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Corvallis has sometimes been said to be the region with the highest per-capita number of musicians in the country. That may have always been true but we have no means of knowing. Most of our music went unrecorded, drifting into a realm of oblivion. We have little written literature and even less oral history on the subject. We know of James Plunkett, the mutineer at Fort Hoskins whose fife and drum trio were probably our first musicians paid for their services. We know of Louis Southworth, the former slave who was able to eke a living from his violin, first in the mines of southern Oregon and then in Corvallis, We know of the De Moss family (above), with their successive generations of musicians who were the official song writers of the 19th century World’s Fair, and who composed the state song Oregon, Sweet Oregon, featured at the 2008 Corvallis Music History Project. We know the family sold over a million player piano rolls, but not one has surfaced, insofar as we can determine in conversations with the De Moss family.
We know that the greatest blues musician of the era, Howlin’ Wolf (above) was stationed at nearby Camp Adair in WWII and performed locally. No recording exists, either audio or visual. In fact, most of the music in Corvallis prior to the mid Sixties is lost us. Nothing remains from the Jazz Era for example. The Corvallis Music History Project was designed to remedy that loss to future generations. Performances and interviews with the people who make music in Corvallis will be archived and made available for future researchers. A simplified history of those who came before 1960 is being compiled. A more complete record is being made for the years which followed, via the CMHP. We have started too late, even for these years, in some instances.
The Corvallis Music History Project (CMHP), June 2009, includes over 100 who were not participants in last year’s event. The focus of the evening is on the Immigrants who came to Corvallis, beginning in the first half of the 19th century. A future event may focus on the music of the Kalapuyan Native Americans in Corvallis (left, in 1870) who preceded them: if any history of music in Corvallis were accurate, a 15 hour event would after all feature only Native American drumming and singing the first 14 hours, fifty minutes. But CHMP, June 2009 will focus on their antecedents, on the immigrants who followed. CHMP, June 2009, is to some extent a reflection of who we were. It is who we are today. Schedule:FRIDAY JUNE 5Opening, 6 – 6:25 PM: Jake DuncanThe background: The English Hudson Bay Company was a monopoly corporation formed in partnership with a group of the King of England’s relatives, similar for example to former Vice President Cheney’s Halliburton. Hudson Bay was established to take advantage of the high prices which the fur of animals in the Pacific Northwest fetched in China. Daniel Lee, a missionary who was one of the first Americans to settle in the area, wrote in 1838 of plans for a ship in the trade: "She takes a Venture of $10,000. Barters $2000 at the Columbia. and goes to the Russian settlements on the coast and then exchanges from one to three thousand bushels of wheat for furs, Say 1000 beaver. I am credibly informed that the skins which they value at from 7 to 8 dollars apiece, may be bought for1 bushel of wheat, an article generally in high demand in that region. At Canton a beaver is worth $18 and 1000 $18000. This will purchase goods in Canton which will be worth 3 times that sum in the U. States. That is about $50000. The remaining $8000 of the venture may probably turn to an equal amount and She may visit the Spanish Main and complete her cargo in tallow and hides." And, although the Bay Co. couldn’t legally travel the Pacific, which was regarded by the English as the private property of the East India Co., a similar monopoly, the English navy could and did. Australia was a regular port of call for the Royal Navy, which replenished coal for their steam engines there after 1821. The navy was regularly short of labor for their ships, and also regularly simply kidnapped unwilling men and sent them to staff the ships. The U.S. went to war over the issue in 1812. Because most of the laborers in Australia were either Native Australians or convicts who could not legally leave the colony, the burden in Australia fell on the Natives, and when the ships arrived in Oregon (then vast), a few Native Australians were among them. The foremost instrument among Native Australians is the didgeridoo, and any who have experienced the “didge” as merely a monotone oboe stricken by a bout of flatulence, has not heard Jake Duncan with his changes of tempo, tone and effect. 6:45 – 6:55 Jenny ChiaoThe background: In the 1870's, a third of Corvallis was Chinese, as Chinese immigrants in Hawaii – whence they had immigrated following the collapse of the Taiping rebellion against the emperor - came to the mainland. American planters had overthrown the Queen in Hawaii and made the Hawaiian Islands a U.S. colony, and travel to the U.S. was for a time uninhibited. At the time, the Corvallis Gazette, which stated with a racism as customary with the paper as its logo for a hundred years: "The Chinese employed to work on the R.R. tunnel at Summit commenced to arrive in Corvallis the latter part of last week and for several days the road was almost lined with Celestials from here to Summit."
None of the writing from those Chinese who built the railroads of the West has been translated into English yet, although oral interviews with On Wong (above), who moved from Corvallis to San Luis Obispo, were conducted. On Wong’s home is now an historic landmark in that city. This first wave of Chinese immigrants were as poorly treated as were other Hawaiians, the Slavs, Jews, Irish, Germans, French, Italians etc. who arrived within the same time period, give or take 100 years. In more recent years, we have seen the same sentiments about Iranian, Arab and Latino immigrants. We might well ask, as in “Where have all the Flowers Gone?”, written by Pete Seeger and sung many times in Corvallis: “When will we ever learn?”
It is rare to have the privilege of hearing a pipa in Corvallis. The earliest Chinese written texts about the pipa date back at least to the second century BC. The term pipa () consists of two Chinese characters symbolizing two finger techniques. In the preface to Ode to Pipa, Xuan Fu of the Jin Dynasty (265-420 AD) wrote: "The pipa appeared in the late Qin period. When the people suffered from being forced to build the Great Wall, they played the instrument to express their resentment". The pipa has had a long history of development, with certain features also adopted from the Persian (Iranian) Barbat during the heyday of the "Silk Road", in the 5th century. It is now regarded as one of the fundamental instruments in traditional Chinese culture and has been incorporated into pop music as well. Guitarists, mandoliniers and banjoists will find themselves intrigues with the techniques and possibilities of this instrument. Chinese and Japanese music, as one would expect from such a continuous and ancient stream, is exceedingly complex. Key and time signatures, and even the tuning of the instrument, are sometimes altered dramatically within a single composition. 7:00 – 7:55 Little Bohemian BandThe background: In 1848, Europeans rose up against their monarchs, succeeding only in France. The collapse of the rebellions yielded a wave of refugees from across the continent called Forty Eighters, many arriving in the U.S. and some settled in Corvallis. In 1878, a German immigrant visited Corvallis: “A mere 20 Germans; yet the place had 2 excellent breweries, proof that Americans regard the brown nectar of grain a highly as do our countrymen. For, no matter how thirsty and how well endowed with Teutonic bibulousness, 20 Germans could not drink the output of 2 breweries" The Little Bohemian Band is unexcelled in the music of that era, from the countries of western and central Europe. 8:00 – 8:25 The MinorsThe background: Willing immigrants to anywhere in the U.S. from Africa were rare before the Civil War. Most, including those who settled in Corvallis, came somehow via slavery. That was true of Black Moses, who led the wagon trains, even those of slavers, into town. It was true of Louis Southworth, famed fiddler, and of Reuben and Mary Shipley, who donated Union cemetery to the town so black people could have a final resting place. From music like that played by Louis Southworth, the jigs and marches evolved into ragtime and then jazz. The Minors are a group of extremely talented local musicians, some of whom are already playing professionally. 8:30-8:55 AccordiosoThe background: See Little Bohemian Band. The Accordioso are a club of local accordion players, some ingénues and some old hands, who simply love to play. 9:00 - 9:55 Poitin and StoutThe background: As Irish men and women came into the U.S. to escape the harsh colonial conditions of Ireland under English landlord rule, early immigrants raised a hue and cry, and the U.S. government pressed the English government into passing the Passenger Acts, which made fares to the U.S. prohibitively expensive. Fares to Canada remained cheap, however, and the Irish simply sailed for Canada and sneaked across the border after dark. Among the many musical gifts they brought was Celtic music, from Ireland, Scotland and the Isles. 10:00 to 10:25 Lewis and Clark (formerly Viking Funeral)The background: The English Empire ran the show in Oregon until almost the middle of the 18th century, despite claims by both the Spanish and Russian Empires. In recent decades, the contribution of English music to contemporary American music cannot be overestimated, with successive waves of music with a wide variety of names – the Liverpool Sound, the Manchester Sound, Punk rock, etc. Lewis and Clark are heirs to that legacy. 10:30 – 11:25 Neon GypsiesThe background: In the early twentieth century,, a Romani (Romany or Gypsy) community was very involved in the entertainment industry in Corvallis, staging carnivals at 15th and Western regularly. The Neon Gypsies are an all- women’s band drawing inspiration from the Romani. SATURDAY, JUNE 61 P.M. – 1:25 Ted CoxThe background: See the Little Bohemian Band. Among the Forty Eighters who came to the U.S., a sizable contingent settled along the Mexican border in Texas. Fiercely opposed to slavery (it is as rare to find an American with a family name of Kitzenhaber as Wang, as both German and Chinese immigrants in the slave states viewed slavery as abhorrent), the Forty Eighters social interactions were confined to Mexican residents, and with them they shared their music. As a consequence, it is hard to find a mariachi band in the Corvallis area, or Mexico, which does not include polkas alongside ranchera music. Ted Cox is the owner of the Old World Deli, and has sponsored music in Corvallis for decades. He is also an accomplished accordionist. 1:30 – 1:55 Dan Gillman and Amy BeckerThe background: See the Minors and Sar Shalom. Dan and Amy have fostered Afro-Cuban drumming in the area for many years. 2:00 – 2:25 Turkish Dance Troupe
The Turkish Dance troupe has dance locally for many years as individuals.
2:30 -2:55 Corvallis Celtic SessionEvery single week since March 2004 these folks have met to swap tunes and make music together in the ancient oral traditions of Ireland, Scotland, and the far flung lands of the Celtic diaspora, including Brittany, Quebec, New England and Appalachia. 3:00 – 3:25 Chinese Children’s Folkdance Troupe.The background: see Pipa. Local kids have a folk dance troupe which is as energetic and creative as you’d find anywhere. 3:30 – 3:45 Waldorf School’s Japanese Taiko DrummersThe background: After the U.S. government expelled Chinese immigrants, local railroad workers were replaced by Japanese and Indian immigrants, who lived largely in Southtown, according to census records. Children at Waldorf School, using readily accessible materials, fashioned taiho drums and have learned to play them. 4:00 – 4:25 Sila Cevikce Shaman and Dave StorrsThe background: See Turkish Dance Troupe, the Minors Turkish born pianist Sila Cevikce Shaman and Dave Storrs are probably the hottest jazz duo on the West Coast right now. 4:30 – 5:15 Bullfinch’s MythologyThe background: See Lewis and Clark, the Minors Bullfinch’s Mythology is a group of young musicians locally, extremely talented and relying upon an eclectic mix of instruments including banjo and cello to churn up contemporary music. BREAK 5:15 – 6:006:00 – 6:25 MaharimbasThe background: See Sar Shalom, the Minors The Maharimbas are Corvallis celebrated marimba band and will open the evening event. 6:30 – 6:55 Anne WeissThe background: See Pipa Anne Weiss is an extremely talented musician who has performed in Corvallis and adjacent regions, specializing in Balkan music, gospels, and her own songs. 7:00 – 7:25 Sid RosenThe background: See Taiho Drums Sid Rosen is a legendary local guitarist whose music has been heavily influenced by that of India. He will be accompanied by friends, including the Peruvian drum maetre, Otto Gyagax. 7:30 -8:05 Yap Islands Dance TroupeThe background: Few people know of the significant role played by Pacific Islanders in Oregon’s early history. It’s difficult to find a log or journal from the early 19th century which does not mention Hawaiian sailors or trappers. Half of the employees of the Hudson Bay Co. were Hawaiians outsourced by their king, which is reflected only in a few old place names, such as the Owyhee Mountains. More so than most of the nearby Pacific Islands, the Yap Islands have managed to maintain their own culture even after a century of occupation, first by the Germans, then the Japanese and finally the Americans. Today, the islands are a state within the Federated States of Micronesia, with treaties allowing largely unrestricted travel to the U.S. The Dance troupe consists of two ensembles of approximately 30 members each, including a local family. The 2 troupes will follow one another a dance handed down for generations by the Islanders, famed for preserving their own history through the medium of dance. 8:00 – 8:25 Liturgical music from the Jewish religious communityThe background: In the 19th century, Jewish immigrants fleeing the pogroms and restrictions of the Russian Empire and elsewhere. Among them were the Kline family, who began as tailors and in time became dry goods retailers. The family’s shop is today marked by a plaque, and sits near the Peacock. Daughter Pauline wrote of it in 1846: “The shop was on Second Avenue and for four years we lived in a shack in the rear. On one side was a saloon with a dance hall over it. Here the miners coming from the south with their bags of gold dust would stop for such entertainment as the place afforded. We never felt sure when we went to bed at night that we would not be dead by violence before morning.” Not so long ago, the “upstairs” of the Peacock was similarly reputed. “The more things change…”. The local Jewish religious community has assembled a few members to share the community’s songs. 8:30 – 8:55 Fossegrimen
Fossegrimen is Oregon’s premiere Scandinavian band.
9:00 – 9:45 Rusty HingesThe background: It would not do to ignore the immigrants who came to Oregon from the United States, since they eventually came in waves and predominated. Rusty Hinges play Americana music par excellence. 9:45 – 10:25 Bon Ton RouletThe background: The French trappers who worked for the Hudson Bay Co. were the swing votes who, at Champoeg in 1843, where they cast the tie breakers in a vote by all the Euro-Oregonians on whether to associate the territory with England or the U.S. Led by a retired French Canadian trapper who had been a rebel against the English in his youth, the French settlers voted with the American immigrants. Bon Ton Roulet has been the Keeper of the Flame when it has come to keeping Cajun music alive and well, and well- played, in Corvallis. 10:30 – 11:00 Jesus CandyThe background: See Sar Shalom. Jesus Candy is a local reggae band.
Former slave and famed Corvallis musician Louis Southworth, with his violin on the mantle:"The brethren wouldn't stand for my violin, which was all the company I had most of the time [Southworth said wistfully]. They said it was full of all sorts of wicked things and that it belonged to the devil. I inquired if there's music up in heaven and they told me that there is. But when I asked them if I could play a little of it here below, they couldn't answer that to suit a fellow like me. And it hurt me a good deal when they told me that playin' a fiddle is unbecomin' to a Christian and the sight of the Lord. So I told them to keep me in the church but it would be with my fiddle. I couldn't think of parting with my old friend. They turned me out, and I reckon my name isn't written in their books any longer. But I somehow hope it's written in the big book up yonder in the land of golden harps where they aren't as particular about an old man's fiddle. And sometimes I think that when you go up yonder and find my name, to your surprise in the big book, you'll meet many a fellow who remembers the old fiddler who played Home Sweet home, Dixie Land, Arkansas Traveler, Swanee River and other tunes for the boys who were far away from home the first time. And they'll talk over the days where there was no society for men like out West; when there wasn't any Bible and hymn books were unknown; when play' poker and buckin' faro were the only schooling a fellow ever got; when whiskey ran like water and made the whites and Indians crazy; when men didn't go by their right names and didn't care what they did. And when they talk over those early days, the fellows will say, "Where you all been and what'd we all done in the mines but for Uncle Lou's fiddle, which was most like a church of anything we had?" For the boys used to think the good Lord had put a heap of old-time religion music into my fiddle and the old-time religion music is good enough for an old man who's done some mighty hard work in his eighty-five years." CORVALLIS MUSIC HISTORY PROJECTJUNE 5-6 2009OLD WORLD DELI2ND AND MADISONCORVALLIS, OREGONAdmission Free to the Public |
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Henry Vestine, who jammed in local bars and cafes, of the famed group Canned Heat, is gone. B.J. Wilson (above), of Procol Harum, who issued the most widely played song ever, “Whiter Shade of Pale”, rests on Crystal Lake Drive, nearly forgotten. There are others and we are staging the CMHP so there are no more. This may be the first case of a community recording its own cultural history. This is who we are, and for the future, it is who we were. At least, musically speaking.
The background: After the English and French Empires joined the Turkish Empire to resist the Russian Czar’s push into the Mediterranean Sea which the English and French regarded as their own, in the Crimean War, a wave of nostalgia covered Western Europe and the U.S., resulting in the Turkish Bath Movement as well as the original belly dancer of the U.S., Little Egypt (above). In Corvallis, the oddly shaped building at 2nd and Madison, once a bank and more recently a now-defunct night club, housed a Turkish bath, with the requisite belly dancers, Middle Eastern foods and employees.
The background: Scandinavians were among early immigrants to Corvallis. In Corvallis, many were Swedes, with a caravan also coming from the Dakotas in the Nineteen Thirties. In neighboring areas, Finns predominated, and were most active in working for better working conditions and wages among the lumber workers of the region. It was they who, through their organization IWW (Industrial Workers of the World, or “Wobblies”, See photo) won the 8- hour day in Oregon. After much lobbying and agitation had failed to sway either the lumber companies or the state legislators under the sway of the companies, the Wobblies would simply send someone in to blow the whistle after 8 hours at mills and camps throughout the Northwest and every one would walk off the job, as if the usual 14 hour day had just ended. It worked to win the shortened work day.
