Down the Road on the Blue Ridge Music Trails of North Carolina

The Traditional Artist Directory, located on the Blue Ridge National Heritage Area website, blueridgeheritage.com serves as a vehicle to promote artists found along the Blue Ridge Music Trails of NC. This week we want to introduce you to Michael Reno Harrell. Just seeing Michael Reno Harrell would be hard to forget. His trademark long, white hair and glasses cut a striking figure. But for those able to enjoy a performance of the “songs he makes up and yarns he spins,” Michael is unforgettable.

The Blue Ridge National Heritage Area serves as the steward of the living traditions of our region, protecting and promoting the outdoor landscapes, heritage agriculture, Cherokee culture, craft and music in Western North Carolina. The Traditional Artist Directory, located on the Blue Ridge National Heritage Area website, blueridgeheritage.com serves as a vehicle to promote artists found along the Blue Ridge Music Trails of NC. This week we want to introduce you to “The Burnett Sisters Band.”

The NC Musician Murals Project began as a casual arrangement between artist Scott Nurkin and the owner of Pepper’s Pizza in Chapel Hill. Nurkin would create portraits of renowned NC musicians to cover a blank wall in the restaurant in exchange for “free pizza for life”. Today, Nurkin’s murals on nine buildings from the mountains to the Piedmont celebrate the transcendent, influential, and groundbreaking musicians of North Carolina.

The roots of the banjo go back to West Africa. Early versions of the instrument came to the Americas with enslaved people. In the Appalachian Mountains of Western North Carolina, the banjo took a strong hold, and along with the fiddle, formed the foundation of our traditional music. Today, the banjo is as present as ever across Western North Carolina. Not only is the banjo played here, but it’s also built here. Two young builders with their own distinct building styles and philosophies work to carry on the tradition.

The Farmers Federation Cooperative, an organization focused on sharing progressive farming methods and creating a thriving agricultural market in WNC included music as essential to the endeavor. Farmers Federation annual picnic gatherings held in many counties throughout Western North Carolina featured Appalachian music as a chief draw for attendees. The picnics featured a diverse range of music that drew from many traditions. As a result, the Farmers Federation became a stage for individual musicians and a larger influence on musical styles in the mountains of North Carolina.

Fiddle music is a richly layered tapestry that runs through the core of Western North Carolina. The passing down of the traditions (or styles), and instruments is ever present. In 2020 North Carolina native and traditional musician, Jason Cade recorded his “Byard Ray Dozen Series.” A collection in tribute to the legendary Byard Ray of Madison County. The core of the story is the multigenerational journey of a Western North Carolina fiddle.

Cultures around the world face the problem of losing their traditions when younger people don’t take interest in their heritage. But among the Eastern Band of Cherokee Indians, an exceptionally dedicated generation of young tradition bearers, men and women in their twenties and thirties, are both learning and teaching the culture of their ancestors. One of the most prominent members of this generation is language preservationist, musician, and storyteller Matthew Tooni.

For more than a hundred years, folklorists and other scholars have been visiting the community of Beech Mountain, North Carolina. Perhaps the most prolific collector of the community’s music and stories was himself a native of Old Beech.

In the 1960s, Jack Guy began selling mountain handcrafts and folk toys to tourists, helping local artists make a living through their heritage crafts. He operated his business out of a small log cabin, selling classic mountain toys like limberjacks and gee-haw-whimmy-diddles, alongside many other items, including musical instruments made by renowned local luthiers.

And while he was at it, Jack created a venue for Beech Mountain’s musicians to perform, share their music, and be recorded for posterity. He hosted many concerts and informal jams at the shop, featuring great local bands, solo musicians, and storytellers. As they performed, Jack was often at work in the background recording the music on his reel-to-reel tape recorder. He created an enormous archive of Beech Mountain music and folklore.

Soon you’ll be able to visit the North Carolina Folklife Institute’s website, ncfolk.org, to listen to more than 100 audio tapes of mountain music, accompanied by hundreds of old photos of life on Beech Mountain, recordings and stories by the artists who carry on Beech Mountain’s traditions today.

It’s not unusual for traditional musicians to influence artists in other styles, and that kind of cross-pollination was especially common in the 1960s and ’70s, as pop and rock musicians mined the depths of old-time, blues, and other folk styles. But few traditional musicians of that era had quite such a long, strange trip into the world of pop culture as North Carolina’s Byard Ray and Obray Ramsey.

Ray and Ramsey were cousins from Madison County, North Carolina, in the Blue Ridge Mountains west of Asheville. Madison County has been home to renowned traditional ballad singers and instrumentalists for generations, and the two men were part of the network of families whose musical heritage has made the county famous. Obray Ramsey was a banjo player with an old-time three-finger picking style and a smooth, high singing voice. Byard Ray was a skilled fiddler whose musical roots drew from the playing of some of the early fiddlers of the Blue Ridge and Smoky Mountains, including J. D. Harris, who influenced many other great musicians of the region.

The Blue Ridge Mountains of northwestern North Carolina and southwestern Virginia have produced legendary bluegrass and old-time guitarists. Presley Barker is the newest member of the lineage of virtuosic flatpickers inspired by Doc Watson. Presley first started to learn the guitar in 2012, when he was only seven years old. It didn’t take long for the traditional music community in his native North Carolina mountains to take note.