Blues in the Lower Chattahoochee Valley
Steve Bransford, Emory University
Essay Sections:
Introduction | The
Region | Topics and Terms | Blues
Artists | Bryant, Daniel and
Mitchell | Audio Interview Excerpts |Assorted
Audio Performances |Recommended Resources
Lower Chattahoochee Blues Artists:
 |
Bailey, Golden
Golden Bailey lived in a little house just west of Geneva, Georgia, on the edge of an area which could (and still can) boast of an inordinate population of traditional musicians." (from A Chattahoochee Album by Fred C. Fussell) |
Barfield, Cecil (a/k/a William Robertson)
"Born in 1922, William Robertson was a farmer all his life until he had to retire because of a back injury. Robertson began playing blues when he was five years old on a cooking oil can he had rigged up with a neck and one string. 'Well, I left the cooking oil can off and put a wire upside of the house,' he said, 'and I played that with a bottleneck.' Robertson began playing guitar when he was 12, and 'started off ragging it, playing them rag pieces,' which were traditional to the Chattahoochee Valley" (George Mitchell, from In Celebration of a Legacy: The Traditional Arts of the Lower Chattahoochee Valley). In Jim Pettigrew's article on Georgia blues entitled "Can' Cha Hear Me Cryin' Ooo-hooo," Barfield states: "I was listenin' to Bo Miller and some o' them--they were the best around here then--and then I took up the guitar myself. I don't know how many I've worn out since then. There wasn't any radio around here then. We only had record players, you know, the kind that you fold up like a suitcase. It was a long time before there was any radio in these parts....Oh, I used to play a lot. I played for both whites and colored, dances, parties, just about any occasion. There was a few of us and we'd go around all over the country. People were always calling on us. They'd never let me alone...."
View liner notes for William Robertson's LP South Georgia Blues
Bryant, Precious
Precious Bryant was born Precious Bussey on January 4, 1942 in Talbot County, Georgia, just east of Columbus. The third child of nine, with seven sisters and a brother, was born into a family of traditional musicians who lived in a close-knit community, surrounded by many fine players and singers of traditional blues and gospel.
Precious recalls a childhood filled with many different kinds of homemade music. Her mother was a piano player and an avid singer of church songs. Her father, Lonnie James Bussey, was a traditional blues player. Her uncle, George Henry Bussey, served as her principal mentor and taught her to play bottleneck guitar and to sing the old blues tunes. Several of her male cousins were members of a "fife and drum" group, a rare type of folk band which, with snare drums and homemade "reeds," often paraded and serenaded at community celebrations, fish frys and on holidays around Talbot and Harris counties.
The first instrument Precious Bryant ever attempted to play was her father's old "home guitar," which was so big that the six-year-old Precious could not lift it by herself. She fondly recalls her father placing the guitar in her lap and encouraging his daughter to "take it up" and learn to play. At age nine she had advanced in her playing skills to the point that he bought her an instrument of her own - a Silvertone guitar from Sears & Roebuck.
Precious' early performances were in the Baptist Church. She and her siblings sang spiritual songs together as The Bussey Sisters, with Precious and one of her older sisters accompanying on guitar. Outside of church, Precious was asked to play at parties and talent shows in and around Talbot County.
Her emerging repertoire was rooted in the traditional sounds of the lower Chattahoochee River Valley, but it also began to reflect the influence of the rhythm and blues and early rock 'n' roll that Precious heard on the radio. Precious explains, "I listened to Jimmy Reed, Muddy Waters and all them. Elmore James and blues like that. I would listen to a song on the radio and write the words down and I wouldn't worry about the music 'cause I could get the music. All I wanted to know was the words."
"Born in 1922, William Robertson was a farmer all his life until he had to retire because of a back injury. Robertson began playing blues when he was five years old on a cooking oil can he had rigged up with a neck and one string. 'Well, I left the cooking oil can off and put a wire upside of the house,' he said, 'and I played that with a bottleneck.' Robertson began playing guitar when he was 12, and 'started off ragging it, playing them rag pieces,' which were traditional to the Chattahoochee Valley" (George Mitchell, from In Celebration of a Legacy: The Traditional Arts of the Lower Chattahoochee Valley). In Jim Pettigrew's article on Georgia blues entitled "Can' Cha Hear Me Cryin' Ooo-hooo," Barfield states: "I was listenin' to Bo Miller and some o' them--they were the best around here then--and then I took up the guitar myself. I don't know how many I've worn out since then. There wasn't any radio around here then. We only had record players, you know, the kind that you fold up like a suitcase. It was a long time before there was any radio in these parts....Oh, I used to play a lot. I played for both whites and colored, dances, parties, just about any occasion. There was a few of us and we'd go around all over the country. People were always calling on us. They'd never let me alone...."
View liner notes for William Robertson's LP South Georgia Blues
Bryant, Precious
Precious Bryant was born Precious Bussey on January 4, 1942 in Talbot County, Georgia, just east of Columbus. The third child of nine, with seven sisters and a brother, was born into a family of traditional musicians who lived in a close-knit community, surrounded by many fine players and singers of traditional blues and gospel.
Precious recalls a childhood filled with many different kinds of homemade music. Her mother was a piano player and an avid singer of church songs. Her father, Lonnie James Bussey, was a traditional blues player. Her uncle, George Henry Bussey, served as her principal mentor and taught her to play bottleneck guitar and to sing the old blues tunes. Several of her male cousins were members of a "fife and drum" group, a rare type of folk band which, with snare drums and homemade "reeds," often paraded and serenaded at community celebrations, fish frys and on holidays around Talbot and Harris counties.
The first instrument Precious Bryant ever attempted to play was her father's old "home guitar," which was so big that the six-year-old Precious could not lift it by herself. She fondly recalls her father placing the guitar in her lap and encouraging his daughter to "take it up" and learn to play. At age nine she had advanced in her playing skills to the point that he bought her an instrument of her own - a Silvertone guitar from Sears & Roebuck.
Precious' early performances were in the Baptist Church. She and her siblings sang spiritual songs together as The Bussey Sisters, with Precious and one of her older sisters accompanying on guitar. Outside of church, Precious was asked to play at parties and talent shows in and around Talbot County.
Her emerging repertoire was rooted in the traditional sounds of the lower Chattahoochee River Valley, but it also began to reflect the influence of the rhythm and blues and early rock 'n' roll that Precious heard on the radio. Precious explains, "I listened to Jimmy Reed, Muddy Waters and all them. Elmore James and blues like that. I would listen to a song on the radio and write the words down and I wouldn't worry about the music 'cause I could get the music. All I wanted to know was the words."
 |
George Mitchell on Precious: "Precious Bryant
is a Georgia musical treasure. She is one of the last of the living
exponents, and certainly still the most active, of a truly wonderful
blues tradition that is unique to the southwest region of Georgia.
But, unusually, not only is she one of the last — she is no
doubt one of the best who ever sang and played this spirited style of
blues...whether in nearby Columbus, or in Europe, or in Canada, or in
New York or Atlanta, Precious Bryant has gotten thousands and thousands
of feet tapping... to her infectious blend of the old and the new, of
the songs of her father and uncle, and of her own compositions, most of which
are keeping alive the great and truly unique blues tradition of the lower
Chattahoochee River Valley." |
Folklorist George Mitchell first recorded Precious in 1969. Over a decade
later, at Mitchell's coaxing, she reluctantly agreed to play at
the Columbus, Georgia Chattahoochee Folk Festival. Precious was an instant
hit. Her naturally warm stage presence and lively guitar style, combined
with her excellent voice, quickly won her a devoted audience. Since her
debut in Columbus, Precious Bryant has performed for scores of audiences
in the United States and abroad. In addition to the Chattahoochee Folk
Festival, notable venues include the Blues to Bop Festival in Lugano,
Switzerland, the North Georgia Folk Festival in Athens, the Canadian
Folk Festival, and the Alabama Folk Festival in Montgomery.
These days Precious plays mainly at home, with an occasional show in Columbus or Atlanta. To see Precious play live is a treat. She entices the audience, telling them, "Pat your hands together, ain't nobody sick, ain't nobody dead." Along with Precious' own witty standards, any song she chooses to play is instantly transformed into a moving arrangement stamped with the attitude and assuredness of the true performer she has become.
Precious Bryant is a rarity. Truly traditional female blues players, especially those as vocally powerful and technically skilled as Precious, have always been few. In the 1930s, Columbus, Georgia's Gertrude "Ma" Rainey became known as the "Mother of the Blues." Now, as we enter a new century, Talbot County's Precious Bryant has secured her place in the world of traditional American music as Georgia's "Daughter of the Blues." (press bio and photo courtesy of Terminus Records)
Bunkley, Jim
From George Mitchell's liner notes for the Revival Records LP George Henry Bussey and Jim Bunkley:
These days Precious plays mainly at home, with an occasional show in Columbus or Atlanta. To see Precious play live is a treat. She entices the audience, telling them, "Pat your hands together, ain't nobody sick, ain't nobody dead." Along with Precious' own witty standards, any song she chooses to play is instantly transformed into a moving arrangement stamped with the attitude and assuredness of the true performer she has become.
Precious Bryant is a rarity. Truly traditional female blues players, especially those as vocally powerful and technically skilled as Precious, have always been few. In the 1930s, Columbus, Georgia's Gertrude "Ma" Rainey became known as the "Mother of the Blues." Now, as we enter a new century, Talbot County's Precious Bryant has secured her place in the world of traditional American music as Georgia's "Daughter of the Blues." (press bio and photo courtesy of Terminus Records)
Bunkley, Jim
From George Mitchell's liner notes for the Revival Records LP George Henry Bussey and Jim Bunkley:
 |
"This album, sadly, is a memorial to Bunkley.
He was killed in a head-on collision on a rainy day in October, 1970.
I learned of his death about a month
later when I visited his home to tell him his recordings were going to be
issued. Bunkley lived in a small tar-papered house he bragged was his
own, in Geneva, his birthplace.
He was eight years old when they took the census in 1920. It was about that
time he made friends with the guitar. 'When I was about eight, my brother
had one, and me and my nine-year-old
sister used to play it. Us couldn't hold it. Had it hangin' up 'side of the
wall and we'd get up on the chair and play it. Everyone in my family
could play — we had five boys and four girls.
We could play fiddles too.' When he got up in age, Bunkley was about the
best known musician in Talbot County. He recalled the many times he walked
away with prizes offered at the theater in nearby
Junction City. 'I was rough then,' he said. 'I had a great big ole cowboy
hat and I got up there on stage and cracked a whole lot of jokes and
then played. I win all that money too. Lottie Kate Buckley,
Jim's wife, was born October 22, 1918. She sang only two songs for us, but
both were superb.'" |
Bussey, George Henry
From George Mitchell's liner notes for the Revival Records LP George Henry Bussey and Jim Bunkley:
From George Mitchell's liner notes for the Revival Records LP George Henry Bussey and Jim Bunkley:
 |
"George Henry Bussey, a woodworker, lives
near Waverly Hall, about 15 miles from Geneva. He was born in nearby
Harris County in 1925. Bussey
learned how to play guitar at the age of 18. Although he came from a very
musical family, he says no one taught him. 'I just always went around
to a lot of friend's houses that had gramaphones
and listen to different records and catch the sound myself. I listened to
a lot of Blind Boy Fuller's records, but I wouldn't try to play it where
I learnt the chords.' Until we found him,
it had been 12 years since he had played guitar. 'I just got tired of fooling
with it,' he said. 'Mine got busted up, wouldn't sound worth nothing,
so I just quit fooling with it.' Bussey —
a quiet, reserved man — was hesitant to play for us when we asked. But
he consented, and some of the pieces of this record were recorded without any
practice! But after that first night (we lent him
a guitar) he refused to play song for us until he had it just the way he
wanted. 'Blues is a feeling,' Bussey says. 'Well, sometimes you get the blues,
get 'em on your mind, and you'll feel better when you
sing about 'em and just let 'em go on off and let you won't have to worry
with 'em no more.'" |
Coleman, Bob
Bob Coleman was originally from the Columbus area but moved to Cincinnati
in the 1920's, where he helped form The Cincinnati Jug Band. The Cincinnati
Jug Band's track "The Newport Blues" is featured on Harry
Smith's Anthology
of American Folk Music.
Daniel, George
 |
For an account of George Daniel's life
and music, follow this link,
select the Fall 2003 PDF newsletter, and Fred Fussell's article
is on page 5. |
Davis, Cliff
"Cliff Davis was born [in 1913] in Alabama, moving to Stewart County, Georgia...as a small child. A farmer, he used to sing field hollers to relieve the tedium of his work." (George Mitchell, from In Celebration of a Legacy: The Traditional Arts of the Lower Chattahoochee Valley)
Darby, Tom & Jimmie Tarlton
"Cliff Davis was born [in 1913] in Alabama, moving to Stewart County, Georgia...as a small child. A farmer, he used to sing field hollers to relieve the tedium of his work." (George Mitchell, from In Celebration of a Legacy: The Traditional Arts of the Lower Chattahoochee Valley)
Darby, Tom & Jimmie Tarlton
 |
Jimmie Tarlton was born into a sharecropping family in Chesterfield,
SC. As a young boy, he learned to play the slide guitar from black musicians, and, as a
young man, he busked his way across America. He met famed Hawaiian guitarist Frank Ferera in
California in the early twenties, and Ferera helped develop Tarlton's slide guitar technique.
Tarlton eventually settled down in native who had developed his vocal approach from listening
to black singers in Columbus. Darby and Tarlton two began to play together and were signed to
Columbia Records in 1927. Their second record — with "Birmingham Jail" on one side and
"Columbus Stockade Blues" on the other — was a hit, selling nearly 200,000 copies.
Their recording career petered out in 1930, and they both gave up the music business in 1935.
They were rediscovered during the folk revival and played a handful of reunion concerts together. |
Georgia Fife and Drum Band
Bruce Bastin provides some excellent information about this group: "Perhaps Mitchell's most interesting discovery was the presence of a fife-and-drum tradition in the country between Waverly Hall and Talbotton, northeast of Columbus. Until recently it was assumed that the tradition of fife-and-drum music was uniquely that of north Mississippi around Senatobia...The similarities of the music of the Senatobia and Waverly Hall groups hints that the music was probably more widespread than appreciated....The Georgia fife-and-drum group was essentially a family band comprising J.W. Jones on bamboo cane fife and his brother James on kettle drum, with the bass drum played by either a younger brother, Willie C. Jones, or a cousin, Floyd Bussey."
Grant, Bud
Grant made his first guitar from a poplar tree. As a young boy, he played "frolicking" dance music at neighborhood parties (even before he was twelve years old). His uncle bought him a mail-order guitar from Sears Roebuck for $4.95, and he started playing blues in 1940, " learning to play from listening to records." He mentioned in an interview: "I can play a little rock 'n' roll myself now, but I always fancy blues the most."
Grant, William
"William Grant, [born in 1908], was born near Pittsview, Alabama...He was given a harmonica one Christmas, and he says he learned how to play it while sitting on a plow in the fields. 'I played at parties in the countries,' he said. 'I used to pick guitar, but I come to religion and I put the guitar down. I promised the Lord I wouldn't fool with a guitar no more, but I didn't promise Him I wouldn't fool with a harp. I always keep a harp." (George Mitchell, from In Celebration of a Legacy: The Traditional Arts of the Lower Chattahoochee Valley)
Harris, Jimmy Lee and Eddie
Jimmy Lee Harris was born in 1935 in Seale, Alabama. He later moved 10 miles away to Phenix City, Alabama. '"The first instrument he played was the mouthbow, which he made himself when he was nine. His parents bought him a guitar three years later, and he learned to play from a woman named Seesa Vaughn." Jimmy Lee's brother Eddie is also a blues musician. (George Mitchell, from In Celebration of a Legacy: The Traditional Arts of the Lower Chattahoochee Valley)
Hunt, Dixon
According to Bruce Bastin, the parochial nature of Hunt's performing territory--little more than sixty miles end to end--was typical of Southeast blues musicians. Dixon Hunt was taught to play by Cliff Scott.
Macon, Albert
Bruce Bastin provides some excellent information about this group: "Perhaps Mitchell's most interesting discovery was the presence of a fife-and-drum tradition in the country between Waverly Hall and Talbotton, northeast of Columbus. Until recently it was assumed that the tradition of fife-and-drum music was uniquely that of north Mississippi around Senatobia...The similarities of the music of the Senatobia and Waverly Hall groups hints that the music was probably more widespread than appreciated....The Georgia fife-and-drum group was essentially a family band comprising J.W. Jones on bamboo cane fife and his brother James on kettle drum, with the bass drum played by either a younger brother, Willie C. Jones, or a cousin, Floyd Bussey."
Grant, Bud
Grant made his first guitar from a poplar tree. As a young boy, he played "frolicking" dance music at neighborhood parties (even before he was twelve years old). His uncle bought him a mail-order guitar from Sears Roebuck for $4.95, and he started playing blues in 1940, " learning to play from listening to records." He mentioned in an interview: "I can play a little rock 'n' roll myself now, but I always fancy blues the most."
Grant, William
"William Grant, [born in 1908], was born near Pittsview, Alabama...He was given a harmonica one Christmas, and he says he learned how to play it while sitting on a plow in the fields. 'I played at parties in the countries,' he said. 'I used to pick guitar, but I come to religion and I put the guitar down. I promised the Lord I wouldn't fool with a guitar no more, but I didn't promise Him I wouldn't fool with a harp. I always keep a harp." (George Mitchell, from In Celebration of a Legacy: The Traditional Arts of the Lower Chattahoochee Valley)
Harris, Jimmy Lee and Eddie
Jimmy Lee Harris was born in 1935 in Seale, Alabama. He later moved 10 miles away to Phenix City, Alabama. '"The first instrument he played was the mouthbow, which he made himself when he was nine. His parents bought him a guitar three years later, and he learned to play from a woman named Seesa Vaughn." Jimmy Lee's brother Eddie is also a blues musician. (George Mitchell, from In Celebration of a Legacy: The Traditional Arts of the Lower Chattahoochee Valley)
Hunt, Dixon
According to Bruce Bastin, the parochial nature of Hunt's performing territory--little more than sixty miles end to end--was typical of Southeast blues musicians. Dixon Hunt was taught to play by Cliff Scott.
Macon, Albert
 |
Albert Macon "lived in
Macon County, Alabama, where he was born in 1920. He started blowing
the harp when he was 10, learning to play the guitar from his father
several years later. He played 'set frolics' (couples paid 10 cents
a set to round dance) and at houseparties and schoolhouses. Macon
and Robert Thomas played together for over four decades until Macon's
death in 1993." (George Mitchell, from In Celebration of a Legacy:
The Traditional Arts of the Lower Chattahoochee Valley) Macon article by Anne Zimzey |
|
Photo by Lyn Bonham |
Paschal, Green
Born around 1927 in Talbotton, Georgia, Paschal started playing music relatively late in life, sometime in the 1950s. "I used to play nothing but the blues before I joined the church," he says, "I joined the chuch about fifteen years [ago] and I quit playing blues...Good old church songs, these old-fashioned songs, I likes 'em...I don't like these jumped up songs that people sing now...I believe in the old way, I just like old songs, the spirit of those old songs. Now those songs that they sing now, they're all right, them that want to sing 'em, they good, I like to hear 'em singing, but it ain't for me..."
Born around 1927 in Talbotton, Georgia, Paschal started playing music relatively late in life, sometime in the 1950s. "I used to play nothing but the blues before I joined the church," he says, "I joined the chuch about fifteen years [ago] and I quit playing blues...Good old church songs, these old-fashioned songs, I likes 'em...I don't like these jumped up songs that people sing now...I believe in the old way, I just like old songs, the spirit of those old songs. Now those songs that they sing now, they're all right, them that want to sing 'em, they good, I like to hear 'em singing, but it ain't for me..."
Video:
"Excerpt from George Mitchell's Interview
with Green Paschel" (0:52 min.)
George Mitchell discusses Paschal and the tension between
blues and religious music.
Rainey, "Ma"
 |
Born Gertrude Pridgett on April 26, 1886
in Columbus, Georgia, "Ma"
Rainey is the most celebrated of the early "classic" blues singers. She performed
for twenty years in minstrel shows, circuses, and tent shows before her recording
debut in 1923. Her
recording career lasted only six years, but, during that time, she cut more
than a hundred sides, some which eventually went on to become blues standards,
including the classic "C.C.
Rider." She recorded with a variety of different backing bands, including jug
bands, guitar duos, solo bluesman like Blind Blake, and jazz ensembles including
such luminaries as Louis
Armstrong and Fletcher Henderson. Her intense vocal delivery and open attitude
about sexuality made her very popular amongst black working class audiences,
particularly in the South. After
retiring from performing in 1933, she settled in Columbus and later died
of a heart attack in 1939. |
Thomas, Lonzie
" 'I watched my daddy's fingers on the guitar and I caught it,' remembered Lonzie Thomas, who was born in Lee County, Alabama in 1921. He was shot in the face and blinded at the age of 22. 'After I got blind, I got more interested in playing and singing,' he said. 'It was something to keep my mind off worrying.' It was also one of the few ways a blind man could make a living, and he began playing on the streets of Opelika and Columbus for tips and at parties." (George Mitchell, from In Celebration of a Legacy: The Traditional Arts of the Lower Chattahoochee Valley)
Link:
Lonzie Thomas' "Red Cross Store"
http://www.hcc-al-ga.org/folk_index.cfm?GetPage=2
Warren, J.W. The following excerpt is from George Mitchell, In Celebration of a Legacy: The Traditional Arts of the Lower Chattahoochee Valley. Follow the link to The Musicmaker Foundation's recording of J. W. Warren.
" 'I watched my daddy's fingers on the guitar and I caught it,' remembered Lonzie Thomas, who was born in Lee County, Alabama in 1921. He was shot in the face and blinded at the age of 22. 'After I got blind, I got more interested in playing and singing,' he said. 'It was something to keep my mind off worrying.' It was also one of the few ways a blind man could make a living, and he began playing on the streets of Opelika and Columbus for tips and at parties." (George Mitchell, from In Celebration of a Legacy: The Traditional Arts of the Lower Chattahoochee Valley)
Link:
Lonzie Thomas' "Red Cross Store"
http://www.hcc-al-ga.org/folk_index.cfm?GetPage=2
Warren, J.W. The following excerpt is from George Mitchell, In Celebration of a Legacy: The Traditional Arts of the Lower Chattahoochee Valley. Follow the link to The Musicmaker Foundation's recording of J. W. Warren.
 |
J.W. Warren was born in 1921 in Enterprise,
Alabama. In a family of eleven children, he was the only one to
take up music, starting at the age of fifteen or sixteen. He entered
the military as a young adult and served for 14 years. While stationed
overseas with the military in 1947, he won first prize in a music
contest. After his stint in the military, he farmed and began to
play blues at barbeques and house parties in southeast Alabama.
Like many lower Chattahoochee blues artists, he cites Blind Boy
Fuller as a key influence. J.W. died on August, 5, 2003. |
White, Bud
White learned to play the song "Sixteen Snow White Horses" from a traveling bluesman from Florida.
White learned to play the song "Sixteen Snow White Horses" from a traveling bluesman from Florida.
Lower Chattahoochee Songs
From 1969 until the early eighties, George Mitchell recorded over two
dozen lower Chattahoochee blues artists. The list below represents the
songs that were recorded by more than one artist.
| 16-20 |
Baby, Please Don't Go |
Blues Around My Bed |
Careless Love |
| Catfish Blues |
Crawling King Snake |
The Dog |
Freight Train Blues |
| Going Up the Country |
I Love Jesus |
Jack of Diamonds |
John Henry |
| Key to the Highway |
Lay My Burden Down |
Mean Ole Frisco |
My Babe |
| Oh, Red |
Rabbit on a Log |
Rock Me |
Someday Baby |
|
So Sweet |
Step it Up and Go |
That's All Right Mama |
What's the Matter with the Mill? |
The blues artists that Mitchell recorded are listed below.
The date in parentheses after the musician's name indicates when the recordings
were made.
|
Bailey, Golden (1976) |
Barfield, Cecil aka William Robertson (1976, 1977, 1980, 1981) |
|
Bryant, Precious (1969, early 1980s) |
Bunkley, Jim (1969) |
|
Bussey, George Henry (1969) |
Carter, Ella Mae and A.K. (1976) |
|
Daniel, George (1979) |
Davis, Cliff (early 1980s) |
|
Georgia Fife and Drum Band (1969) |
Gorman, Jessie Clarence (1969) |
|
Grant, Bud (1969) |
Grant, William (early 1980s) |
|
Harris, Jimmy Lee and/or Eddie Harris (early 1980s) |
Hodge, Eddie B. (early 1980s) |
|
Hubbard, Buddy (1969) |
Hunt, Dixon (1969) |
|
Macon, Albert and/or Robert Thomas (early 1980s) |
Paschal, Green (1969) |
|
Scott, Cliff (1969) |
Thomas, Lonzie (early 1980s) |
|
Warren, J.W. (1981, 1982) |
White, Bud (1969) |
For information on songs recorded by specific lower Chattahoochee
artists consult the artist repertoire
index.
Essay Sections:
Introduction | The
Region | Topics and Terms | Blues
Artists | Bryant, Daniel and
Mitchell | Audio Interview Excerpts |Assorted
Audio Performances |Recommended Resources
