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John Sharp Sr. | Sharp's Hornpipe Vol. 1: The Fiddling John Sharp Recordings

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Folk: Appalachian Folk Country: Old-Timey Moods: Type: Lo-Fi
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Sharp's Hornpipe Vol. 1: The Fiddling John Sharp Recordings

by John Sharp Sr.

Now available in digital format for the first time, 19 historic recordings from the legendary John Sharp, Sr.
Genre: Folk: Appalachian Folk
Release Date: 

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  Song Share Time Download
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1. Cumberland Gap
1:15 album only
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2. Sharp's Hornpipe
3:38 album only
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3. Evelena Two-Step
3:16 album only
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4. Polly Put the Kettle On / Lake Erie / Fire on the Mountain (Medley)
3:53 album only
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5. German Blues (Guitar)
0:46 album only
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6. Leather Britches
1:08 album only
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7. Black Eyed Susianna
3:35 album only
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8. Bill Cheatham
3:42 album only
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9. Mississippi Sawyer
3:38 album only
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10. Tennessee Moonshiner
1:39 album only
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11. Billy in the Lowground
1:07 album only
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12. Shortnin' Bread
1:03 album only
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13. Bile Them Cabbage Down
1:43 album only
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14. Wednesday Night Waltz
1:37 album only
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15. Three Way Hornpipe
3:43 album only
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16. Wagner
1:29 album only
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17. Sally Goodin
3:38 album only
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18. Fisher's Hornpipe
3:39 album only
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19. Five Miles
3:44 album only
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
John Sharp often woke up his family before daylight with a cheerful imitation of the cardinal’s song, a fiddle tune named “Redbird.” Their bedtime would just as likely be preceded by fiddle music, or put off for hours if music-loving friends or relatives stopped to visit. Fiddlin’ John Sharp loved music with emotional intensity. A daughter recalls watching with the other children through a little ‘cubby hole’ window in the loft of their house for their father’s return one miserable, sleeting winter night in 1937. When their father, a stocky, tough man, came into sight, he was crying. Crippled since boyhood by a leg injury, he had fallen and cracked the record, “Carroll County Blues,” that he had just walked five miles to buy at a Stearns Company Store. Placing it on the Victrola, he found the record would play and, overjoyed, stayed up past midnight to learn the tune.

Sharp always began a fiddle tune with the fiddle under his chin, standing or sitting straight. When the music started, his body began twisting, bending, and crouching, his eyes shut tight, his mouth worked along with the tune, and his arms swung the fiddle about, playing around his feet or above his head. Sometimes he would wind up on his knees, playing and whooping, or shaking the fiddle to make the rattlesnake rattles inside the instrument sound out.

John Sharp was born September 2, 1894 in the ‘Washington Young Place,’ a log house just on the Kentucky side of the state line, now said to be the dwelling with the longest continual occupation in the state of Kentucky (since 1792). John’s mother found him at age 6 hiding behind a door playing “Rye Straw.” His father, a fine fiddler, taught him tunes like “Wild Goose Squall,” and “Fourteen Wildcat Scalps,” even humming one the day he died for John to learn. John joined a small exodus to the farmland of Iowa in 1916, with his new bride Bonnie. He stayed long enough to learn a few Midwestern tunes, but was back in Kentucky via Oklahoma by 1919. The next year he moved to Tennessee to work on the Slick Ford – Stockton pole road, a railroad-like system of tracks made with small poles for mule teams pulling carts loaded with logs. Except for a few years back on the Washington Young Place, he spent the rest of his life in Tennessee near Sharp Place, working in the log woods, farming, and playing music. He was a neighbor for a while to his second cousin Will Phipps, whose large repertoire of unusual solo fiddle tunes was much admired. Bonnie Sharp remembers Burnett and Rutherford riding up on two fine looking mares in July 1929 to spend a week-long visit with John, a new acquaintance they had made at the courthouse gatherings in Monticello.

In 1931, John was approached by Virgil Anderson – who had once been a close neighbor- to form the Kentucky Wildcats string band. Later, eight of his children took up instruments, and each one at some point traveled with him to play for Democratic political rallies, dedication ceremonies, family reunions, and weekly dances at Pickett State Park.

In 1949, Sgt. Alvin York invited Sharp down for an evening to try out a new record cutting machine. York recorded about 20 sides for his lifelong fiddling friend, who sent most of them away as presents. These disks, with John Sharp Jr. and Clyde Evans accompanying on rhythm guitars, are the best existing examples of Sharp’s abilities. Just a year before he died, in 1964, he recorded several more tunes for his family on a reel-to-reel tape recorder.

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