug Band was the first of the jug bands formed in the 60s folk revival and it gained the most widespread popularity. Before disbanding in 1968, the Jug Band shared billing in the psychedelic ballrooms of San Francisco with Big Brother and the Holding Company, and the Doors. https://www.johnbyrnecooke.com/reverend-gary-davis daily 0.75 2025-01-24 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/b04fa067-f3c3-4856-a468-85983b19ea10/Screenshot+2024-10-30+at+5.54.19%E2%80%AFPM.png Reverend Gary Davis Image No. 63-5-0: Reverend Gary Davis Club 47 Mt. Auburn, Cambridge, Mass., June 1963 The blind Harlem street singer's unique guitar style and gospel singing earned him many disciples in the early 60s. In 1961, a very young Bob Dylan opened a concert for Davis at Bennington College in Vermont. After the show, when Dylan learned that Davis was being paid $75, he told the promoter to give Davis half of his own $50 fee because, Dylan said, Davis should never play for less than $100. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/8152a5eb-e700-4402-89f0-a068b16cc1de/Screenshot+2024-10-30+at+5.55.09%E2%80%AFPM.png Reverend Gary Davis Image No. 63-5-14: Reverend Gary Davis Fan Club Club 47 Mt. Auburn, Cambridge, Mass., June 1963 In the original Club 47's funky basement, Reverend Davis enjoys the company of some pretty girls between sets. How did he know they were pretty? Maybe he could hear it in their voices. https://www.johnbyrnecooke.com/the-dillards daily 0.75 2025-01-24 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/19ed1586-15e1-4cb5-82a7-34f5175f5921/Screenshot+2024-10-30+at+5.57.06%E2%80%AFPM.png The Dillards Image No. 63-6N-11: The Dillards 1963 Newport Folk Festival (Left to right) Dean Webb, Doug Dillard, Rodney Dillard, Mitchell Jayne. Doug and Rodney Dillard grew up in an extended Missouri family in which virtually every one of their relations played one or more instruments. Their father Homer was an old-time fiddler and the brothers were raised to the sound of traditional and bluegrass music. The Dillards toured widely in the folk revival with fellow Missourians Dean Webb and Mitchell Jayne. https://www.johnbyrnecooke.com/willie-dixon daily 0.75 2025-01-24 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/2bcad0be-77b0-4366-8a39-1a7aaf3480f6/Screenshot+2024-10-30+at+5.59.11%E2%80%AFPM.png Willie Dixon Image No. 65-15N-13: Willie Dixon and Memphis Slim 1965 Newport Folk Festival The great bluesmen Willie Dixon (bass) and Peter Chatman, a.k.a. Memphis Slim (piano), were both born in Mississippi in 1915 and both moved their music to the more hospitable climate of Chicago. Their presence at Newport '65 added an important dimension to the festival's blues repertoire. https://www.johnbyrnecooke.com/denny-doherty daily 0.75 2025-01-24 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/8d1b6617-7990-4dd0-a636-10abb1da2507/Screenshot+2024-10-30+at+6.01.17%E2%80%AFPM.png Denny Doherty Image No. 67-5-22 Denny Doherty and John Phillips Monterey Pop Festival, Monterey, California, June 1967 John Phillips was one of the guiding spirits behind the Monterey Pop Festival. It was the first pop-rock festival to present only headline acts, and many consider it to have been the best of all the late-60s music festivals. The Mamas and the Papas' willingness to commit themselves to the event moved the planning sessions from pipe dreams to reality. https://www.johnbyrnecooke.com/donovan daily 0.75 2025-01-24 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/878d535e-216a-4849-a758-a4ce4f172c92/Screenshot+2024-10-28+at+2.27.22%E2%80%AFPM.png Donovan Image No. 65-15N-9: Songwriters in Shades Dick Fariña, Donovan, and David Blue backstage at the 1965 Newport Folk Festival https://www.johnbyrnecooke.com/jimmy-driftwood daily 0.75 2025-01-24 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/a2fc4316-dbc4-413b-ae14-1d0e0c66aafd/Screenshot+2024-10-30+at+6.05.27%E2%80%AFPM.png Jimmy Driftwood Image No. 64-10N-22 Mandolin workshop 1964 Newport Folk Festival Jimmy Driftwood (center) an Arkansas folklorist and performer who wrote the hit song "Battle of New Orleans," cracks up Bobby Osborne (left) and Mike Seeger at a daytime workshop. https://www.johnbyrnecooke.com/bob-dylan daily 0.75 2025-01-24 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/2389c4c6-3079-4da2-8571-879d67357eb6/Screenshot+2024-10-30+at+6.07.18%E2%80%AFPM.png Bob Dylan Image No. 64-5-6: On the Road No. 1 Massachusetts, April 26, 1964 In the spring of 1964, Bob Dylan toured New England in a navy-blue Ford station wagon driven by his road manager, Victor Maymudes. Bob was the first folk artist to have a road manager, and it was a measure of his rapidly - escalating success. After gigs in Cambridge and Boston, Bob and Victor headed for the University of Massachusetts at Amherst. A few of us from the Cambridge folk scene tagged along for the trip. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/33a4372c-00cb-42e6-8676-f335256eec9c/Screenshot+2024-10-30+at+6.08.30%E2%80%AFPM.png Bob Dylan Image No. 64-18-23: Backstage Warmup Philharmonic Hall, New York City, October 31, 1964 After Dylan's triumphant debut at the Newport Folk Festival in July 1963, Joan Baez introduced him to her fans as a surprise guest during a fall concert tour. A year later, it was Bob's turn to bring Joan onstage with him, as his fame began to surpass hers. Here, they are rehearsing together backstage at Philharmonic Hall (later renamed Avery Fisher Hall) at New York's Lincoln Center, where Bob sold out the house. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/2c793d93-3f07-4db0-b78d-bfa2e1bbad91/Screenshot+2024-10-30+at+6.09.27%E2%80%AFPM.png Bob Dylan Image No. 64-5-8: On the Road, no. 2 - Stonewalling Massachusetts, April 1964 Bob Dylan, record producer Paul Rothchild https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/61cb4898-fd4a-498d-bd04-e15d2548c0e0/Screenshot+2024-10-30+at+6.10.33%E2%80%AFPM.png Bob Dylan Image No. 64-5-18: On the Road, no. 3 Massachusetts, April 1964 A bit of reflected sunlight strikes Bob's face as he turns to talk to those in the back seat. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/28254872-3dbd-4e96-ac37-d4a7fa2e66e0/Screenshot+2024-10-30+at+6.11.30%E2%80%AFPM.png Bob Dylan Image No. 64-18-37: Bob and Bob Take a Dip Bearsville, N.Y., Summer 1964 Bob Dylan and Bob Neuwirth take the waters in the pool on the property of Bob's manager, Albert Grossman. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/46745ad1-b39e-479b-a728-731c03ea6ed3/Screenshot+2024-10-30+at+6.12.24%E2%80%AFPM.png Bob Dylan Image No. 64-12N-44: Captain Bob Viking Hotel, Newport, R.I., 1964 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/db631f31-a35d-433f-b73c-257516f68ac6/Screenshot+2024-10-30+at+6.13.26%E2%80%AFPM.png Bob Dylan Image No. 64-C3-20: Bob Dylan on his Triumph motorcycle Bearsville, New York, summer 1964 Facing the camera, Victor Maymudes, Bob's road manager. Back to camera, painter-musician Bob Neuwirth. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/f5c5bd77-2cf7-44ec-a6cb-ac3c83f13de0/Screenshot+2024-10-30+at+6.14.35%E2%80%AFPM.png Bob Dylan Image No. 63-3N-11: We Shall Overcome, no. 2 1963 Newport Folk Festival Bob Dylan closed his triumphant debut set at Newport by calling out Joan Baez and Peter, Paul and Mary, to join him in "Blowin' in the Wind." (PP&M's recording of the song had reached no. 2 on Billboard's Top 100 singles chart a few weeks before the festival.) For an encore, they were joined by the Freedom Singers, Pete Seeger, and Theodore Bikel in a moving rendition of the civil-rights anthem "We Shall Overcome" that had the sell-out audience of 13,000 on their feet, singing along. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/00fd7ad1-823e-4b79-96cc-53ab5d5aeb3a/Screenshot+2024-10-30+at+6.15.49%E2%80%AFPM.png Bob Dylan Image No. 64-C3-2: Bob Dylan and Mimi Fariña Viking Hotel, Newport, R.I., 1964 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/a5380f2a-53cc-44ba-8b13-7aa149e42a41/Screenshot+2024-10-30+at+6.16.48%E2%80%AFPM.png Bob Dylan Image No. 64-18-12: Dylan against drapes Philharmonic Hall, New York City, October 31, 1964 By the fall of 1964, Dylan's still-rising reputation enabled him to play venues in the big cities where audiences were more accustomed to symphony orchestras. Here, he relaxes in the artists' lounge backstage at Philharmonic Hall in Lincoln Center. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/b73db769-695b-476c-9eef-7ee2498aed32/Screenshot+2024-10-30+at+6.17.35%E2%80%AFPM.png Bob Dylan Image No. 64-5-30: Dylan Silhouette Amherst, Mass., April 26, 1964 In 1964, Bob's performances featured "Mr. Tambourine Man," "The Gates of Eden," and "It's All Right, Ma," among the greatest of the acoustic songs he performed solo before "going electric" at the 1965 Newport Folk Festival. Here, Bob's warming up before going out to perform on a makeshift stage in a college gym. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/0621558d-ce1d-4c47-b0c9-75a0ba5da868/Screenshot+2024-10-30+at+6.18.17%E2%80%AFPM.png Bob Dylan Image No. 63-8N-33: The Queen and her Prince 1963 Newport Folk Festival: Sunday, July 28 By the summer of 1963, when Bob Dylan made his first appearance at the Newport Folk Festival, Joan Baez was the queen of folk music. She joined Bob to sing "It Ain't Me, Babe," in his debut set Friday evening, and she brought him out to join her (shown here) when she closed the festival on Sunday evening. That fall, Joan introduced Bob as her special guest at a series of concerts. Her support did much to help Dylan establish his reputation. At the same time, Joan's inclusion of several of Dylan's songs in her repertoire broadened her appeal to the young social activists who were making the sixties a decade of protest. https://www.johnbyrnecooke.com/cass-elliot daily 0.75 2025-01-24 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/3edbdaa9-eb4a-453c-be69-4c839eaf1c49/Screenshot+2024-10-30+at+6.22.34%E2%80%AFPM.png Cass Elliot (Mamas & Papas) Image No. 67-5-16 Cass Elliot and Michelle Phillips Monterey Pop Festival, Monterey, California, June 1967 https://www.johnbyrnecooke.com/jack-elliot daily 0.75 2025-01-24 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/7e0601b9-82ee-4db1-bcb1-620807a2854c/Screenshot+2024-10-30+at+6.24.45%E2%80%AFPM.png Ramblin' Jack Elliot Image No. 63-7-44: Ramblin' Jack Elliot Club 47, Cambridge, Mass., July 1963 Ramblin' Jack was the bridge between the generation of Woody Guthrie, and Pete Seeger and the Weavers, and our own. He went to England and got famous there and came back to the U.S., his legend preceding him. Jack had idolized Woody, and a very young Bob Dylan had idolized Jack -- hell, we all idolized Jack. He had a great repertoire and from the first time I saw him at the 47, I was learning songs from him. I still do them, and so does he. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/437e90fa-a840-40d4-877b-9175ef4b5982/Screenshot+2024-10-30+at+6.25.29%E2%80%AFPM.png Ramblin' Jack Elliot Image No. 63-7-34: Here's lookin' at you Club 47, Cambridge, Mass., July 1963 Ramblin' Jack raises his glass in the basement of the old 47 between sets. (This is a coffeehouse, folks. No beer, no wine. It must be a glass of -- Coke? Coffee? Maybe one of them Italian sodas where you pour the syrup out of a funny-looking bottle.) https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/d600da1d-7699-496b-88e8-b440eb813c76/Screenshot+2024-10-30+at+6.26.11%E2%80%AFPM.png Ramblin' Jack Elliot Image No. 64-9-10 Jack Elliot, with Mel Lyman on harp Club 47, Cambridge, Mass., July 1964 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/6da8288d-16c1-499a-84fb-224b03952f07/Screenshot+2024-10-30+at+6.27.10%E2%80%AFPM.png Ramblin' Jack Elliot Image No. 64-9-3: Living Room Music Cambridge, Massachussetts, July 1964 Jack has always been just as happy playing for a few friends in somebody's living room as he is on the concert stage. Especially if there's a barefoot girl to listen. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/cf6467e4-b572-456a-b903-83bb45a9ad9d/Screenshot+2024-10-30+at+6.29.02%E2%80%AFPM.png Ramblin' Jack Elliot Image No. 63-7N-38: Ramblin' Jack at Newport 1963 Newport Folk Festival https://www.johnbyrnecooke.com/mimi-farina daily 0.75 2025-01-24 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/67e5253f-623c-45c1-acbb-e6213d8b0513/Screenshot+2024-11-04+at+10.32.42%E2%80%AFAM.png Mimi Fariña Image No. 66-1-10 Dancing with waves, no. 1 Carmel, California, January 1966 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/d9813c72-9e22-4243-b622-91920de43dd0/Screenshot+2024-11-04+at+10.33.58%E2%80%AFAM.png Mimi Fariña Image No. 66-12-19 Mimi Fariña at home on Alta Street San Francisco, June 1966 After Dick Fariña's death in April 1966, Mimi moved to San Francisco, to an apartment on one floor of what had formerly been a private home on Telegraph Hill. In 1974, Mimi founded Bread & Roses, a non-profit organization whose purpose was and is to bring free live entertainment to people in San Francisco Bay Area institutions -- from hospitals to senior centers to prisons. Today, Bread & Roses puts on 500 free shows a year by volunteer performers. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/7eac7fee-7fae-4aa6-8876-45877a80f24e/Screenshot+2024-11-04+at+10.36.25%E2%80%AFAM.png Mimi Fariña Image No. 66-12-9: Debbie Green and Mimi Fariña Telegraph Hill, San Francisco, June 1966 Debbie Green taught Mimi's sister Joan Baez how to play the guitar beyond the simple strums Joan had learned on her own, and many of the songs that made up Joan's early repertoire. Debbie and Mimi were lifelong friends. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/ef43151f-a7b6-4ace-8411-88216cec4b55/Screenshot+2024-11-04+at+10.37.27%E2%80%AFAM.png Mimi Fariña Image No. 68-C2-3: Mimi Fariña and Milan Melvin Big Sur, September 7, 1968 Mimi married her second husband, Milan Melvin, on the morning of the opening day of the 1968 Big Sur Folk Festival, which was held on the grounds of the Esalen Institute. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/311e4006-8650-40b9-a02a-eac5ea8376c4/Screenshot+2024-11-04+at+10.41.03%E2%80%AFAM.png Mimi Fariña Image No. 66-1-13 Dancing with waves, no. 2 Carmel, California, January 1966 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/9e84e0c9-f046-46d9-b4bb-39978835f8f0/Screenshot+2024-11-04+at+10.42.33%E2%80%AFAM.png Mimi Fariña Image No. 64-12N-42 Mimi Fariña reclining by the pool Viking Hotel, Newport, Rhode Island, July 1964 The Viking Hotel was the preferred hostelry for those who could afford it during the Newport Folk Festivals of the early sixties. The hotel's swimming pool was a popular gathering place for the musicians, away from the press of enthusiastic folk fans. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/795e3a86-5073-48ac-91eb-725ff3f4b3ec/Screenshot+2024-11-04+at+10.43.46%E2%80%AFAM.png Mimi Fariña Image No. 66-1-15 Dancing with waves, no. 3 Carmel, California, January 1966 https://www.johnbyrnecooke.com/richard-farina daily 0.75 2025-01-24 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/7c30d0d9-2acc-4af1-af4f-ac51d5353265/Screenshot+2024-11-04+at+10.49.37%E2%80%AFAM.png Richard Fariña Image No. 66-1-4: Beach Portrait Beach near Carmel, California, January 1966 On a warm January day, Dick and Mimi and I spent some time on a small beach south of Carmel. I'm not in the habit of posing friends for formal portraits, but when Dick and Mimi sat together on a driftwood log, they looked as if they were sitting for a portrait. I aimed my camera, they looked at me, and I took this shot. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/f9c2b813-5fc8-4ba8-a067-5467b2089c57/Screenshot+2024-11-04+at+10.50.49%E2%80%AFAM.png Richard Fariña Image No. 66-6-25: Richard Fariña with head in Mimi's lap Carmel Highlands, California, April 1966 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/47cb0431-7620-4e60-a540-9f54888e7778/Screenshot+2024-11-04+at+12.02.52%E2%80%AFPM.png Richard Fariña Image No. 65-9-40 Dick Fariña and Debbie Green Woodstock, N.Y., May 1965 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/878d535e-216a-4849-a758-a4ce4f172c92/Screenshot+2024-10-28+at+2.27.22%E2%80%AFPM.png Richard Fariña Image No. 65-15N-9: Songwriters in Shades Dick Fariña, Donovan, and David Blue backstage at the 1965 Newport Folk Festival https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/0009da08-7c35-432c-864d-11abf9f31505/Screenshot+2024-11-04+at+12.05.39%E2%80%AFPM.png Richard Fariña Image No. 62-1-30: Pamplona café Dick Farina and Carolyn Hester, Pamplona, Spain, July 1962 Dick Farina was a struggling writer, not yet known as a songwriter and performer, when his first wife, Carolyn Hester, was among the most popular women folksingers of the early 1960s. In 1962 they spent a good deal of time in Europe. In July, Dick took them on a writer's pilgrimage, following in Hemingway's footsteps, to the running of the bulls in Pamplona. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/fcfe5fd0-9f80-4ffe-98e7-c2f75b37bee2/Screenshot+2024-11-04+at+12.07.28%E2%80%AFPM.png Richard Fariña Image No. 65-2-5 Dick and Mimi Fariña, Pauline Marden King's Rook Coffeehouse, Massachusetts, 1965 Pauline Baez Marden, the eldest of the three Baez sisters, is blessed with the same musical genes that her sisters Joan and Mimi share, but she chose a quieter, less public life than they did. Her appearance with Dick and Mimi at the Kings Rook in the winter of 1965 gave me a rare opportunity to photograph Mimi and Pauline performing together. https://www.johnbyrnecooke.com/the-freedom-singers daily 0.75 2025-01-24 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/e236b4de-1346-4b6a-afe9-adc602fa4a8e/Screenshot+2024-10-28+at+2.14.09%E2%80%AFPM.png The Freedom Singers Image No. 63-3N-11: We Shall Overcome, no. 2 1963 Newport Folk Festival Bob Dylan closed his triumphant debut set at Newport by calling out Joan Baez and Peter, Paul and Mary, to join him in "Blowin' in the Wind." (PP&M's recording of the song had reached no. 2 on Billboard's Top 100 singles chart a few weeks before the festival.) For an encore, they were joined by the Freedom Singers, Pete Seeger, and Theodore Bikel in a moving rendition of the civil-rights anthem "We Shall Overcome" that had the sell-out audience of 13,000 on their feet, singing along. https://www.johnbyrnecooke.com/sylvia-fricker daily 0.75 2025-01-24 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/1029ecf7-1115-49c8-ae93-2b2fc4da617e/Screenshot+2024-11-04+at+12.12.25%E2%80%AFPM.png Sylvia Fricker (Tyson; Ian & Sylvia) Image No. 63-7N-32: Ian and Sylvia a capella 1963 Newport Folk Festival Ian Tyson and Sylvia Fricker began singing together in 1959 and rose to popularity with the folk movement on the strength of their fellow Canadian Gordon Lightfoot's "Early Morning Rain," and Ian's own songs "Four Strong Winds" and "Someday Soon," which was later recorded by Judy Collins. Ian and Sylvia married a year after their debut performance at the Newport Folk Festival. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/00988d44-d878-47e9-8fdc-aac2d485f858/Screenshot+2024-11-04+at+12.13.47%E2%80%AFPM.png Sylvia Fricker (Tyson; Ian & Sylvia) Image No. 63-7N-32 Ian and Sylvia at Newport '63 (L. to R.) Sylvia Fricker, Ian Tyson, and Eric "the Doctor" Hord https://www.johnbyrnecooke.com/charlie-frizzell daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/d4c30de2-a9d3-4bc7-ae59-b4af2baa03da/Screenshot+2024-11-04+at+12.17.28%E2%80%AFPM.png Charlie Frizzell Image No. 64-7-25 Photography Lesson Brandeis Folk Festival, Massachusetts, April 1964 Photographer Charlie Frizzell gives some pointers to Bob Dylan backstage at the Brandeis Folk Festival, while another shutterbug shoots the photographer. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/1ea36fb3-0272-4a8a-bd56-5f0cccee576a/Screenshot+2024-11-04+at+12.18.29%E2%80%AFPM.png Charlie Frizzell Image No. 64-7-26: Shutterbug Bob Brandeis Folk Festival, Massachusetts, April 1964 Bob Dylan, Charlie Frizzell https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/f462e9dd-aca4-470c-ab88-2fdfd56d4b70/Screenshot+2024-11-04+at+12.19.27%E2%80%AFPM.png Charlie Frizzell Image No. 64-9-40: Dead Eye Frizzell Cotuit, Massachusetts, July 1964 Charlie takes aim for a one-handed toe shot. https://www.johnbyrnecooke.com/full-tilt-boogie-band daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/1588014930501-PHSPJECFYFX9NDWF8PEQ/Janis%2B4.jpg Full Tilt Boogie Band (Janis Joplin, 1970) Image No. CP4 Ken Pearson, Janis Joplin, Brad Campbell Columbus, Ohio, June 1970 Janis relaxes with Full Tilt Boogie Band members Ken Pearson (organ) and Brad Campbell (bass) in a Columbus park on a day off between gigs. Full Tilt pianist Richard Bell is standing at rear. https://www.johnbyrnecooke.com/david-ghar daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/4a7b7cc2-32b5-499b-a77a-595246aedf4b/Screenshot+2024-11-04+at+1.03.52%E2%80%AFPM.png David Ghar Image No. 64-10N-12 David Gahr at work 1964 Newport Folk Festival Dave Gahr was the first photographer to approach taking pictures of folk musicians as a serious professional task. His dedication, and his captivating images, inspired many others to do the same, but few, if any, surpassed the master. https://www.johnbyrnecooke.com/david-getz daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/7154b57b-8cc7-4212-9eab-e19453c7424b/Screenshot+2024-10-28+at+2.04.37%E2%80%AFPM.png David Getz (Big Brother & the Holding Company) Image No. 68-C6-21: David Getz in motion Big Brother & the Holding Company performance, 1968 https://www.johnbyrnecooke.com/allen-ginsberg daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/74c39db6-da57-4c41-9730-76efb18c02ca/Screenshot+2024-11-04+at+1.07.54%E2%80%AFPM.png Allen Ginsberg Image No. 67-C1-10 Allen Ginsberg at the Easter Be-In Central Park, New York City, Easter 1967 Beat poet Allen Ginsberg was a guiding spirit behind the first Human Be-In held in San Francisco's Golden Gate Park on January 14, 1967. The sequel, in Central Park in New York City on a sunny Easter Sunday, was a wake-up call to those alert spirits in Gotham who sensed that something was happening here, although what it was wasn't yet exactly clear. https://www.johnbyrnecooke.com/ralph-gleason daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/8473fd06-52eb-4b9d-82a0-2bd46fccd26f/Screenshot+2024-11-04+at+1.09.53%E2%80%AFPM.png Ralph Gleason Image No. 68-5A-2: Ralph J. Gleason Winterland arena, San Francisco, December 31, 1967 Ralph Gleason was a between-the-wars character, trench-coated and armed with a sardonic manner. He looked with amusement on the excesses of the young, but he always seemed to enjoy living in the present moment. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/34b32f79-ab94-44d4-ad8c-78c1e756c15f/Screenshot+2024-11-04+at+1.10.59%E2%80%AFPM.png Ralph Gleason Image No. 68-5A-12 Bill Graham and Ralph J. Gleason Winterland arena, San Francisco, December 31, 1967 Bill Graham had reason to be grateful to the San Francisco Chronicle's respected critic Ralph J. Gleason. Gleason was that rarity among critics, a music lover who dared to applaud new music that he deemed worthy, even if the newcomers were displacing the favored music of his own generation. Gleason was a jazz fan, but he was among the first music writers to recognize and champion the counterculture's music in the Sixties, first folk, and later the unique sound of the San Francisco rock bands. https://www.johnbyrnecooke.com/tony-glover daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/b9928833-1e02-4ecb-abac-2000d732cfb1/Screenshot+2024-11-04+at+1.17.17%E2%80%AFPM.png Tony "Little Sun" Glover (Koerner, Ray & Glover) Image No. 65-16N-5 Tony Glover and Spider John Koerner 1965 Newport Folk Festival "Spider John" Koerner, Dave "Snaker" Ray, and Tony "Little Sun" Glover, came from Minneapolis and made two successful albums for Elektra Records in the mid-60s--"Blues, Rags and Hollers" and "Lots More Blues Rags and Hollers" (both reissued on CD)-- but they had distinctive individual styles and also performed alone, so they just called their threesome Koerner, Ray and Glover. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/1a1d25a3-d92c-417c-ad6e-9ab93240f232/Screenshot+2024-11-04+at+1.18.27%E2%80%AFPM.png Tony "Little Sun" Glover (Koerner, Ray & Glover) Image No. 64-12N-43: Tony Glover poolside Viking Hotel, Newport, R.I., 1964 https://www.johnbyrnecooke.com/bill-graham daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/34b32f79-ab94-44d4-ad8c-78c1e756c15f/Screenshot+2024-11-04+at+1.10.59%E2%80%AFPM.png Bill Graham Image No. 68-5A-12 Bill Graham and Ralph J. Gleason Winterland arena, San Francisco, December 31, 1967 Bill Graham had reason to be grateful to the San Francisco Chronicle's respected critic Ralph J. Gleason. Gleason was that rarity among critics, a music lover who dared to applaud new music that he deemed worthy, even if the newcomers were displacing the favored music of his own generation. Gleason was a jazz fan, but he was among the first music writers to recognize and champion the counterculture's music in the Sixties, first folk, and later the unique sound of the San Francisco rock bands. https://www.johnbyrnecooke.com/debbie-green daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/7eac7fee-7fae-4aa6-8876-45877a80f24e/Screenshot+2024-11-04+at+10.36.25%E2%80%AFAM.png Debbie Green (Andersen) Image No. 66-12-9: Debbie Green and Mimi Fariña Telegraph Hill, San Francisco, June 1966 Debbie Green taught Mimi's sister Joan Baez how to play the guitar beyond the simple strums Joan had learned on her own, and many of the songs that made up Joan's early repertoire. Debbie and Mimi were lifelong friends. https://www.johnbyrnecooke.com/albert-grossman daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/4bbfc8eb-bff4-47b4-afdc-1beb493c9784/Screenshot+2024-11-04+at+1.23.12%E2%80%AFPM.png Albert Grossman Image No. 67-4-33: Albert Grossman New York City, May 1967 Albert Grossman helped George Wein organize the first Newport Folk Festival, in 1959, and he managed the careers of a host of folk and rock luminaries in the 60s, including Peter, Paul and Mary, and Bob Dylan. He was regarded by some as cryptic and opaque, but even his adversaries acknowleged that he was implacable in protecting his artists' integrity. Those who knew him well found him often benign, and possessed of a singular sense of humor. https://www.johnbyrnecooke.com/sally-grossman daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/4a88bd44-dd26-49cc-b6f6-3a9524b92d9e/Screenshot+2024-11-04+at+1.25.08%E2%80%AFPM.png Sally Grossman Image No. 64-11N-47: Backstage Confab Backstage at the 1964 Newport Folk Festival, Mary Travers (back to camera) talks intently with Peter, Paul and Mary's music director Milt Okun (facing camera) and the group's manager, Albert Grossman, while Albert's wife Sally listens. https://www.johnbyrnecooke.com/james-gurley daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/3267f5c2-9aee-4336-ae95-2532a73d2dba/Screenshot+2024-10-28+at+2.09.34%E2%80%AFPM.png James Gurley Image No. 68-5B-28: James Gurley at Newport 1968 Newport Folk Festival, Big Brother & the Holding Company performance, Saturday evening, July 27 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/94a499dd-ae84-46a5-bf82-ecb3441af046/Screenshot+2024-10-28+at+2.08.17%E2%80%AFPM.png James Gurley Image No. 68-8-2: James singing Big Brother & the Holding Company performance, 1968 https://www.johnbyrnecooke.com/rutha-harris daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/f5c5bd77-2cf7-44ec-a6cb-ac3c83f13de0/Screenshot+2024-10-30+at+6.14.35%E2%80%AFPM.png Rutha Harris Image No. 63-3N-11: We Shall Overcome, no. 2 1963 Newport Folk Festival Bob Dylan closed his triumphant debut set at Newport by calling out Joan Baez and Peter, Paul and Mary, to join him in "Blowin' in the Wind." (PP&M's recording of the song had reached no. 2 on Billboard's Top 100 singles chart a few weeks before the festival.) For an encore, they were joined by the Freedom Singers, Pete Seeger, and Theodore Bikel in a moving rendition of the civil-rights anthem "We Shall Overcome" that had the sell-out audience of 13,000 on their feet, singing along. https://www.johnbyrnecooke.com/jimi-hendrix daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/e0306343-de77-4ae5-9a29-78828cd7fc5d/Screenshot+2024-11-04+at+1.34.05%E2%80%AFPM.png Jimi Hendrix Image No. 67-5-39: Sound Check, no. 1 Monterey Pop Festival, Monterey, California, June 1967 Like the folk troubadour Ramblin' Jack Elliott, Jimi Hendrix first found fame in England. The Monterey Pop Festival was his first American performance since he had gigged as an R&B sideman with the Isley Brothers years earlier. At his daytime sound check, he was virtually unknown in the America. His Sunday evening performance, fueled by equal measures of guitar virtuosity, showmanship, and LSD, made him a superstar overnight. (Below right, in cowboy hat, Pennebaker film crew soundman Robert Leacock enjoys a ringside preview of Hendrix's performance.) https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/5113a944-f918-4c75-bee7-b85b54823dd0/Screenshot+2024-11-04+at+1.35.03%E2%80%AFPM.png Jimi Hendrix Image No. 67-5-42: Sound Check, no. 2 Monterey Pop Festival, Monterey, California, June 1967 Al Kooper looks on as Jimi plays a few riffs. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/1d02a32c-6d19-48e6-90f8-475910cd1a80/Screenshot+2024-11-04+at+1.35.58%E2%80%AFPM.png Jimi Hendrix Image No. 67-5-41: Sound Check, no. 4 Monterey Pop Festival, Monterey, California, June 1967 https://www.johnbyrnecooke.com/carolyn-hester daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/0009da08-7c35-432c-864d-11abf9f31505/Screenshot+2024-11-04+at+12.05.39%E2%80%AFPM.png Carolyn Hester Image No. 62-1-30: Pamplona café Dick Farina and Carolyn Hester, Pamplona, Spain, July 1962 Dick Farina was a struggling writer, not yet known as a songwriter and performer, when his first wife, Carolyn Hester, was among the most popular women folksingers of the early 1960s. In 1962 they spent a good deal of time in Europe. In July, Dick took them on a writer's pilgrimage, following in Hemingway's footsteps, to the running of the bulls in Pamplona. https://www.johnbyrnecooke.com/lightning-hopkins daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/11dcb601-f0e6-4928-b3c1-61ab57bf9f26/Screenshot+2024-11-04+at+1.42.14%E2%80%AFPM.png Lightning Hopkins Image No. 65-16N-12 Lightning Hopkins and Mance Lipscomb The two Texas guitarists were very different in their vocal and instrumental styles as well as in their repertoires. Lightning played both acoustic and electric blues, while Mance included ballads, ragtime songs and dance music, as well as blues, in his wide-ranging offerings. Here, they're sitting together to watch another performer at a daytime blues workshop during the 1965 Newport Folk Festival. https://www.johnbyrnecooke.com/eric-hord daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/00988d44-d878-47e9-8fdc-aac2d485f858/Screenshot+2024-11-04+at+12.13.47%E2%80%AFPM.png Eric Hord Image No. 63-7N-32 Ian and Sylvia at Newport '63 (L. to R.) Sylvia Fricker, Ian Tyson, and Eric "the Doctor" Hord https://www.johnbyrnecooke.com/mississipi-john-hurt daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/2ffb7298-a619-4bb5-8848-e2a425de05ed/Screenshot+2024-11-04+at+2.25.54%E2%80%AFPM.png Mississipi John Hurt Image No. 63-4N-6: Mississippi John Hurt 1963 Newport Folk Festival John Hurt's 1920s recordings on Harry Smith's Anthology of American Folk Music led to Hurt's rediscovery in 1961, when he was 72 years old. Before his death in 1966, Mississippi John enjoyed five years of revived fame and he saw a new generation of guitar players influenced by his distinctive finger-picking style. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/ed79a34f-29d7-4857-a028-c7c3511dc5d2/Screenshot+2024-11-04+at+2.27.39%E2%80%AFPM.png Mississipi John Hurt Image No. 63-4N-3: Blues Workshop 1963 Newport Folk Festival The much-beloved Mississippi John Hurt plays for an attentive crowd at a daytime blues workshop. Behind John, New York bluesman Dave van Ronk appears to be singing along, while Brownie McGhee looks on. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/036f8042-bc1f-4952-8b89-60d26f2ce828/Screenshot+2024-11-04+at+2.28.34%E2%80%AFPM.png Mississipi John Hurt Image No. 64-10N-2 Mississippi John looking on 1964 Newport Folk Festival Mississippi John listens to another musician performing at a daytime workshop. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/32097dc2-7614-4aff-8d44-6949a2c6b686/Screenshot+2024-11-04+at+2.29.27%E2%80%AFPM.png Mississipi John Hurt Image No. 63-7N-41 Mississippi John Hurt onstage 1963 Newport Folk Festival Alone on the large concert stage at the Newport Folk Festival, Mississippi John demonstrates the power of one man and a guitar. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/5030be11-681b-4643-8886-d595ac71fe3c/Screenshot+2024-11-04+at+2.30.24%E2%80%AFPM.png Mississipi John Hurt Image No. 63-7N-44: A Tip of the Hat 1963 Newport Folk Festival Always a gentleman, Mississippi John acknowledges the audience's applause as he leaves the stage at the end of his evening performance, while the m.c. prepares to adjust the mike for the next performer. https://www.johnbyrnecooke.com/ian-and-sylvia daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/00988d44-d878-47e9-8fdc-aac2d485f858/Screenshot+2024-11-04+at+12.13.47%E2%80%AFPM.png Ian and Sylvia Image No. 63-7N-32 Ian and Sylvia at Newport '63 (L. to R.) Sylvia Fricker, Ian Tyson, and Eric "the Doctor" Hord https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/1029ecf7-1115-49c8-ae93-2b2fc4da617e/Screenshot+2024-11-04+at+12.12.25%E2%80%AFPM.png Ian and Sylvia Image No. 63-7N-32: Ian and Sylvia a capella 1963 Newport Folk Festival Ian Tyson and Sylvia Fricker began singing together in 1959 and rose to popularity with the folk movement on the strength of their fellow Canadian Gordon Lightfoot's "Early Morning Rain," and Ian's own songs "Four Strong Winds" and "Someday Soon," which was later recorded by Judy Collins. Ian and Sylvia married a year after their debut performance at the Newport Folk Festival. https://www.johnbyrnecooke.com/clay-jackson daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/a4362d68-77f0-4d7e-a62b-683e835114f5/Screenshot+2024-10-28+at+3.33.56%E2%80%AFPM.png Clay Jackson Image No. 68-4N-14 Joan Baez and Charles River Valley Boys 1968 Newport Folk Festival (Left to right: Joe Val, Joan Baez, Bob Siggins, Clay Jackson.) https://www.johnbyrnecooke.com/skip-james daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/3e8e455b-6688-4369-bc70-ef6d20c6d72a/Screenshot+2024-11-04+at+2.37.23%E2%80%AFPM.png Skip James Image No. 64-10N-1: Skip James 1964 Newport Folk Festival Nehemiah "Skip" James had not performed in front of an audience since before World War II when he arrived at the Newport Folk Festival in 1964, just weeks after being "rediscovered" in a Mississippi hospital by young white blues enthusiasts. Before his performance at a daytime blues workshop, he sat off by himself, all but hidden in the shrubbery, singing the blues in his high ethereal voice. In the Coen brothers' wonderful film "O Brother, Where Art Thou?" Chris Thomas King's character is based on real-life bluesman Tommy Johnson, but the song Thomas sings on the Grammy-winning album from the movie is Skip James's "Hard Time Killing Floor Blues." https://www.johnbyrnecooke.com/mitchell-jayne daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/19ed1586-15e1-4cb5-82a7-34f5175f5921/Screenshot+2024-10-30+at+5.57.06%E2%80%AFPM.png Mitchell Jayne Image No. 63-6N-11: The Dillards 1963 Newport Folk Festival (Left to right) Dean Webb, Doug Dillard, Rodney Dillard, Mitchell Jayne. Doug and Rodney Dillard grew up in an extended Missouri family in which virtually every one of their relations played one or more instruments. Their father Homer was an old-time fiddler and the brothers were raised to the sound of traditional and bluegrass music. The Dillards toured widely in the folk revival with fellow Missourians Dean Webb and Mitchell Jayne. https://www.johnbyrnecooke.com/janis-joplin daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/f35466cf-fdae-4bd3-bb5c-b5f6c7bc15c1/Screenshot+2024-11-04+at+2.42.11%E2%80%AFPM.png Janis Joplin Image No. 68-5A-15a: Janis Angelic Backstage, Winterland arena, San Francisco, December 31, 1967 Sharing the bill with Big Brother and the Holding Company at Winterland this New Year's eve were Jefferson Airplane, Quicksilver Messenger Service, and Freedom Highway. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/55cff3d8-8151-420a-81e3-b8b8111c6ecf/Screenshot+2024-11-04+at+2.43.10%E2%80%AFPM.png Janis Joplin Image No. 69-3-2: Janis with Autoharp London, England, April 1969 Bessie Smith and Leadbelly were among Janis's earliest musical influences, but she also knew the music of traditional white performers like the Carter Family. On her first trip to San Francisco, in 1963. she played the Autoharp and sang Carter Family songs in North Beach coffeehouses. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/575d2f01-ef65-4197-b0cf-f86f680ff7c5/Screenshot+2024-11-04+at+2.46.01%E2%80%AFPM.png Janis Joplin Image No. 68-6-36: Faster than Sound Janis Joplin and Sam Andrew, Big Brother and the Holding Company performance, Houston, Texas, November 23, 1968 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/1588181500984-QEI9GL47MHIUQGSHZNAY/Janis%2B5-2.jpg Janis Joplin Image No. 69-4-4: Janis Triumphant Frankfurt, West Germany, April 12, 1969, in performance with the Kozmic Blues Band https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/7c4f3c87-68ba-45da-8124-efb9cc5796e0/Screenshot+2024-11-04+at+3.14.35%E2%80%AFPM.png Janis Joplin Image No. 69-4-5 (Detail): Blown Away Frankfurt, West Germany, April 12, 1969, in performance with the Kozmic Blues Band Janis's only European tour took her to Stockholm, Amsterdam, Frankfurt, Paris, Copenhagen, and London, where she sold out the Royal Albert Hall and had the staid Brits dancing in the aisles. In Frankfurt, American servicemen and their families made up most of the audience and Janis pulled out all the stops for them. No one was appreciating the note she was hitting at the moment I took this picture more than the bass player, Brad Campbell. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/1a91b471-a484-4656-a94a-f6224c25d6cd/Screenshot+2024-11-04+at+3.15.39%E2%80%AFPM.png Janis Joplin Image No. 68-5B-36a: Janis looking left In performance with Big Brother and the Holding Company, 1968 Newport Folk Festival, Saturday evening, July 27. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/9a464909-aa8d-42ba-b347-4642d07c47e5/Screenshot+2024-11-04+at+3.16.30%E2%80%AFPM.png Janis Joplin Image No. 68-5A-29: Janis standing, in fur hat Columbia Records offices, New York City, February 1968 This photo was taken moments after Janis and the other members of Big Brother and the Holding Company signed their recording contract with Columbia. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/f97e48b4-ea16-4386-9ef1-eb460dd274db/Screenshot+2024-11-04+at+3.17.48%E2%80%AFPM.png Janis Joplin Image No. 69-6-4: Janis and Sam rehearsing California motel patio, 1969 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/6f9d205b-fbf4-4fc9-a617-0167e01a473e/Screenshot+2024-11-04+at+3.18.41%E2%80%AFPM.png Janis Joplin Image No. 68-8-10: Janis Rampant In performance with Big Brother and the Holding Company, 1968 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/be7db53e-407c-4510-9cb4-0a8b7c781bfc/Screenshot+2024-11-04+at+3.19.39%E2%80%AFPM.png Janis Joplin Image No. 69-4-11: Janis with lips pursed Frankfurt, West Germany, April 12, 1969, in performance with the Kozmic Blues Band https://www.johnbyrnecooke.com/bill-keith daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/6c6b984b-cb84-4b7c-8bb3-24f798b02c8f/Screenshot+2024-11-04+at+3.25.17%E2%80%AFPM.png Bill Keith Image No. 63-2N-14 "Brad" Keith on banjo 1963 Newport Folk Festival In the early 60s, Cambridge banjo picker Bill Keith raised Earl Scruggs' three-fingered method of banjo playing to the next level, an achievement that Bill Monroe recognized when he introduced Keith to the audience at the 1963 Newport Folk Festival. "I don't think there's a man in the country," Monroe said, "that can touch this boy when it comes to playin' a five-string banjo." (When Keith joined the Blue Grass Boys, the father of bluegrass felt it might be confusing to have two Bills in the band, so Keith was "Brad" for the time he played with Monroe.) https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/cebf4592-acab-4ee3-83c6-bec03b8b8ea7/Screenshot+2024-10-28+at+1.47.49%E2%80%AFPM.png Bill Keith Image No. 63-2N-6 Bill Monroe and the Blue Grass Boys 1963 Newport Folk Festival (Left to right) Bessie Lee Mauldin (bass), Billy Baker (fiddle), Bill Keith (banjo), Bill Monroe (mandolin), Del McCoury (guitar) Shortly after World War II, Bill Monroe added a 5-string banjo player named Earl Scruggs to his band. Scruggs' revolutionary melodic fingerpicking style of playing the banjo, together with Monroe's mandolin playing, high-tenor lead singing, and his close-harmony vocal arrangements, created the distinctive sound that came to be called bluegrass music. In the early 1960s, it was Earl Scruggs, together with Lester Flatt, another alumnus of Monroe's group, who introduced bluegrass to folk audiences in the northeast. It seemed the folk revival might pass the founder by, until Ralph Rinzler brought Bill Monroe and the Blue Grass Boys to the 1963 Newport Folk Festival. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/f2af6228-6a48-45ae-9c8b-c266b795226d/Screenshot+2024-11-04+at+3.27.31%E2%80%AFPM.png Bill Keith Image No. 63-2N-11 Bill Monroe, Bill Keith, Del McCoury 1963 Newport Folk Festival https://www.johnbyrnecooke.com/the-kentucky-colonels daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/943ad389-4c32-49bd-adca-08fd75a7a275/Screenshot+2024-10-28+at+2.48.02%E2%80%AFPM.png The Kentucky Colonels Image No. 64-14-35 The Kentucky Colonels Club 47, Cambridge, Mass., October 1964 (Left to right) Roger Bush, Roland White, Billy Ray Lathum, Clarence White https://www.johnbyrnecooke.com/koerner-ray-glover daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/b9928833-1e02-4ecb-abac-2000d732cfb1/Screenshot+2024-11-04+at+1.17.17%E2%80%AFPM.png Koerner, Ray and Glover Image No. 65-16N-5 Tony Glover and Spider John Koerner 1965 Newport Folk Festival "Spider John" Koerner, Dave "Snaker" Ray, and Tony "Little Sun" Glover, came from Minneapolis and made two successful albums for Elektra Records in the mid-60s--"Blues, Rags and Hollers" and "Lots More Blues Rags and Hollers" (both reissued on CD)-- but they had distinctive individual styles and also performed alone, so they just called their threesome Koerner, Ray and Glover. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/484d3201-685b-4587-8381-35497efba53d/Screenshot+2024-11-04+at+3.37.41%E2%80%AFPM.png Koerner, Ray and Glover Image No. 65-14-23: Dave Ray at Club 47 Club 47, Cambridge, Massachusetts, 1965 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/1a1d25a3-d92c-417c-ad6e-9ab93240f232/Screenshot+2024-11-04+at+1.18.27%E2%80%AFPM.png Koerner, Ray and Glover Image No. 64-12N-43: Tony Glover poolside Viking Hotel, Newport, R.I., 1964 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/5a9619a2-cd36-4360-9be0-4aa0bd7ca5e0/Screenshot+2024-11-04+at+3.43.50%E2%80%AFPM.png Koerner, Ray and Glover Image No. 65-15N-11 The Spider John Koerner Fan Club 1965 Newport Folk Festival https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/e286e3a0-8e7e-41bd-ac76-aa03f0674f57/Screenshot+2024-11-04+at+3.44.53%E2%80%AFPM.png Koerner, Ray and Glover Image No. 65-15N-7: Spider John in shades 1965 Newport Folk Festival https://www.johnbyrnecooke.com/john-koerner daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/b9928833-1e02-4ecb-abac-2000d732cfb1/Screenshot+2024-11-04+at+1.17.17%E2%80%AFPM.png John Koerner Image No. 65-16N-5 Tony Glover and Spider John Koerner 1965 Newport Folk Festival "Spider John" Koerner, Dave "Snaker" Ray, and Tony "Little Sun" Glover, came from Minneapolis and made two successful albums for Elektra Records in the mid-60s--"Blues, Rags and Hollers" and "Lots More Blues Rags and Hollers" (both reissued on CD)-- but they had distinctive individual styles and also performed alone, so they just called their threesome Koerner, Ray and Glover. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/e286e3a0-8e7e-41bd-ac76-aa03f0674f57/Screenshot+2024-11-04+at+3.44.53%E2%80%AFPM.png John Koerner Image No. 65-15N-7: Spider John in shades 1965 Newport Folk Festival https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/5a9619a2-cd36-4360-9be0-4aa0bd7ca5e0/Screenshot+2024-11-04+at+3.43.50%E2%80%AFPM.png John Koerner Image No. 65-15N-11 The Spider John Koerner Fan Club 1965 Newport Folk Festival https://www.johnbyrnecooke.com/jim-kweskin daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/7ce539fc-c993-4cc8-a48e-2a14914f68c8/Screenshot+2024-10-30+at+5.48.58%E2%80%AFPM.png Jim Kweskin Image No. 64-11N-63: Jim Kweskin Jug Band 1964 Newport Folk Festival (Left to right) Mel Lyman, Maria D'Amato (soon to be Muldaur), Geoff Muldaur, Jim Kweskin, Bill Keith The Jim Kweskin Jug Band was the first of the jug bands formed in the 60s folk revival and it gained the most widespread popularity. Before disbanding in 1968, the Jug Band shared billing in the psychedelic ballrooms of San Francisco with Big Brother and the Holding Company, and the Doors. https://www.johnbyrnecooke.com/billy-ray-lathum daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/943ad389-4c32-49bd-adca-08fd75a7a275/Screenshot+2024-10-28+at+2.48.02%E2%80%AFPM.png Billy Ray Lathum (Kentucky Colonels) Image No. 64-14-35 The Kentucky Colonels Club 47, Cambridge, Mass., October 1964 (Left to right) Roger Bush, Roland White, Billy Ray Lathum, Clarence White https://www.johnbyrnecooke.com/sam-lay daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/94042376-4964-4884-bf04-01fdc8f23652/Screenshot+2024-10-28+at+2.20.53%E2%80%AFPM.png Sam Lay (Butterfield Blues Band) Image No. 65-C5-6 The Paul Butterfield Blues Band The Unicorn, Boston, Mass., 1965 Paul Butterfield, Elvin Bishop, drummer Sam Lay (behind Elvin), Mike Bloomfield (l. to r.) Paul Butterfield, widely recognized as one of the best blues harmonica players of his day, black or white, was also a topnotch blues vocalist. His Chicago-style blues band revolutionized a lot of folk fans' attitudes about electrified music. https://www.johnbyrnecooke.com/richard-leacock daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/c726d4dd-c8f4-48d3-9adb-c263292b4904/Screenshot+2024-11-06+at+3.28.34%E2%80%AFPM.png Richard Leacock Image No. 67-4-20: Richard Leacock Leacock-Pennebaker offices, New York City, May 1967 Filmmaking is Richard Leacock's life. He began with 8mm when he was a teenager. He was a combat cameraman in World War II. With D. A. Pennebaker and Albert and David Maysles, he was a pioneer in the cinéma vérité or "direct cinema" style of documentaries in the 1960s. In the '80s, he came full circle, back to 8mm again, this time in video. He lives and works in France and continues to champion low-budget films controlled by the individual filmmaker from inception through distribution. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/cbcea029-a49e-4ee2-951e-05864f9dd08d/Screenshot+2024-11-06+at+3.29.30%E2%80%AFPM.png Richard Leacock Image No. 67-5-40: On Location Monterey International Pop Festival Monterey, California, June 1967 Ricky Leacock (right) and cameraman Roger Murphy evaluate a camera angle at the Monterey County Fairgrounds arena, where the Pop Festival's concerts were held. Ricky and Roger were among the seven cameramen who filmed "Monterey Pop!" with D.A. Pennebaker. https://www.johnbyrnecooke.com/robert-leacock daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/e0306343-de77-4ae5-9a29-78828cd7fc5d/Screenshot+2024-11-04+at+1.34.05%E2%80%AFPM.png Robert Leacock Image No. 67-5-39: Sound Check, no. 1 Monterey Pop Festival, Monterey, California, June 1967 Like the folk troubadour Ramblin' Jack Elliott, Jimi Hendrix first found fame in England. The Monterey Pop Festival was his first American performance since he had gigged as an R&B sideman with the Isley Brothers years earlier. At his daytime sound check, he was virtually unknown in the America. His Sunday evening performance, fueled by equal measures of guitar virtuosity, showmanship, and LSD, made him a superstar overnight. (Below right, in cowboy hat, Pennebaker film crew soundman Robert Leacock enjoys a ringside preview of Hendrix's performance.) https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/5113a944-f918-4c75-bee7-b85b54823dd0/Screenshot+2024-11-04+at+1.35.03%E2%80%AFPM.png Robert Leacock Image No. 67-5-42: Sound Check, no. 2 Monterey Pop Festival, Monterey, California, June 1967 Al Kooper looks on as Jimi plays a few riffs. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/1d02a32c-6d19-48e6-90f8-475910cd1a80/Screenshot+2024-11-04+at+1.35.58%E2%80%AFPM.png Robert Leacock Image No. 67-5-41: Sound Check, no. 4 Monterey Pop Festival, Monterey, California, June 1967 https://www.johnbyrnecooke.com/lilly-brothers daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/0458328c-180a-4895-9549-30c6644f10bc/Screenshot+2024-11-06+at+3.40.33%E2%80%AFPM.png Lilly Brothers Image No. 65-15N-38: The Lilly Brothers 1965 Newport Folk Festival Everett (mandolin) and Bea Lilly (guitar) began playing and singing together in the 1930s. In 1952, the noted Texas fiddler Tex Logan brought them to Boston with their longtime friend, banjo-player Don Stover. As the Lilly Brothers & Don Stover (sometimes featuring Tex Logan), they introduced Southern mountain string band music to New England long before the folk music revival enabled them to play concerts and folk festivals for larger audiences. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/53df3f95-1e0b-4b8f-aef1-1360f896e4d1/Screenshot+2024-11-06+at+3.37.52%E2%80%AFPM.png Lilly Brothers Image No. 65-15N-44 Bea Lilly and Don Stover Bea and Don enjoy a daytime workshop performance at the 1965 Newport Folk Festival. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/239d7e9a-ff1c-4e3b-aa1b-457b99e6f5f2/Screenshot+2024-11-06+at+3.39.00%E2%80%AFPM.png Lilly Brothers Image No. 65-15N-37: Tex Logan and Everett Lilly 1965 Newport Folk Festival Tex Logan was born in Coahoma, Howard County, Texas. He grew up to become one of the best fiddle players of his generation but figured a day job was a good idea. His studies in electrical engineering earned him a master's degree from M.I.T., a doctorate from Columbia, and a steady job at Bell Laboratories in New Jersey. Along the way he found time to fiddle at the Wheeling Jamboree and with artists such as Wilma Lee and Stoney Cooper, Hawkshaw Hawkins, and Red Belcher, whose band the Kentucky Ridge Runners included, at the time, two brothers named Everett and Bea Lilly. It was the start of a beautiful friendship. https://www.johnbyrnecooke.com/bea-lilly daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/0458328c-180a-4895-9549-30c6644f10bc/Screenshot+2024-11-06+at+3.40.33%E2%80%AFPM.png Bea Lilly Image No. 65-15N-38: The Lilly Brothers 1965 Newport Folk Festival Everett (mandolin) and Bea Lilly (guitar) began playing and singing together in the 1930s. In 1952, the noted Texas fiddler Tex Logan brought them to Boston with their longtime friend, banjo-player Don Stover. As the Lilly Brothers & Don Stover (sometimes featuring Tex Logan), they introduced Southern mountain string band music to New England long before the folk music revival enabled them to play concerts and folk festivals for larger audiences. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/53df3f95-1e0b-4b8f-aef1-1360f896e4d1/Screenshot+2024-11-06+at+3.37.52%E2%80%AFPM.png Bea Lilly Image No. 65-15N-44 Bea Lilly and Don Stover Bea and Don enjoy a daytime workshop performance at the 1965 Newport Folk Festival. https://www.johnbyrnecooke.com/everett-lilly daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/239d7e9a-ff1c-4e3b-aa1b-457b99e6f5f2/Screenshot+2024-11-06+at+3.39.00%E2%80%AFPM.png Everett Lilly Image No. 65-15N-37: Tex Logan and Everett Lilly 1965 Newport Folk Festival Tex Logan was born in Coahoma, Howard County, Texas. He grew up to become one of the best fiddle players of his generation but figured a day job was a good idea. His studies in electrical engineering earned him a master's degree from M.I.T., a doctorate from Columbia, and a steady job at Bell Laboratories in New Jersey. Along the way he found time to fiddle at the Wheeling Jamboree and with artists such as Wilma Lee and Stoney Cooper, Hawkshaw Hawkins, and Red Belcher, whose band the Kentucky Ridge Runners included, at the time, two brothers named Everett and Bea Lilly. It was the start of a beautiful friendship. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/0458328c-180a-4895-9549-30c6644f10bc/Screenshot+2024-11-06+at+3.40.33%E2%80%AFPM.png Everett Lilly Image No. 65-15N-38: The Lilly Brothers 1965 Newport Folk Festival Everett (mandolin) and Bea Lilly (guitar) began playing and singing together in the 1930s. In 1952, the noted Texas fiddler Tex Logan brought them to Boston with their longtime friend, banjo-player Don Stover. As the Lilly Brothers & Don Stover (sometimes featuring Tex Logan), they introduced Southern mountain string band music to New England long before the folk music revival enabled them to play concerts and folk festivals for larger audiences. https://www.johnbyrnecooke.com/everett-alan-lilly daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/951f75e2-d734-493b-9a40-8749b51aae05/Screenshot+2024-10-28+at+3.28.40%E2%80%AFPM.png Everett Alan Lilly (Charles River Valley Boys) Image No. 65-11-30 On the Banks of the Charles (Left to right: Joe Val, John Cooke, Everett Alan Lilly, Bob Siggins.) The Charles River Valley Boys got together at Harvard College to play old-timey music. When banjoist Bob Siggins learned Scruggs-style picking, the band added bluegrass to its repertoire. John Cooke joined the CRVB when the original guitar player indefinitely extended a European sojourn. After the group disbanded in 1968, Joe Val, the great mandolinist and high-lonesome singer, founded his own group, the New England Bluegrass Boys. Joe and his Boys appeared several times on "Prairie Home Companion" in its early years. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/e7b9096f-5460-43c8-b733-27960274063d/Screenshot+2024-10-28+at+3.30.11%E2%80%AFPM.png Everett Alan Lilly (Charles River Valley Boys) Image No. 65-11-22: Sitting on the Fence Cambridge, Mass., July 1965 (Left to right: John Cooke, Everett Alan Lilly, Joe Val, Bob Siggins.) https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/92827273-38be-48a7-be60-6fd2dc847dbb/Screenshot+2024-10-28+at+3.31.13%E2%80%AFPM.png Everett Alan Lilly (Charles River Valley Boys) Image No. 65-11-28 Picking by the River Cambridge, Mass., July 1965 (Left to right: John Cooke, Everett Alan Lilly, Joe Val, Bob Siggins.) https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/47af9355-b0a8-4124-b92b-1078a8c005d9/Screenshot+2024-10-28+at+3.32.31%E2%80%AFPM.png Everett Alan Lilly (Charles River Valley Boys) Image No. 65-11-32 Goofing Around (Left to right: John Cooke, Joe Val, Everett Alan Lilly, Bob Siggins) https://www.johnbyrnecooke.com/mance-lipscomb daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/11dcb601-f0e6-4928-b3c1-61ab57bf9f26/Screenshot+2024-11-04+at+1.42.14%E2%80%AFPM.png Mance Lipscomb Image No. 65-16N-12 Lightning Hopkins and Mance Lipscomb The two Texas guitarists were very different in their vocal and instrumental styles as well as in their repertoires. Lightning played both acoustic and electric blues, while Mance included ballads, ragtime songs and dance music, as well as blues, in his wide-ranging offerings. Here, they're sitting together to watch another performer at a daytime blues workshop during the 1965 Newport Folk Festival. https://www.johnbyrnecooke.com/tex-logan daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/239d7e9a-ff1c-4e3b-aa1b-457b99e6f5f2/Screenshot+2024-11-06+at+3.39.00%E2%80%AFPM.png Tex Logan Image No. 65-15N-37: Tex Logan and Everett Lilly 1965 Newport Folk Festival Tex Logan was born in Coahoma, Howard County, Texas. He grew up to become one of the best fiddle players of his generation but figured a day job was a good idea. His studies in electrical engineering earned him a master's degree from M.I.T., a doctorate from Columbia, and a steady job at Bell Laboratories in New Jersey. Along the way he found time to fiddle at the Wheeling Jamboree and with artists such as Wilma Lee and Stoney Cooper, Hawkshaw Hawkins, and Red Belcher, whose band the Kentucky Ridge Runners included, at the time, two brothers named Everett and Bea Lilly. It was the start of a beautiful friendship. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/0458328c-180a-4895-9549-30c6644f10bc/Screenshot+2024-11-06+at+3.40.33%E2%80%AFPM.png Tex Logan Image No. 65-15N-38: The Lilly Brothers 1965 Newport Folk Festival Everett (mandolin) and Bea Lilly (guitar) began playing and singing together in the 1930s. In 1952, the noted Texas fiddler Tex Logan brought them to Boston with their longtime friend, banjo-player Don Stover. As the Lilly Brothers & Don Stover (sometimes featuring Tex Logan), they introduced Southern mountain string band music to New England long before the folk music revival enabled them to play concerts and folk festivals for larger audiences. https://www.johnbyrnecooke.com/mel-lyman daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/7ce539fc-c993-4cc8-a48e-2a14914f68c8/Screenshot+2024-10-30+at+5.48.58%E2%80%AFPM.png Mel Lyman (Kweskin Jug Band) Image No. 64-11N-63: Jim Kweskin Jug Band 1964 Newport Folk Festival (Left to right) Mel Lyman, Maria D'Amato (soon to be Muldaur), Geoff Muldaur, Jim Kweskin, Bill Keith The Jim Kweskin Jug Band was the first of the jug bands formed in the 60s folk revival and it gained the most widespread popularity. Before disbanding in 1968, the Jug Band shared billing in the psychedelic ballrooms of San Francisco with Big Brother and the Holding Company, and the Doors. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/d20fbb92-e9ff-4ea5-b574-9996136fd834/Screenshot+2024-11-06+at+3.58.09%E2%80%AFPM.png Mel Lyman (Kweskin Jug Band) Image No. 64-21-4 Fritz Richmond and Mel Lyman Kweskin Jug Band performance Sanders Theater, Cambridge, Mass., November 1964 Before he turned to antique ceramic jugs, Fritz got a darn good sound from plastic. https://www.johnbyrnecooke.com/taj-mahal daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/6b71f8ca-072e-4bb7-bd1a-47d66601763e/Screenshot+2024-11-06+at+4.01.37%E2%80%AFPM.png Taj Mahal Image No. 64-24-14: Taj Mahal Club 47, Cambridge, Mass., fall 1964 https://www.johnbyrnecooke.com/the-mamas-and-the-papas daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/3edbdaa9-eb4a-453c-be69-4c839eaf1c49/Screenshot+2024-10-30+at+6.22.34%E2%80%AFPM.png The Mamas and the Papas Image No. 67-5-16 Cass Elliot and Michelle Phillips Monterey Pop Festival, Monterey, California, June 1967 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/2d138ef7-d5c0-483a-9540-709c5b14ff68/Screenshot+2024-11-06+at+4.07.39%E2%80%AFPM.png The Mamas and the Papas Image No. 67-5-20: Michelle Phillips Monterey Pop Festival, Monterey, California, June 1967 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/8d1b6617-7990-4dd0-a636-10abb1da2507/Screenshot+2024-10-30+at+6.01.17%E2%80%AFPM.png The Mamas and the Papas Image No. 67-5-22 Denny Doherty and John Phillips Monterey Pop Festival, Monterey, California, June 1967 John Phillips was one of the guiding spirits behind the Monterey Pop Festival. It was the first pop-rock festival to present only headline acts, and many consider it to have been the best of all the late-60s music festivals. The Mamas and the Papas' willingness to commit themselves to the event moved the planning sessions from pipe dreams to reality. https://www.johnbyrnecooke.com/jim-marshall daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/45317d6e-051a-4625-917e-a6a84f5a826b/Screenshot+2024-11-06+at+4.10.14%E2%80%AFPM.png Jim Marshall Image No. 68-5A-4: Happy New Year Backstage, Winterland, San Francisco, Dec. 31, 1967 Jim Marshall began taking photographs in the folk revival and he never stopped. At some point between then and now, he became the premier pop music photographer of the 20th century. A selection of his best images is available in his book, "Not Fade Away" (Bulfinch Press, 1997). The photo reproductions are gorgeous! https://www.johnbyrnecooke.com/bessie-lee-mauldin daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/cebf4592-acab-4ee3-83c6-bec03b8b8ea7/Screenshot+2024-10-28+at+1.47.49%E2%80%AFPM.png Bessie Lee Mauldin (Bill Monroe & the Bluegrass Boys) Image No. 63-2N-6 Bill Monroe and the Blue Grass Boys 1963 Newport Folk Festival (Left to right) Bessie Lee Mauldin (bass), Billy Baker (fiddle), Bill Keith (banjo), Bill Monroe (mandolin), Del McCoury (guitar) Shortly after World War II, Bill Monroe added a 5-string banjo player named Earl Scruggs to his band. Scruggs' revolutionary melodic fingerpicking style of playing the banjo, together with Monroe's mandolin playing, high-tenor lead singing, and his close-harmony vocal arrangements, created the distinctive sound that came to be called bluegrass music. In the early 1960s, it was Earl Scruggs, together with Lester Flatt, another alumnus of Monroe's group, who introduced bluegrass to folk audiences in the northeast. It seemed the folk revival might pass the founder by, until Ralph Rinzler brought Bill Monroe and the Blue Grass Boys to the 1963 Newport Folk Festival. https://www.johnbyrnecooke.com/victor-maymudes daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/1588177636360-093DQGQ0O7H102QFISC5/Bob%252525252BDylan%252525252BMotorcycle.jpg Victor Maymudes Image No. 64-C3-20: Bob Dylan on his Triumph motorcycle Bearsville, New York, summer 1964 Facing the camera, Victor Maymudes, Bob's road manager. Back to camera, painter-musician Bob Neuwirth. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/1586822988633-VCI8NU41C634NWCR05SI/RITY-JBC-000038+Bob+Dylan+In+Massachusetts+April+1964+copy.jpg Victor Maymudes Image No. 64-5-6: On the Road No. 1 Massachusetts, April 26, 1964 In the spring of 1964, Bob Dylan toured New England in a navy-blue Ford station wagon driven by his road manager, Victor Maymudes. Bob was the first folk artist to have a road manager, and it was a measure of his rapidly - escalating success. After gigs in Cambridge and Boston, Bob and Victor headed for the University of Massachusetts at Amherst. A few of us from the Cambridge folk scene tagged along for the trip. https://www.johnbyrnecooke.com/albert-maysles daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/f5dd4119-6714-4367-892f-3ea66f2b1708/Screenshot+2024-11-06+at+4.19.23%E2%80%AFPM.png Albert Maysles Image No. 67-4-13: D.A. Pennebaker Leacock-Pennebaker offices, New York City, May 1967 In the spring of 1967, filmmaker D.A. Pennebaker was looking foward to the imminent theatrical release of his documentary "Don't Look Back," in which he presented a unique behind-the-scenes view of Bob Dylan's 1965 tour of England, and he was planning his most ambitious project yet: filming the Monterey International Pop Festival in June. The resulting film, "Monterey Pop!", brilliantly captured the optimistic energy of the Summer of Love and set a standard for all the rock-concert films that followed. Penne's colleague, filmmaker Albert Maysles, is at Penne's right. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/2dbfcb58-ade9-43ab-824a-7c837e91c29a/Screenshot+2024-11-06+at+4.20.34%E2%80%AFPM.png Albert Maysles Image No. 67-4-14: Penne holding forth Leacock-Pennebaker offices, New York City, May 1967 Whatever Pennebaker is explaining, it seems to meet with Al Maysles' approval. https://www.johnbyrnecooke.com/del-mccoury daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/cebf4592-acab-4ee3-83c6-bec03b8b8ea7/Screenshot+2024-10-28+at+1.47.49%E2%80%AFPM.png Del McCoury (Bill Monroe & the Bluegrass Boys) Image No. 63-2N-6 Bill Monroe and the Blue Grass Boys 1963 Newport Folk Festival (Left to right) Bessie Lee Mauldin (bass), Billy Baker (fiddle), Bill Keith (banjo), Bill Monroe (mandolin), Del McCoury (guitar) Shortly after World War II, Bill Monroe added a 5-string banjo player named Earl Scruggs to his band. Scruggs' revolutionary melodic fingerpicking style of playing the banjo, together with Monroe's mandolin playing, high-tenor lead singing, and his close-harmony vocal arrangements, created the distinctive sound that came to be called bluegrass music. In the early 1960s, it was Earl Scruggs, together with Lester Flatt, another alumnus of Monroe's group, who introduced bluegrass to folk audiences in the northeast. It seemed the folk revival might pass the founder by, until Ralph Rinzler brought Bill Monroe and the Blue Grass Boys to the 1963 Newport Folk Festival. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/f2af6228-6a48-45ae-9c8b-c266b795226d/Screenshot+2024-11-04+at+3.27.31%E2%80%AFPM.png Del McCoury (Bill Monroe & the Bluegrass Boys) Image No. 63-2N-11 Bill Monroe, Bill Keith, Del McCoury 1963 Newport Folk Festival https://www.johnbyrnecooke.com/brownie-mcghee daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/3e69a663-5e9c-47c6-94ba-e959d74eb745/Screenshot+2024-11-06+at+4.25.03%E2%80%AFPM.png Brownie McGhee Image No. 63-2N-30 Sonny Terry and Brownie McGhee 1963 Newport Folk Festival Sonny Terry and Brownie McGhee were a well established rural and city blues duo before the 60s folk revival gave them the chance to play for larger audiences. https://www.johnbyrnecooke.com/scott-mckenzie daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/af07dba2-2d54-4380-bd4d-fb95a79d0e39/Screenshot+2024-11-06+at+4.28.06%E2%80%AFPM.png Scott McKenzie Image No. 67-5-29: Scott McKenzie Monterey Pop Festival, Monterey, California, June 1967 Although he wasn't a member of the Mamas and the Papas, Scott McKenzie was an old friend of John and Michelle Phillips. John wrote Scott's hit song "If You're Going to San Francisco," which was high on the charts in the weeks leading up to the Monterey Pop Festival. At the festival, Scott sang the song with the Mamas and the Papas and he wore a long, brightly-colored robe like theirs. https://www.johnbyrnecooke.com/milan-melvin daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/ef43151f-a7b6-4ace-8411-88216cec4b55/Screenshot+2024-11-04+at+10.37.27%E2%80%AFAM.png Milan Melvin Image No. 68-C2-3: Mimi Fariña and Milan Melvin Big Sur, September 7, 1968 Mimi married her second husband, Milan Melvin, on the morning of the opening day of the 1968 Big Sur Folk Festival, which was held on the grounds of the Esalen Institute. https://www.johnbyrnecooke.com/memphis-slim daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/2bcad0be-77b0-4366-8a39-1a7aaf3480f6/Screenshot+2024-10-30+at+5.59.11%E2%80%AFPM.png Memphis Slim Image No. 65-15N-13: Willie Dixon and Memphis Slim 1965 Newport Folk Festival The great bluesmen Willie Dixon (bass) and Peter Chatman, a.k.a. Memphis Slim (piano), were both born in Mississippi in 1915 and both moved their music to the more hospitable climate of Chicago. Their presence at Newport '65 added an important dimension to the festival's blues repertoire. https://www.johnbyrnecooke.com/bill-monroe daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/386117ff-76c2-4d7c-a271-30d7d91fa7e0/Screenshot+2024-11-06+at+4.38.27%E2%80%AFPM.png Bill Monroe Image No. 64-14-7 Bill Monroe at Club 47, no. 1 Club 47, Cambridge, Mass., October 8, 1964 At the Club 47, audiences often saw musicians perform together in unique combinations. On this fall night in 1964, Bill Monroe played with the Kentucky Colonels, a southern California bluegrass band that featured the stunning guitar picking of Clarence White. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/cebf4592-acab-4ee3-83c6-bec03b8b8ea7/Screenshot+2024-10-28+at+1.47.49%E2%80%AFPM.png Bill Monroe Image No. 63-2N-6 Bill Monroe and the Blue Grass Boys 1963 Newport Folk Festival (Left to right) Bessie Lee Mauldin (bass), Billy Baker (fiddle), Bill Keith (banjo), Bill Monroe (mandolin), Del McCoury (guitar) Shortly after World War II, Bill Monroe added a 5-string banjo player named Earl Scruggs to his band. Scruggs' revolutionary melodic fingerpicking style of playing the banjo, together with Monroe's mandolin playing, high-tenor lead singing, and his close-harmony vocal arrangements, created the distinctive sound that came to be called bluegrass music. In the early 1960s, it was Earl Scruggs, together with Lester Flatt, another alumnus of Monroe's group, who introduced bluegrass to folk audiences in the northeast. It seemed the folk revival might pass the founder by, until Ralph Rinzler brought Bill Monroe and the Blue Grass Boys to the 1963 Newport Folk Festival. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/f2af6228-6a48-45ae-9c8b-c266b795226d/Screenshot+2024-11-04+at+3.27.31%E2%80%AFPM.png Bill Monroe Image No. 63-2N-11 Bill Monroe, Bill Keith, Del McCoury 1963 Newport Folk Festival https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/6c6b984b-cb84-4b7c-8bb3-24f798b02c8f/Screenshot+2024-11-04+at+3.25.17%E2%80%AFPM.png Bill Monroe Image No. 63-2N-14 "Brad" Keith on banjo 1963 Newport Folk Festival In the early 60s, Cambridge banjo picker Bill Keith raised Earl Scruggs' three-fingered method of banjo playing to the next level, an achievement that Bill Monroe recognized when he introduced Keith to the audience at the 1963 Newport Folk Festival. "I don't think there's a man in the country," Monroe said, "that can touch this boy when it comes to playin' a five-string banjo." (When Keith joined the Blue Grass Boys, the father of bluegrass felt it might be confusing to have two Bills in the band, so Keith was "Brad" for the time he played with Monroe.) https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/c3d5107d-428d-4cf5-a273-f7e8fb58b270/Screenshot+2024-11-06+at+4.40.51%E2%80%AFPM.png Bill Monroe Image No. 64-14-12 Bill Monroe at Club 47, no. 2 Club 47, Cambridge, Mass., October 8, 1964 https://www.johnbyrnecooke.com/bill-monroe-and-the-bluegrass-boys daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/c3d5107d-428d-4cf5-a273-f7e8fb58b270/Screenshot+2024-11-06+at+4.40.51%E2%80%AFPM.png Bill Monroe and the Bluegrass Boys Image No. 64-14-12 Bill Monroe at Club 47, no. 2 Club 47, Cambridge, Mass., October 8, 1964 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/386117ff-76c2-4d7c-a271-30d7d91fa7e0/Screenshot+2024-11-06+at+4.38.27%E2%80%AFPM.png Bill Monroe and the Bluegrass Boys Image No. 64-14-7 Bill Monroe at Club 47, no. 1 Club 47, Cambridge, Mass., October 8, 1964 At the Club 47, audiences often saw musicians perform together in unique combinations. On this fall night in 1964, Bill Monroe played with the Kentucky Colonels, a southern California bluegrass band that featured the stunning guitar picking of Clarence White. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/f2af6228-6a48-45ae-9c8b-c266b795226d/Screenshot+2024-11-04+at+3.27.31%E2%80%AFPM.png Bill Monroe and the Bluegrass Boys Image No. 63-2N-11 Bill Monroe, Bill Keith, Del McCoury 1963 Newport Folk Festival https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/6c6b984b-cb84-4b7c-8bb3-24f798b02c8f/Screenshot+2024-11-04+at+3.25.17%E2%80%AFPM.png Bill Monroe and the Bluegrass Boys Image No. 63-2N-14 "Brad" Keith on banjo 1963 Newport Folk Festival In the early 60s, Cambridge banjo picker Bill Keith raised Earl Scruggs' three-fingered method of banjo playing to the next level, an achievement that Bill Monroe recognized when he introduced Keith to the audience at the 1963 Newport Folk Festival. "I don't think there's a man in the country," Monroe said, "that can touch this boy when it comes to playin' a five-string banjo." (When Keith joined the Blue Grass Boys, the father of bluegrass felt it might be confusing to have two Bills in the band, so Keith was "Brad" for the time he played with Monroe.) https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/cebf4592-acab-4ee3-83c6-bec03b8b8ea7/Screenshot+2024-10-28+at+1.47.49%E2%80%AFPM.png Bill Monroe and the Bluegrass Boys Image No. 63-2N-6 Bill Monroe and the Blue Grass Boys 1963 Newport Folk Festival (Left to right) Bessie Lee Mauldin (bass), Billy Baker (fiddle), Bill Keith (banjo), Bill Monroe (mandolin), Del McCoury (guitar) Shortly after World War II, Bill Monroe added a 5-string banjo player named Earl Scruggs to his band. Scruggs' revolutionary melodic fingerpicking style of playing the banjo, together with Monroe's mandolin playing, high-tenor lead singing, and his close-harmony vocal arrangements, created the distinctive sound that came to be called bluegrass music. In the early 1960s, it was Earl Scruggs, together with Lester Flatt, another alumnus of Monroe's group, who introduced bluegrass to folk audiences in the northeast. It seemed the folk revival might pass the founder by, until Ralph Rinzler brought Bill Monroe and the Blue Grass Boys to the 1963 Newport Folk Festival. https://www.johnbyrnecooke.com/geoff-muldaur daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/bd6cb468-5e3f-4497-9cf8-6b8e3b19db18/Screenshot+2024-11-06+at+4.46.31%E2%80%AFPM.png Geoff Muldaur (Kweskin Jug Band; Better Days) Image No. 64-21-7: Geoff Muldaur on washboard Kweskin Jug Band performance Sanders Theater, Cambridge, Mass., November 1964 Geoff Muldaur was the Jug Band's blues master, clarinetist, and washboard rhythm king. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/0d722336-d0e3-458a-8d49-ea0edb77a576/Screenshot+2024-11-06+at+4.48.35%E2%80%AFPM.png Geoff Muldaur (Kweskin Jug Band; Better Days) Image No. 63-12-29: Jamming at the 47 Club 47, Cambridge, Mass., December 1963 At the Club 47, musicians often put together one-time combinations that were never recorded. We'd like to have a tape of this spontaneous group, in which Fritz Richmond (washtub) and Geoff Muldaur (washboard) of the Kweskin Jug Band accompany Al Wilson, later of Canned Heat, a young man who knew almost every blues ever recorded and could sing and play most of them on either the guitar or harmonica. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/01938f31-610b-4631-8144-96e3e441395d/Screenshot+2024-10-28+at+1.19.07%E2%80%AFPM.png Geoff Muldaur (Kweskin Jug Band; Better Days) Image No. 64-9-9: Geoff Muldaur and Paul Arnoldi Club 47, Cambridge, Mass., July 1964 Multiple-threat instrumentalist Geoff Muldaur wails here on the clarinet, accompanied by Paul Arnoldi, who is either holding some other sort of musical instrument to his mouth or taking a sip of coffee. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/2187fa6a-94b3-45ee-8cd4-0c6d171476df/Screenshot+2024-10-30+at+5.47.57%E2%80%AFPM.png Geoff Muldaur (Kweskin Jug Band; Better Days) Image No. 64-9-7: Lovebirds Onstage Club 47, Cambridge, Mass., July 1964 Maria D'Amato and Geoff Muldaur, the summer before they were married. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/7ce539fc-c993-4cc8-a48e-2a14914f68c8/Screenshot+2024-10-30+at+5.48.58%E2%80%AFPM.png Geoff Muldaur (Kweskin Jug Band; Better Days) Image No. 64-11N-63: Jim Kweskin Jug Band 1964 Newport Folk Festival (Left to right) Mel Lyman, Maria D'Amato (soon to be Muldaur), Geoff Muldaur, Jim Kweskin, Bill Keith The Jim Kweskin Jug Band was the first of the jug bands formed in the 60s folk revival and it gained the most widespread popularity. Before disbanding in 1968, the Jug Band shared billing in the psychedelic ballrooms of San Francisco with Big Brother and the Holding Company, and the Doors. https://www.johnbyrnecooke.com/jenni-muldaur daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/f31948af-ca4e-4ef7-8ed1-4973c43ac00c/Screenshot+2024-10-30+at+5.46.44%E2%80%AFPM.png Jenni Muldaur Image No. 65-16N-23: Maria and Jenni Muldaur Viking Hotel, Newport, R.I., July 1965 https://www.johnbyrnecooke.com/maria-muldaur daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/7ce539fc-c993-4cc8-a48e-2a14914f68c8/Screenshot+2024-10-30+at+5.48.58%E2%80%AFPM.png Maria Muldaur (Kweskin Jug Band) Image No. 64-11N-63: Jim Kweskin Jug Band 1964 Newport Folk Festival (Left to right) Mel Lyman, Maria D'Amato (soon to be Muldaur), Geoff Muldaur, Jim Kweskin, Bill Keith The Jim Kweskin Jug Band was the first of the jug bands formed in the 60s folk revival and it gained the most widespread popularity. Before disbanding in 1968, the Jug Band shared billing in the psychedelic ballrooms of San Francisco with Big Brother and the Holding Company, and the Doors. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/f31948af-ca4e-4ef7-8ed1-4973c43ac00c/Screenshot+2024-10-30+at+5.46.44%E2%80%AFPM.png Maria Muldaur (Kweskin Jug Band) Image No. 65-16N-23: Maria and Jenni Muldaur Viking Hotel, Newport, R.I., July 1965 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/2187fa6a-94b3-45ee-8cd4-0c6d171476df/Screenshot+2024-10-30+at+5.47.57%E2%80%AFPM.png Maria Muldaur (Kweskin Jug Band) Image No. 64-9-7: Lovebirds Onstage Club 47, Cambridge, Mass., July 1964 Maria D'Amato and Geoff Muldaur, the summer before they were married. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/156cb192-6c52-4964-93d1-9aaa88caf7a8/Screenshot+2024-10-30+at+5.44.57%E2%80%AFPM.png Maria Muldaur (Kweskin Jug Band) Image No. 63-11-32: Maria D'Amato New York City, October 1963 Maria D'Amato played in the Even Dozen Jug Band in New York before moving to Cambridge, joining the Jim Kweskin Jug Band, and marrying Geoff Muldaur. At a music party in artist Harry Jackson's Greenwich Village loft, Maria plays with painter-musician Bob Neuwirth (L.) and old-time guitarist Tex Isley (R.). Visible between Maria and Tex is a fragment of Jackson's painting "The Range Burial," which now hangs in the Buffalo Bill Historical Center in Cody, Wyoming. https://www.johnbyrnecooke.com/roger-murphy daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/cbcea029-a49e-4ee2-951e-05864f9dd08d/Screenshot+2024-11-06+at+3.29.30%E2%80%AFPM.png Roger Murphy Image No. 67-5-40: On Location Monterey International Pop Festival Monterey, California, June 1967 Ricky Leacock (right) and cameraman Roger Murphy evaluate a camera angle at the Monterey County Fairgrounds arena, where the Pop Festival's concerts were held. Ricky and Roger were among the seven cameramen who filmed "Monterey Pop!" with D.A. Pennebaker. https://www.johnbyrnecooke.com/bob-neuwirth daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/f0fc9585-ac0e-4ffc-b366-1a0b3a87edb3/Screenshot+2024-11-06+at+5.01.48%E2%80%AFPM.png Bob Neuwirth Image No. 64-19-27 Bob Neuwirth with paintings and tricycle Cambridge, Massachusetts, 1964 Is he a painter or is he a musician? Both, and more. He's a painter, musician, songwriter, bon vivant, raconteur, record producer, and, most recently, music director and m.c. for the "Down From the Mountain" concert tour by the musicians who made the Grammy-winning soundtrack for the Coen Brothers' film "O Brother, Where Art Thou?" https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/9fd2f72b-786e-4b39-8000-36f391b37847/Screenshot+2024-11-06+at+5.02.43%E2%80%AFPM.png Bob Neuwirth Image No. 64-19-30: The Artist as a Serious Young Man Cambridge, Massachusetts, fall 1964 The joyful paintings from Bob's Picasso period are among his most highly valued work. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/bdb3bbdc-0bac-44de-af33-877be83e55af/Screenshot+2024-11-06+at+5.03.35%E2%80%AFPM.png Bob Neuwirth Image No. 64-15-15: Bob Neuwirth at the Club 47, no. 1 Club 47, Cambridge, Mass., October 1964 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/9bb2bd66-724c-4689-89ff-25f17d0cabc3/Screenshot+2024-11-06+at+5.04.28%E2%80%AFPM.png Bob Neuwirth Image No. 64-15-16: Bob Neuwirth at the Club 47, no. 2 Club 47, Cambridge, Mass., October 1964 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/c0cd3c32-e8de-413d-8789-6cbd8d1d6b3e/Screenshot+2024-11-06+at+5.05.51%E2%80%AFPM.png Bob Neuwirth Image No. 67-4-35 Ricky Leacock and Bob Neuwirth New York City, spring 1967 Filmmaker Richard Leacock finds Bob amusing. So do many others. https://www.johnbyrnecooke.com/new-lost-city-ramblers daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/7deb8fe1-9282-401a-9abb-118f799adc2a/Screenshot+2024-10-28+at+3.03.07%E2%80%AFPM.png New Lost City Ramblers Image No. 63-8N-4A NLCR and Maybelle Carter on Autoharp 1963 Newport Folk Festival (L-to-R: John Cohen, Maybelle Carter, Tracy Schwarz) Accompanied by two members of the New Lost City Ramblers, Maybelle Carter plays the Autoharp, an old-time instrument brought into the folk revival by the recordings of the Carter Family and Mother Maybelle's live performances. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/1661f48f-2e22-411e-9ca0-f1cdf2816eb4/Screenshot+2024-10-28+at+3.04.35%E2%80%AFPM.png New Lost City Ramblers Image No. 63-8N-3 NLCR and Maybelle Carter on guitar 1963 Newport Folk Festival (L-to-R: John Cohen, Maybelle Carter, Tracy Schwarz) Mother Maybelle plays the distinctive Carter Family-style guitar that influenced a new generation of guitar pickers during the folk boom. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/5aa7359c-fdcc-4fe4-84eb-a0dab12d394b/Screenshot+2024-10-28+at+3.42.24%E2%80%AFPM.png New Lost City Ramblers Image No. 65-16N-34: New Lost City Ramblers 1965 Newport Folk Festival (L-to-R: Tracy Schwarz, John Cohen, Mike Seeger) The New Lost City Ramblers brought old-time string band music to the folk revival before it could rightfully be called a revival. Formed in New York City by Mike Seeger, John Cohen and Tom Paley (who was later replaced by Tracy Schwarz), the group made three albums for Folkways by 1961. The NLCR's recordings and performances, together with the appearance on the folk circuit of Clarence Ashley's family of traditional musicians, were the two most important factors in the revival of interest in old-time music that has continued to the present day. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/91dacb92-b005-43f3-9143-f5c688c68f1e/Screenshot+2024-10-28+at+3.44.23%E2%80%AFPM.png New Lost City Ramblers Image No. 63-8N-14 Tex Logan with the New Lost City Ramblers 1963 Newport Folk Festival During their evening performance, the NLCR invited the dynamo fiddler Tex Logan to play an old-time hoedown with them. https://www.johnbyrnecooke.com/milt-okun daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/4a88bd44-dd26-49cc-b6f6-3a9524b92d9e/Screenshot+2024-11-04+at+1.25.08%E2%80%AFPM.png Milt Okun Image No. 64-11N-47: Backstage Confab Backstage at the 1964 Newport Folk Festival, Mary Travers (back to camera) talks intently with Peter, Paul and Mary's music director Milt Okun (facing camera) and the group's manager, Albert Grossman, while Albert's wife Sally listens. https://www.johnbyrnecooke.com/osborne-brothers daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/3e4b9883-0d40-4eeb-875b-2b7142773fed/Screenshot+2024-11-06+at+5.18.25%E2%80%AFPM.png Osborne Brothers Image No. 63-4-17 The Osborne Brothers Club 47 Mt. Auburn, Cambridge, Mass., 1963 Sonny Osborne (banjo) played with Bill Monroe and Bobby (mandolin) played with the Stanley Brothers before Sonny and Bobby formed their own band in 1953. Bobby's nimble and fluid mandolin style set a new standard for the instrument and Sonny was one of the few bluegrass banjo pickers besides Earl Scruggs who could play slow as smoothly as he played fast. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/724d36ba-ec56-49ab-a7ee-739c09f7eeb4/Screenshot+2024-10-28+at+2.17.08%E2%80%AFPM.png Osborne Brothers Image No. 63-4-11 Three-part harmony Club 47 Mt. Auburn, Cambridge, Mass., 1963 (Left to right) Sonny Osborne, Bobby Osborne, Benny Birchfield The Osborne Brothers' harmonies were incomparable. Endings in which the three voices slowed down and formed shifting chords before resolving to the tonic made their vocal arrangements unique. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/f4cdfd6b-484d-4c08-8260-213a11f5ddb5/Screenshot+2024-11-06+at+5.21.24%E2%80%AFPM.png Osborne Brothers Image No. 64-10N-22 Mandolin workshop 1964 Newport Folk Festival Jimmy Driftwood (center) an Arkansas folklorist and performer who wrote the hit song "Battle of New Orleans," cracks up Bobby Osborne (left) and Mike Seeger at a daytime workshop. https://www.johnbyrnecooke.com/bobby-osborne daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/f4cdfd6b-484d-4c08-8260-213a11f5ddb5/Screenshot+2024-11-06+at+5.21.24%E2%80%AFPM.png Bobby Osborne Image No. 64-10N-22 Mandolin workshop 1964 Newport Folk Festival Jimmy Driftwood (center) an Arkansas folklorist and performer who wrote the hit song "Battle of New Orleans," cracks up Bobby Osborne (left) and Mike Seeger at a daytime workshop. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/3e4b9883-0d40-4eeb-875b-2b7142773fed/Screenshot+2024-11-06+at+5.18.25%E2%80%AFPM.png Bobby Osborne Image No. 63-4-17 The Osborne Brothers Club 47 Mt. Auburn, Cambridge, Mass., 1963 Sonny Osborne (banjo) played with Bill Monroe and Bobby (mandolin) played with the Stanley Brothers before Sonny and Bobby formed their own band in 1953. Bobby's nimble and fluid mandolin style set a new standard for the instrument and Sonny was one of the few bluegrass banjo pickers besides Earl Scruggs who could play slow as smoothly as he played fast. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/724d36ba-ec56-49ab-a7ee-739c09f7eeb4/Screenshot+2024-10-28+at+2.17.08%E2%80%AFPM.png Bobby Osborne Image No. 63-4-11 Three-part harmony Club 47 Mt. Auburn, Cambridge, Mass., 1963 (Left to right) Sonny Osborne, Bobby Osborne, Benny Birchfield The Osborne Brothers' harmonies were incomparable. Endings in which the three voices slowed down and formed shifting chords before resolving to the tonic made their vocal arrangements unique. https://www.johnbyrnecooke.com/sonny-osborne daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/f4cdfd6b-484d-4c08-8260-213a11f5ddb5/Screenshot+2024-11-06+at+5.21.24%E2%80%AFPM.png Sonny Osborne Image No. 64-10N-22 Mandolin workshop 1964 Newport Folk Festival Jimmy Driftwood (center) an Arkansas folklorist and performer who wrote the hit song "Battle of New Orleans," cracks up Bobby Osborne (left) and Mike Seeger at a daytime workshop. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/3e4b9883-0d40-4eeb-875b-2b7142773fed/Screenshot+2024-11-06+at+5.18.25%E2%80%AFPM.png Sonny Osborne Image No. 63-4-17 The Osborne Brothers Club 47 Mt. Auburn, Cambridge, Mass., 1963 Sonny Osborne (banjo) played with Bill Monroe and Bobby (mandolin) played with the Stanley Brothers before Sonny and Bobby formed their own band in 1953. Bobby's nimble and fluid mandolin style set a new standard for the instrument and Sonny was one of the few bluegrass banjo pickers besides Earl Scruggs who could play slow as smoothly as he played fast. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/724d36ba-ec56-49ab-a7ee-739c09f7eeb4/Screenshot+2024-10-28+at+2.17.08%E2%80%AFPM.png Sonny Osborne Image No. 63-4-11 Three-part harmony Club 47 Mt. Auburn, Cambridge, Mass., 1963 (Left to right) Sonny Osborne, Bobby Osborne, Benny Birchfield The Osborne Brothers' harmonies were incomparable. Endings in which the three voices slowed down and formed shifting chords before resolving to the tonic made their vocal arrangements unique. https://www.johnbyrnecooke.com/ken-pearson daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/1588014930501-PHSPJECFYFX9NDWF8PEQ/Janis%2B4.jpg Ken Pearson (Full Tilt Boogie Band) Image No. CP4 Ken Pearson, Janis Joplin, Brad Campbell Columbus, Ohio, June 1970 Janis relaxes with Full Tilt Boogie Band members Ken Pearson (organ) and Brad Campbell (bass) in a Columbus park on a day off between gigs. Full Tilt pianist Richard Bell is standing at rear. https://www.johnbyrnecooke.com/da-pennebaker daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/f5dd4119-6714-4367-892f-3ea66f2b1708/Screenshot+2024-11-06+at+4.19.23%E2%80%AFPM.png D.A. Pennebaker Image No. 67-4-13: D.A. Pennebaker Leacock-Pennebaker offices, New York City, May 1967 In the spring of 1967, filmmaker D.A. Pennebaker was looking foward to the imminent theatrical release of his documentary "Don't Look Back," in which he presented a unique behind-the-scenes view of Bob Dylan's 1965 tour of England, and he was planning his most ambitious project yet: filming the Monterey International Pop Festival in June. The resulting film, "Monterey Pop!", brilliantly captured the optimistic energy of the Summer of Love and set a standard for all the rock-concert films that followed. Penne's colleague, filmmaker Albert Maysles, is at Penne's right. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/2dbfcb58-ade9-43ab-824a-7c837e91c29a/Screenshot+2024-11-06+at+4.20.34%E2%80%AFPM.png D.A. Pennebaker Image No. 67-4-14: Penne holding forth Leacock-Pennebaker offices, New York City, May 1967 Whatever Pennebaker is explaining, it seems to meet with Al Maysles' approval. https://www.johnbyrnecooke.com/peter-paul-and-mary daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/90ef6269-6918-4268-a351-9da6fe9f4ddd/Screenshot+2024-11-06+at+5.35.59%E2%80%AFPM.png Peter, Paul & Mary Image No. 63-1N-32: Peter, Paul & Mary (1) 1963 Newport Folk Festival In this photo, they are, from left to right: Noel Paul Stookey, Mary Travers, and Peter Yarrow. In the summer of 1963, the trio was a folk-pop phenomenon, riding high on the success of their recording of Bob Dylan's "Blowin' in the Wind." https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/4a88bd44-dd26-49cc-b6f6-3a9524b92d9e/Screenshot+2024-11-04+at+1.25.08%E2%80%AFPM.png Peter, Paul & Mary Image No. 64-11N-47: Backstage Confab Backstage at the 1964 Newport Folk Festival, Mary Travers (back to camera) talks intently with Peter, Paul and Mary's music director Milt Okun (facing camera) and the group's manager, Albert Grossman, while Albert's wife Sally listens. https://www.johnbyrnecooke.com/john-phillips daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/8d1b6617-7990-4dd0-a636-10abb1da2507/Screenshot+2024-10-30+at+6.01.17%E2%80%AFPM.png John Phillips (Mamas & Papas) Image No. 67-5-22 Denny Doherty and John Phillips Monterey Pop Festival, Monterey, California, June 1967 John Phillips was one of the guiding spirits behind the Monterey Pop Festival. It was the first pop-rock festival to present only headline acts, and many consider it to have been the best of all the late-60s music festivals. The Mamas and the Papas' willingness to commit themselves to the event moved the planning sessions from pipe dreams to reality. https://www.johnbyrnecooke.com/michelle-phillips daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/2d138ef7-d5c0-483a-9540-709c5b14ff68/Screenshot+2024-11-06+at+4.07.39%E2%80%AFPM.png Michelle Phillips (Mamas & Papas) Image No. 67-5-20: Michelle Phillips Monterey Pop Festival, Monterey, California, June 1967 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/3edbdaa9-eb4a-453c-be69-4c839eaf1c49/Screenshot+2024-10-30+at+6.22.34%E2%80%AFPM.png Michelle Phillips (Mamas & Papas) Image No. 67-5-16 Cass Elliot and Michelle Phillips Monterey Pop Festival, Monterey, California, June 1967 https://www.johnbyrnecooke.com/alla-rahka-with-ravi-shankar daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/c6b1efa6-4d51-4176-8c20-1a6e0c1230fb/Screenshot+2024-11-13+at+4.14.30%E2%80%AFPM.png Alla Rahka (with Ravi Shankar) Image No. 67-5-44 Ravi Shankar and Alla Rakha, no. 1 Monterey Pop Festival, Monterey, California, June 1967 By the time Ravi Shankar brought his sitar wizardry to the Monterey Pop Festival, his music had already influenced the recordings of the Beatles and other English and American pop groups. Ravi's Sunday afternoon performance elicited from the overflow crowd at the Monterey County Fairgrounds arena a standing ovation that continued long after Ravi and his two accompanists had taken many bows and finally retired from the stage. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/6272eccf-219b-4205-829c-289f01224a1c/Screenshot+2024-11-13+at+4.15.29%E2%80%AFPM.png Alla Rahka (with Ravi Shankar) Image No. 67-5-11 Ravi Shankar and Alla Rakha, no. 3 Monterey Pop Festival, Monterey, California, June 1967 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/5433743d-f72e-4555-a705-f9dee6b707e2/Screenshot+2024-11-13+at+4.16.27%E2%80%AFPM.png Alla Rahka (with Ravi Shankar) Image No. 67-5-8 Ravi Shankar and Alla Rakha, no. 2 Monterey Pop Festival, Monterey, California, June 1967 https://www.johnbyrnecooke.com/dave-ray daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/484d3201-685b-4587-8381-35497efba53d/Screenshot+2024-11-04+at+3.37.41%E2%80%AFPM.png Dave Ray (Koerner, Ray & Glover) Image No. 65-14-23: Dave Ray at Club 47 Club 47, Cambridge, Massachusetts, 1965 https://www.johnbyrnecooke.com/cordell-hull-reagon daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/e236b4de-1346-4b6a-afe9-adc602fa4a8e/Screenshot+2024-10-28+at+2.14.09%E2%80%AFPM.png Cordell Hull Reagon (Freedom Singers) Image No. 63-3N-11: We Shall Overcome, no. 2 1963 Newport Folk Festival Bob Dylan closed his triumphant debut set at Newport by calling out Joan Baez and Peter, Paul and Mary, to join him in "Blowin' in the Wind." (PP&M's recording of the song had reached no. 2 on Billboard's Top 100 singles chart a few weeks before the festival.) For an encore, they were joined by the Freedom Singers, Pete Seeger, and Theodore Bikel in a moving rendition of the civil-rights anthem "We Shall Overcome" that had the sell-out audience of 13,000 on their feet, singing along. https://www.johnbyrnecooke.com/fritz-richmond daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/29dbaf06-19a8-4df0-b5f2-da5995468883/Screenshot+2024-11-13+at+4.22.02%E2%80%AFPM.png Fritz Richmond Image No. 63-12-23: Fritz Richmond on washtub bass Club 47, Cambridge, Mass., December 1963 When he got out of the Army in 1962, Fritz played first with the Charles River Valley Boys and later with the Jim Kweskin Jug Band, as well as backing and recording with many other performers. Able to coax a two-octave range from his washtub bass, in his lifetime Fritz was uncontested as the best washtub bass player in the world. (He died in 2005.) One of his tubs is in the Smithsonian Institution. On this snowy night in Cambridge, Fritz and I stopped by the Club 47 to see who was playing. Before long, Fritz donned his trademark Vicks-bottle-blue-lensed granny glasses and joined in. (The section of stovepipe by the tub is one of Fritz's wind instruments.) https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/0d722336-d0e3-458a-8d49-ea0edb77a576/Screenshot+2024-11-06+at+4.48.35%E2%80%AFPM.png Fritz Richmond Image No. 63-12-29: Jamming at the 47 Club 47, Cambridge, Mass., December 1963 At the Club 47, musicians often put together one-time combinations that were never recorded. We'd like to have a tape of this spontaneous group, in which Fritz Richmond (washtub) and Geoff Muldaur (washboard) of the Kweskin Jug Band accompany Al Wilson, later of Canned Heat, a young man who knew almost every blues ever recorded and could sing and play most of them on either the guitar or harmonica. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/d20fbb92-e9ff-4ea5-b574-9996136fd834/Screenshot+2024-11-06+at+3.58.09%E2%80%AFPM.png Fritz Richmond Image No. 64-21-4 Fritz Richmond and Mel Lyman Kweskin Jug Band performance Sanders Theater, Cambridge, Mass., November 1964 Before he turned to antique ceramic jugs, Fritz got a darn good sound from plastic. https://www.johnbyrnecooke.com/ralph-rinzler daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/be384a77-9cc6-43c6-a240-3978cec91e86/Screenshot+2024-11-13+at+4.25.12%E2%80%AFPM.png Ralph Rinzler Image No. 64-2-8 Ralph Rinzler and Doc Watson Club 47, Cambridge, Massachusetts, 1964 Ralph Rinzler was instrumental in bringing Clarence Ashley's "family" of traditional musicians, including Doc Watson, to the clubs and concert halls of the early-sixties folk revival. By so doing, Ralph played a big part in Doc Watson's rise to fame, which led to Doc's widespread influence on a new generation of guitar players. In addition to his many efforts on behalf of traditional music and musicians, Ralph was a member of the New York-based bluegrass band, the Greenbriar Boys. https://www.johnbyrnecooke.com/jim-rooney daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/2e46c438-8be0-46d7-8fbe-f0ec42e61c2a/Screenshot+2024-11-13+at+4.28.45%E2%80%AFPM.png Jim Rooney Image No. 65-8-2: Jim Rooney 1965 Indian Neck Folk Festival Jim Rooney dropped out of graduate studies in the classics to live a musical life, and he never looked back. He played in Cambridge, Mass., with Bill Keith, until Keith joined Bill Monroe's Bluegrass Boys, and continues to perform whenever the opportunity arises, as well as producing albums for top artists like John Prine, Iris DeMent, and Nanci Griffith. https://www.johnbyrnecooke.com/paul-rothchild daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/2c793d93-3f07-4db0-b78d-bfa2e1bbad91/Screenshot+2024-10-30+at+6.09.27%E2%80%AFPM.png Paul Rothchild Image No. 64-5-8: On the Road, no. 2 - Stonewalling Massachusetts, April 1964 Bob Dylan, record producer Paul Rothchild https://www.johnbyrnecooke.com/peter-rowan daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/d368303e-16c4-4b58-8c9c-92bb0a66c1cc/Screenshot+2024-11-13+at+4.32.45%E2%80%AFPM.png Peter Rowan Image No. 65-15N-22 Peter Rowan (r.) and Bill Monroe 1965 Newport Folk Festival Peter Rowan's solid guitar playing and singing helped him graduate from the Cambridge folk scene to play with Bill Monroe and the Bluegrass Boys when he was just 22. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/f4dbe7ca-2b33-4c87-9a37-b61dfa106746/Screenshot+2024-11-13+at+4.33.49%E2%80%AFPM.png Peter Rowan Image No. 64-14-23 Peter Rowan (r.) and Joe Val Club 47, Cambridge, Massachusetts, 1964 Peter and Joe Val, of the Charles River Valley Boys, perform an evening of duets at the Club 47. https://www.johnbyrnecooke.com/tom-rush daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/f827e512-1268-49dc-bbf7-937d509ea0ba/Screenshot+2024-11-13+at+4.35.22%E2%80%AFPM.png Tom Rush Image No. 63-5-15: Tom Rush at Club 47 Club 47, Cambridge, Mass., July 1963 Tom Rush got into the game early and he kept at it, staying true to himself and the music. Forty years later, he's still living by his music. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/de156359-a64a-4fbe-8952-7e31951b89b1/Screenshot+2024-11-13+at+4.36.24%E2%80%AFPM.png Tom Rush Image No. 63-5-21 Tom Rush and Fritz Richmond Club 47, Cambridge, Mass., July 1963 https://www.johnbyrnecooke.com/tracy-schwartz daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/5aa7359c-fdcc-4fe4-84eb-a0dab12d394b/Screenshot+2024-10-28+at+3.42.24%E2%80%AFPM.png Tracy Schwartz (New Lost City Ramblers) Image No. 65-16N-34: New Lost City Ramblers 1965 Newport Folk Festival (L-to-R: Tracy Schwarz, John Cohen, Mike Seeger) The New Lost City Ramblers brought old-time string band music to the folk revival before it could rightfully be called a revival. Formed in New York City by Mike Seeger, John Cohen and Tom Paley (who was later replaced by Tracy Schwarz), the group made three albums for Folkways by 1961. The NLCR's recordings and performances, together with the appearance on the folk circuit of Clarence Ashley's family of traditional musicians, were the two most important factors in the revival of interest in old-time music that has continued to the present day. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/7deb8fe1-9282-401a-9abb-118f799adc2a/Screenshot+2024-10-28+at+3.03.07%E2%80%AFPM.png Tracy Schwartz (New Lost City Ramblers) Image No. 63-8N-4A NLCR and Maybelle Carter on Autoharp 1963 Newport Folk Festival (L-to-R: John Cohen, Maybelle Carter, Tracy Schwarz) Accompanied by two members of the New Lost City Ramblers, Maybelle Carter plays the Autoharp, an old-time instrument brought into the folk revival by the recordings of the Carter Family and Mother Maybelle's live performances. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/1661f48f-2e22-411e-9ca0-f1cdf2816eb4/Screenshot+2024-10-28+at+3.04.35%E2%80%AFPM.png Tracy Schwartz (New Lost City Ramblers) Image No. 63-8N-3 NLCR and Maybelle Carter on guitar 1963 Newport Folk Festival (L-to-R: John Cohen, Maybelle Carter, Tracy Schwarz) Mother Maybelle plays the distinctive Carter Family-style guitar that influenced a new generation of guitar pickers during the folk boom. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/91dacb92-b005-43f3-9143-f5c688c68f1e/Screenshot+2024-10-28+at+3.44.23%E2%80%AFPM.png Tracy Schwartz (New Lost City Ramblers) Image No. 63-8N-14 Tex Logan with the New Lost City Ramblers 1963 Newport Folk Festival During their evening performance, the NLCR invited the dynamo fiddler Tex Logan to play an old-time hoedown with them. https://www.johnbyrnecooke.com/john-sebastian daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/bd6f2428-9cdd-43f0-b694-02921f77bba3/Screenshot+2024-11-13+at+4.48.42%E2%80%AFPM.png John Sebastian Image No. 64-18-8: John Sebastian Backstage, Philharmonic Hall, New York City, 1964 John Sebastian played in the Even Dozen Jug Band (with Maria D'Amato) before founding the Lovin' Spoonful in 1965. He wrote the Spoonful's hits "Do You Believe in Magic," "Younger Girl," and "Summer in the City," but the song that has earned him the most money over the years is probably the theme song from the TV series "Welcome Back Kotter," the first series theme to reach No. 1 on Billboard's Hot 100. Here, John is hanging out backstage at a Bob Dylan concert in Philharmonic Hall, Lincoln Center, on Halloween 1964. https://www.johnbyrnecooke.com/mike-seeger daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/5aa7359c-fdcc-4fe4-84eb-a0dab12d394b/Screenshot+2024-10-28+at+3.42.24%E2%80%AFPM.png Mike Seeger (New Lost City Ramblers) Image No. 65-16N-34: New Lost City Ramblers 1965 Newport Folk Festival (L-to-R: Tracy Schwarz, John Cohen, Mike Seeger) The New Lost City Ramblers brought old-time string band music to the folk revival before it could rightfully be called a revival. Formed in New York City by Mike Seeger, John Cohen and Tom Paley (who was later replaced by Tracy Schwarz), the group made three albums for Folkways by 1961. The NLCR's recordings and performances, together with the appearance on the folk circuit of Clarence Ashley's family of traditional musicians, were the two most important factors in the revival of interest in old-time music that has continued to the present day. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/91dacb92-b005-43f3-9143-f5c688c68f1e/Screenshot+2024-10-28+at+3.44.23%E2%80%AFPM.png Mike Seeger (New Lost City Ramblers) Image No. 63-8N-14 Tex Logan with the New Lost City Ramblers 1963 Newport Folk Festival During their evening performance, the NLCR invited the dynamo fiddler Tex Logan to play an old-time hoedown with them. https://www.johnbyrnecooke.com/pete-seeger daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/7c070086-f9d4-4f43-ba39-45862801a195/Screenshot+2024-11-13+at+4.52.44%E2%80%AFPM.png Pete Seeger Image No. 63-8N-4: Pete Seeger on 12-String 1963 Newport Folk Festival Best known for playing his longneck banjo, Pete loved just as well the ringing tones of his 12-string guitar. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/6bfe6aab-a956-4d20-992d-4f8539e06506/Screenshot+2024-11-13+at+4.53.38%E2%80%AFPM.png Pete Seeger Image No. 63-2N-32: Pete Seeger standing at mike For Pete, the 1963 Newport Folk Festival was a dream come true. Pete was a folk music icon before the sixties began. Singing with Woody Guthrie in the Almanac Singers, and later with the Weavers, Pete had helped to keep music of, by and for the people alive for years, paving the way for the folk revival of the 1960s. By the summer of 1963, the revival was a boom. Pete m.c.'d many of the concerts and workshops at Newport, happy to be introducing so many new and old performers to the enthusiastic crowds. https://www.johnbyrnecooke.com/ravi-shankar daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/c6b1efa6-4d51-4176-8c20-1a6e0c1230fb/Screenshot+2024-11-13+at+4.14.30%E2%80%AFPM.png Ravi Shankar Image No. 67-5-44 Ravi Shankar and Alla Rakha, no. 1 Monterey Pop Festival, Monterey, California, June 1967 By the time Ravi Shankar brought his sitar wizardry to the Monterey Pop Festival, his music had already influenced the recordings of the Beatles and other English and American pop groups. Ravi's Sunday afternoon performance elicited from the overflow crowd at the Monterey County Fairgrounds arena a standing ovation that continued long after Ravi and his two accompanists had taken many bows and finally retired from the stage. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/6272eccf-219b-4205-829c-289f01224a1c/Screenshot+2024-11-13+at+4.15.29%E2%80%AFPM.png Ravi Shankar Image No. 67-5-11 Ravi Shankar and Alla Rakha, no. 3 Monterey Pop Festival, Monterey, California, June 1967 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/5433743d-f72e-4555-a705-f9dee6b707e2/Screenshot+2024-11-13+at+4.16.27%E2%80%AFPM.png Ravi Shankar Image No. 67-5-8 Ravi Shankar and Alla Rakha, no. 2 Monterey Pop Festival, Monterey, California, June 1967 https://www.johnbyrnecooke.com/george-shuffler daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/d20c668c-30a3-478b-9770-2c72b27f9c77/Screenshot+2024-11-13+at+4.57.02%E2%80%AFPM.png George Shuffler (Stanley Brothers) Image No. 64-C1-17: The Stanley Brothers 1964 Newport Folk Festival Left to right: Ralph Stanley, George Shuffler, Carter Stanley, Red Stanley (no relation). https://www.johnbyrnecooke.com/bob-siggins daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/951f75e2-d734-493b-9a40-8749b51aae05/Screenshot+2024-10-28+at+3.28.40%E2%80%AFPM.png Bob Siggins (Charles River Valley Boys) Image No. 65-11-30 On the Banks of the Charles (Left to right: Joe Val, John Cooke, Everett Alan Lilly, Bob Siggins.) The Charles River Valley Boys got together at Harvard College to play old-timey music. When banjoist Bob Siggins learned Scruggs-style picking, the band added bluegrass to its repertoire. John Cooke joined the CRVB when the original guitar player indefinitely extended a European sojourn. After the group disbanded in 1968, Joe Val, the great mandolinist and high-lonesome singer, founded his own group, the New England Bluegrass Boys. Joe and his Boys appeared several times on "Prairie Home Companion" in its early years. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/e7b9096f-5460-43c8-b733-27960274063d/Screenshot+2024-10-28+at+3.30.11%E2%80%AFPM.png Bob Siggins (Charles River Valley Boys) Image No. 65-11-22: Sitting on the Fence Cambridge, Mass., July 1965 (Left to right: John Cooke, Everett Alan Lilly, Joe Val, Bob Siggins.) https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/92827273-38be-48a7-be60-6fd2dc847dbb/Screenshot+2024-10-28+at+3.31.13%E2%80%AFPM.png Bob Siggins (Charles River Valley Boys) Image No. 65-11-28 Picking by the River Cambridge, Mass., July 1965 (Left to right: John Cooke, Everett Alan Lilly, Joe Val, Bob Siggins.) https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/47af9355-b0a8-4124-b92b-1078a8c005d9/Screenshot+2024-10-28+at+3.32.31%E2%80%AFPM.png Bob Siggins (Charles River Valley Boys) Image No. 65-11-32 Goofing Around (Left to right: John Cooke, Joe Val, Everett Alan Lilly, Bob Siggins) https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/a4362d68-77f0-4d7e-a62b-683e835114f5/Screenshot+2024-10-28+at+3.33.56%E2%80%AFPM.png Bob Siggins (Charles River Valley Boys) Image No. 68-4N-14 Joan Baez and Charles River Valley Boys 1968 Newport Folk Festival (Left to right: Joe Val, Joan Baez, Bob Siggins, Clay Jackson.) https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/5aec2053-d027-4785-9d51-6b2c615f6089/Screenshot+2024-10-28+at+3.36.58%E2%80%AFPM.png Bob Siggins (Charles River Valley Boys) Image No. 65-12-23: Getting On Down Tex Logan's home, New Jersey, July 4, 1965 Tex leans into his fiddle, accompanied by Joe Val on guitar and Bob Siggins on banjo. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/0fa50ea3-cf60-4eae-8ea0-ca1d2682d5e4/Screenshot+2024-10-28+at+3.35.04%E2%80%AFPM.png Bob Siggins (Charles River Valley Boys) Image No. 65-12-20 Bob Siggins, Tex Logan and Joe Val Tex Logan's home, New Jersey, July 4, 1965 The Charles River Valley Boys' second album for Prestige Records, "Bluegrass Get Together," featured the powerhouse fiddling of Tex Logan. The year after we made the album, Tex invited us to his New Jersey home for some Texas hospitality on the Fourth of July. Picking, it goes without saying, ensued. Here, Tex indicates the location of the note he's looking for. https://www.johnbyrnecooke.com/the-stanley-brothers daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/d20c668c-30a3-478b-9770-2c72b27f9c77/Screenshot+2024-11-13+at+4.57.02%E2%80%AFPM.png The Stanley Brothers Image No. 64-C1-17: The Stanley Brothers 1964 Newport Folk Festival Left to right: Ralph Stanley, George Shuffler, Carter Stanley, Red Stanley (no relation). https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/a03b383b-2384-40ef-a8e0-c03dd594a983/Screenshot+2024-11-13+at+5.03.11%E2%80%AFPM.png The Stanley Brothers Image No. 64-C1-19: Ralph and Carter Stanley 1964 Newport Folk Festival Of all the first-generation bluegrass bands, none preserved the haunting melodies and harmonies of old-time music in the new-style string bands better than the Stanley Brothers. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/5455e9b0-efef-451a-a2da-f38ad8a4d6cc/Screenshot+2024-11-13+at+5.04.09%E2%80%AFPM.png The Stanley Brothers Image No. 64-C1-18: Ralph Stanley 1964 Newport Folk Festival More than forty years after this picture was taken, Ralph Stanley continues to bring his unique style of mountain music to audiences across America. Most recently, he starred in the sell-out "Down From the Mountain" concert tour by the musicians from the Grammy-winning soundtrack of the Coen Brothers' film "O Brother, Where Art Thou?" https://www.johnbyrnecooke.com/carter-stanley daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/a03b383b-2384-40ef-a8e0-c03dd594a983/Screenshot+2024-11-13+at+5.03.11%E2%80%AFPM.png Carter Stanley Image No. 64-C1-19: Ralph and Carter Stanley 1964 Newport Folk Festival Of all the first-generation bluegrass bands, none preserved the haunting melodies and harmonies of old-time music in the new-style string bands better than the Stanley Brothers. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/d20c668c-30a3-478b-9770-2c72b27f9c77/Screenshot+2024-11-13+at+4.57.02%E2%80%AFPM.png Carter Stanley Image No. 64-C1-17: The Stanley Brothers 1964 Newport Folk Festival Left to right: Ralph Stanley, George Shuffler, Carter Stanley, Red Stanley (no relation). https://www.johnbyrnecooke.com/ralph-stanley daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/5455e9b0-efef-451a-a2da-f38ad8a4d6cc/Screenshot+2024-11-13+at+5.04.09%E2%80%AFPM.png Ralph Stanley Image No. 64-C1-18: Ralph Stanley 1964 Newport Folk Festival More than forty years after this picture was taken, Ralph Stanley continues to bring his unique style of mountain music to audiences across America. Most recently, he starred in the sell-out "Down From the Mountain" concert tour by the musicians from the Grammy-winning soundtrack of the Coen Brothers' film "O Brother, Where Art Thou?" https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/a03b383b-2384-40ef-a8e0-c03dd594a983/Screenshot+2024-11-13+at+5.03.11%E2%80%AFPM.png Ralph Stanley Image No. 64-C1-19: Ralph and Carter Stanley 1964 Newport Folk Festival Of all the first-generation bluegrass bands, none preserved the haunting melodies and harmonies of old-time music in the new-style string bands better than the Stanley Brothers. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/d20c668c-30a3-478b-9770-2c72b27f9c77/Screenshot+2024-11-13+at+4.57.02%E2%80%AFPM.png Ralph Stanley Image No. 64-C1-17: The Stanley Brothers 1964 Newport Folk Festival Left to right: Ralph Stanley, George Shuffler, Carter Stanley, Red Stanley (no relation). https://www.johnbyrnecooke.com/red-stanley daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/d20c668c-30a3-478b-9770-2c72b27f9c77/Screenshot+2024-11-13+at+4.57.02%E2%80%AFPM.png Red Stanley Image No. 64-C1-17: The Stanley Brothers 1964 Newport Folk Festival Left to right: Ralph Stanley, George Shuffler, Carter Stanley, Red Stanley (no relation). https://www.johnbyrnecooke.com/noel-paul-stookey daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/90ef6269-6918-4268-a351-9da6fe9f4ddd/Screenshot+2024-11-06+at+5.35.59%E2%80%AFPM.png Noel Paul Stookey (Peter, Paul & Mary) Image No. 63-1N-32: Peter, Paul & Mary (1) 1963 Newport Folk Festival In this photo, they are, from left to right: Noel Paul Stookey, Mary Travers, and Peter Yarrow. In the summer of 1963, the trio was a folk-pop phenomenon, riding high on the success of their recording of Bob Dylan's "Blowin' in the Wind." https://www.johnbyrnecooke.com/sonny-terry daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/3e69a663-5e9c-47c6-94ba-e959d74eb745/Screenshot+2024-11-06+at+4.25.03%E2%80%AFPM.png Sonny Terry (Brownie McGhee & Sonny Terry) Image No. 63-2N-30 Sonny Terry and Brownie McGhee 1963 Newport Folk Festival Sonny Terry and Brownie McGhee were a well established rural and city blues duo before the 60s folk revival gave them the chance to play for larger audiences. https://www.johnbyrnecooke.com/mary-travers daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/90ef6269-6918-4268-a351-9da6fe9f4ddd/Screenshot+2024-11-06+at+5.35.59%E2%80%AFPM.png Mary Travers (Peter, Paul & Mary) Image No. 63-1N-32: Peter, Paul & Mary (1) 1963 Newport Folk Festival In this photo, they are, from left to right: Noel Paul Stookey, Mary Travers, and Peter Yarrow. In the summer of 1963, the trio was a folk-pop phenomenon, riding high on the success of their recording of Bob Dylan's "Blowin' in the Wind." https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/4a88bd44-dd26-49cc-b6f6-3a9524b92d9e/Screenshot+2024-11-04+at+1.25.08%E2%80%AFPM.png Mary Travers (Peter, Paul & Mary) Image No. 64-11N-47: Backstage Confab Backstage at the 1964 Newport Folk Festival, Mary Travers (back to camera) talks intently with Peter, Paul and Mary's music director Milt Okun (facing camera) and the group's manager, Albert Grossman, while Albert's wife Sally listens. https://www.johnbyrnecooke.com/ian-tyson daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/1029ecf7-1115-49c8-ae93-2b2fc4da617e/Screenshot+2024-11-04+at+12.12.25%E2%80%AFPM.png Ian Tyson (Ian & Sylvia) Image No. 63-7N-32: Ian and Sylvia a capella 1963 Newport Folk Festival Ian Tyson and Sylvia Fricker began singing together in 1959 and rose to popularity with the folk movement on the strength of their fellow Canadian Gordon Lightfoot's "Early Morning Rain," and Ian's own songs "Four Strong Winds" and "Someday Soon," which was later recorded by Judy Collins. Ian and Sylvia married a year after their debut performance at the Newport Folk Festival. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/00988d44-d878-47e9-8fdc-aac2d485f858/Screenshot+2024-11-04+at+12.13.47%E2%80%AFPM.png Ian Tyson (Ian & Sylvia) Image No. 63-7N-32 Ian and Sylvia at Newport '63 (L. to R.) Sylvia Fricker, Ian Tyson, and Eric "the Doctor" Hord https://www.johnbyrnecooke.com/joe-val daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/951f75e2-d734-493b-9a40-8749b51aae05/Screenshot+2024-10-28+at+3.28.40%E2%80%AFPM.png Joe Val (Charles River Valley Boys) Image No. 65-11-30 On the Banks of the Charles (Left to right: Joe Val, John Cooke, Everett Alan Lilly, Bob Siggins.) The Charles River Valley Boys got together at Harvard College to play old-timey music. When banjoist Bob Siggins learned Scruggs-style picking, the band added bluegrass to its repertoire. John Cooke joined the CRVB when the original guitar player indefinitely extended a European sojourn. After the group disbanded in 1968, Joe Val, the great mandolinist and high-lonesome singer, founded his own group, the New England Bluegrass Boys. Joe and his Boys appeared several times on "Prairie Home Companion" in its early years. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/e7b9096f-5460-43c8-b733-27960274063d/Screenshot+2024-10-28+at+3.30.11%E2%80%AFPM.png Joe Val (Charles River Valley Boys) Image No. 65-11-22: Sitting on the Fence Cambridge, Mass., July 1965 (Left to right: John Cooke, Everett Alan Lilly, Joe Val, Bob Siggins.) https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/92827273-38be-48a7-be60-6fd2dc847dbb/Screenshot+2024-10-28+at+3.31.13%E2%80%AFPM.png Joe Val (Charles River Valley Boys) Image No. 65-11-28 Picking by the River Cambridge, Mass., July 1965 (Left to right: John Cooke, Everett Alan Lilly, Joe Val, Bob Siggins.) https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/47af9355-b0a8-4124-b92b-1078a8c005d9/Screenshot+2024-10-28+at+3.32.31%E2%80%AFPM.png Joe Val (Charles River Valley Boys) Image No. 65-11-32 Goofing Around (Left to right: John Cooke, Joe Val, Everett Alan Lilly, Bob Siggins) https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/a4362d68-77f0-4d7e-a62b-683e835114f5/Screenshot+2024-10-28+at+3.33.56%E2%80%AFPM.png Joe Val (Charles River Valley Boys) Image No. 68-4N-14 Joan Baez and Charles River Valley Boys 1968 Newport Folk Festival (Left to right: Joe Val, Joan Baez, Bob Siggins, Clay Jackson.) https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/0fa50ea3-cf60-4eae-8ea0-ca1d2682d5e4/Screenshot+2024-10-28+at+3.35.04%E2%80%AFPM.png Joe Val (Charles River Valley Boys) Image No. 65-12-20 Bob Siggins, Tex Logan and Joe Val Tex Logan's home, New Jersey, July 4, 1965 The Charles River Valley Boys' second album for Prestige Records, "Bluegrass Get Together," featured the powerhouse fiddling of Tex Logan. The year after we made the album, Tex invited us to his New Jersey home for some Texas hospitality on the Fourth of July. Picking, it goes without saying, ensued. Here, Tex indicates the location of the note he's looking for. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/5aec2053-d027-4785-9d51-6b2c615f6089/Screenshot+2024-10-28+at+3.36.58%E2%80%AFPM.png Joe Val (Charles River Valley Boys) Image No. 65-12-23: Getting On Down Tex Logan's home, New Jersey, July 4, 1965 Tex leans into his fiddle, accompanied by Joe Val on guitar and Bob Siggins on banjo. https://www.johnbyrnecooke.com/dave-van-ronk daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/a1416946-77dc-449c-86d1-b16e43ddbac1/Screenshot+2024-11-13+at+5.20.01%E2%80%AFPM.png Dave Van Ronk Image No. 63-6N-6: Dave Van Ronk At the 1963 Newport Folk Festival, Dave belts out a song from the main stage during a daytime workshop. https://www.johnbyrnecooke.com/doc-watson daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/2d12efbf-b8ba-4734-a79c-1a4148d6e0bb/Screenshot+2024-11-13+at+5.21.57%E2%80%AFPM.png Doc Watson Image No. 63-1N-18 Doc Watson solo at Newport 1963 Newport Folk Festival Doc Watson first appeared on record, and on the folk music circuit, with Clarence Ashley's family of old-time musicians, but Doc's ground-breaking guitar playing soon propelled him to stardom on his own. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/da02de80-cd6c-4c6d-90c2-f56845469fa5/Screenshot+2024-10-28+at+2.59.57%E2%80%AFPM.png Doc Watson Image No. 64-C1-21 Doc and Rosalee Watson 1964 Newport Folk Festival Doc's wife Rosalee sang with him on his 1963 Folkways album "Doc Watson and His Family" on the moving song "Your Long Journey." In this daytime concert at the 1964 Newport Folk Festival, it is probably that same song they are performing together. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/b702dd8b-7fa5-4aef-b1f8-e12e67f1795b/Screenshot+2024-10-28+at+2.58.50%E2%80%AFPM.png Doc Watson Image No. 64-C1-20 Doc Watson and Gaither Carlton 1964 Newport Folk Festival Like Doc, the old-time fiddler Gaither Carlton was first introduced to urban folk audiences as a member of Clarence Ashley's family of musicians. Carlton was the father of Doc's wife, Rosalee. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/be384a77-9cc6-43c6-a240-3978cec91e86/Screenshot+2024-11-13+at+4.25.12%E2%80%AFPM.png Doc Watson Image No. 64-2-8 Ralph Rinzler and Doc Watson Club 47, Cambridge, Massachusetts, 1964 Ralph Rinzler was instrumental in bringing Clarence Ashley's "family" of traditional musicians, including Doc Watson, to the clubs and concert halls of the early-sixties folk revival. By so doing, Ralph played a big part in Doc Watson's rise to fame, which led to Doc's widespread influence on a new generation of guitar players. In addition to his many efforts on behalf of traditional music and musicians, Ralph was a member of the New York-based bluegrass band, the Greenbriar Boys. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/cb11b8d9-cb32-4642-be80-fe0f742da6fb/Screenshot+2024-11-13+at+5.26.16%E2%80%AFPM.png Doc Watson Image No. 63-3N-29 Bill Monroe and Doc Watson 1963 Newport Folk Festival At the end of his solo set at Newport '63, Doc called out Bill Monroe to join him in a duet. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/15c345e8-892d-41e6-b387-8691ce749703/Screenshot+2024-11-13+at+5.27.08%E2%80%AFPM.png Doc Watson Image No. 64-2-10: Doc Watson backstage Club 47, Cambridge, Massachusetts, 1964 Between sets at the Club 47, Doc checks the Braille set list he has taped to the side of his guitar. https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/6921216d-0fa0-42d9-b7a6-7a02828e690c/Screenshot+2024-11-13+at+5.28.01%E2%80%AFPM.png Doc Watson Image No. 63-4N-14: Doc Watson on banjo 1963 Newport Folk Festival Best known for his dazzling guitar flatpicking, Doc Watson is an accomplished old-time banjo player as well. Here, John Cohen of the New Lost City Ramblers accompanies Doc while Mike Seeger looks on. https://www.johnbyrnecooke.com/rosalee-watson daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/da02de80-cd6c-4c6d-90c2-f56845469fa5/Screenshot+2024-10-28+at+2.59.57%E2%80%AFPM.png Rosalee Watson Image No. 64-C1-21 Doc and Rosalee Watson 1964 Newport Folk Festival Doc's wife Rosalee sang with him on his 1963 Folkways album "Doc Watson and His Family" on the moving song "Your Long Journey." In this daytime concert at the 1964 Newport Folk Festival, it is probably that same song they are performing together. https://www.johnbyrnecooke.com/dean-webb daily 0.75 2025-01-13 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/c6ad466d-df6d-4f5e-9a6d-619e37df0803/Screenshot+2024-11-13+at+5.30.56%E2%80%AFPM.png Dean Webb (the Dillards) Image No. 63-6N-11: The Dillards 1963 Newport Folk Festival (Left to right) Dean Webb, Doug Dillard, Rodney Dillard, Mitchell Jayne. Doug and Rodney Dillard grew up in an extended Missouri family in which virtually every one of their relations played one or more instruments. Their father Homer was an old-time fiddler and the brothers were raised to the sound of traditional and bluegrass music. The Dillards toured widely in the folk revival with fellow Missourians Dean Webb and Mitchell Jayne. https://www.johnbyrnecooke.com/clarence-white daily 0.75 2025-01-13 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/ebc79d99-eeb1-45ab-98ae-e4115a373748/Screenshot+2024-11-13+at+5.33.18%E2%80%AFPM.png Clarence White (Kentucky Colonels) Image No. 64-14-39 Roland and Clarence White Club 47, Cambridge, Mass., October 1964 Roland and Clarence White brought brother-harmonies to the Kentucky Colonels, as well as exceptional instrumental virtuosity. Clarence, along with Doc Watson, raised the bar on flatpicking guitar by at least one quantum level during the folk boom of the sixties. https://www.johnbyrnecooke.com/roland-white daily 0.75 2025-01-13 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/ebc79d99-eeb1-45ab-98ae-e4115a373748/Screenshot+2024-11-13+at+5.33.18%E2%80%AFPM.png Roland White (Kentucky Colonels) Image No. 64-14-35 The Kentucky Colonels Club 47, Cambridge, Mass., October 1964 (Left to right) Roger Bush, Roland White, Billy Ray Lathum, Clarence White https://www.johnbyrnecooke.com/al-wilson daily 0.75 2025-01-13 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/cb437e71-ae01-4dce-86a0-c92e4d8fa8ca/Screenshot+2024-11-13+at+5.37.04%E2%80%AFPM.png Al Wilson Image No. 63-12-29: Jamming at the 47 Club 47, Cambridge, Mass., December 1963 At the Club 47, musicians often put together one-time combinations that were never recorded. We'd like to have a tape of this spontaneous group, in which Fritz Richmond (washtub) and Geoff Muldaur (washboard) of the Kweskin Jug Band accompany Al Wilson, later of Canned Heat, a young man who knew almost every blues ever recorded and could sing and play most of them on either the guitar or harmonica. https://www.johnbyrnecooke.com/peter-yarrow daily 0.75 2025-01-13 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/90ef6269-6918-4268-a351-9da6fe9f4ddd/Screenshot+2024-11-06+at+5.35.59%E2%80%AFPM.png Peter Yarrow (Peter, Paul & Mary) Image No. 63-1N-32: Peter, Paul & Mary (1) 1963 Newport Folk Festival In this photo, they are, from left to right: Noel Paul Stookey, Mary Travers, and Peter Yarrow. In the summer of 1963, the trio was a folk-pop phenomenon, riding high on the success of their recording of Bob Dylan's "Blowin' in the Wind." https://www.johnbyrnecooke.com/artists daily 0.75 2025-01-13 https://www.johnbyrnecooke.com/the-committee daily 0.75 2025-02-25 https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1589847765301-447UDK2L5WJTURLWTECI/image-asset.jpeg https://www.johnbyrnecooke.com/writing daily 0.75 2025-02-25 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/ca02cdec-5bef-4d0d-9c3c-b1fd7adc4a45/61SBDTlyu-L._AC_UF1000%2C1000_QL80_.jpg https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/4743931a-3cc1-462e-af7f-0cff7dab2e16/Screenshot+2025-02-25+at+11.01.15%E2%80%AFAM.png https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/045fc50c-8ac1-411b-a0db-b9eb9a09454a/41NdIbriGnL._AC_UF1000%2C1000_QL80_.jpg https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/8d167797-3af5-4a00-85f1-b590fe02c2f0/tsm_sml.jpg https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/67ff10e1-e601-4f31-bd49-5758e18dfec4/sotb_sml.jpg https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/2aa0682f-f61e-49f0-acfc-db31f2ec48e9/cv_sml.jpg https://www.johnbyrnecooke.com/on-the-road daily 0.75 2025-02-25 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/ca02cdec-5bef-4d0d-9c3c-b1fd7adc4a45/61SBDTlyu-L._AC_UF1000%2C1000_QL80_.jpg https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/5c85305b-3203-4d6f-9455-c6ecba9fd282/JBCMusiciansSebastopolWeb700.jpg https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/3efe9142-ab2e-4a8d-b2f6-c80da1d30aa3/JBCSamSnookyBookPassWeb700.jpg https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/5ffa7e19-f81d-432c-a2dc-fe822d7bf9bc/JBCSigningThreadgillsWeb700.jpg https://www.johnbyrnecooke.com/joplin-performance-diary daily 0.75 2025-02-25 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/fd64756a-4459-4c0b-8ed9-75f7d6536cff/jjpd_big.jpg https://www.johnbyrnecooke.com/reporting-the-war daily 0.75 2025-02-25 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/045fc50c-8ac1-411b-a0db-b9eb9a09454a/41NdIbriGnL._AC_UF1000%2C1000_QL80_.jpg https://www.johnbyrnecooke.com/snowblind-moon daily 0.75 2025-02-25 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/e0417eeb-26e7-427a-b54d-88a568f1d15c/51yZpUBDW7L._AC_UF1000%2C1000_QL80_.jpg https://www.johnbyrnecooke.com/south-of-the-border daily 0.75 2025-02-25 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/2d4a2053-f44b-4213-9881-0571655658f9/81sT76p-NQL._AC_UF1000%2C1000_QL80_.jpg https://www.johnbyrnecooke.com/committee-of-vigilance daily 0.75 2025-02-25 https://images.squarespace-cdn.com/content/v1/5e94c3789d0f316bec71d34c/2aa0682f-f61e-49f0-acfc-db31f2ec48e9/cv_sml.jpg