By Gregory Hansen
This biography of 97-year-old Richard Seaman, who grew up in Kissimmee Park, Florida, is determined by oral heritage and folklore study to outline where of musicianship and storytelling within the state's historical past from one artist's point of view. Gregory Hansen provides Seaman's review of Florida's altering cultural panorama via his tall stories, own adventure narratives, legends, mess around song repertory, and outlines of day-by-day life.
Seaman's formative years stories of fiddling performances and rural dances clarify the function such gatherings performed in development and protecting social order in the group. As an grownup, Seaman moved to Jacksonville, Florida, the place he labored as a machinist and played together with his relations band. The evolution of his musical repertory from the early Nineteen Twenties during the Nineteen Fifties presents a source for reconstructing social lifestyles within the rural south and for figuring out how adjustments in musical kind replicate the state's more and more city social constitution. Hansen features a set of Seaman's mess around tunes, transcribed for the advantage of performer and researcher alike. The thirty tall stories incorporated within the quantity represent a consultant pattern of Florida’s oral culture within the early years of the 20 th century.
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Extra info for A Florida Fiddler: The Life and Times of Richard Seaman
A major contributor to bluegrass music is playing the “Orange Blossom Special” in live performance. His ¤ddling is astounding. Everyone hangs on to the melody line as Chubby tags the piece to bring it to a close. There is no question why Chubby’s renditions of the tune have set standards for hot ¤ddling.
His brother, Ervin, wrote the words on that. And they were the ¤rst ones ever to record it as far as I know. They put it out on this old Bluebird label, which was a subsidiary of RCA at the time. And I heard through the grapevine. I don’t doubt it, but somebody told me that the tune has been recorded by around one hundred different artists over the period of years. And here’s the beauty of it. But it’s not so beautiful, but it happened. I gave Ervin my half—just like you’d share a cigarette. I never will forget it.
And they didn’t expect any money. There was no money passed at anything—as I know of—like that. ” Or whatever you’d want. So he’d buy it and bring it over. You’d give him the money for it and that’s all. He’d bring feed for your stock. He’d do things like that. And nobody even thought about hiring anybody. There were just neighbors. It was just “neighborly surviving,” I guess you could call it. Everybody helped everybody. If you needed anything that you couldn’t afford and if you really needed it, more than likely somebody would help you with it or do what they could for you.