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Strains of African-American music beat in the deep heart of bluegrass, from the African-derived tones of the five-string banjo to the blue notes that give the music its characteristic lonesome sound. At least two African-Americans who play bluegrass and string music – Tennessee picker Carl Johnson and Carolina Chocolate Drops member Hubby Jenkins – will perform at this week’s World of Bluegrass festivities in Raleigh. And acoustic-music giant Bela Fleck and banjoist/wife Abigail Washburn will likely explore the banjo’s African roots during their duet appearance Friday.

The Banjo’s African American Heritage is celebrated on this dates Registry. Since Caribbean Blacks created the banjo in the 17th century and carried it to North America in the 18th century, the banjo has been part of African American heritage. An African New World combination of European and African elements, early banjos resembled plucked full spike folk lutes like the akonting of Gambia, Senegal, and Guinea-Bissau and the bunchundo of Gambia and Guinea-Bissau. Like these instruments, early banjos had gourd or calabash bodies covered by a skin membrane and wood bridges held by string tension.

I found this surprising reference in the Jerry Douglas Bulletin Board Archives. Several years ago when searching The Internet I ran across this posting made by the guy I bought my upright bass from. Since that time I lost track of the posting but a little while ago I re-discovered it.

Jess Morris, born June 12, 1878, in Williamson County, Texas, was a noted fiddler in the western Panhandle region. In 1890, his father moved the family to a ranch near old Tascosa, in the northwest panhandle. The family lived for a time in the Casimero Romero home, built in the 1870s by some of the earliest settlers of the area

Deford Bailey was the most influential harmonica player in the first half of the 20th Century. Despite such acclaim, Deford dies quietly without recognition of his place in American music history...