About Our Guest Hosts
Dr David Evans
Retired Professor of Music and Director of Regional Studies in Ethnomusicology, University of Memphis and accomplished Blues Artist, Discoverer, Artist Advisor, Producer
Dr David Evans has made major contributions to the Blues Disciples Podcasts #’s 101, 117, 119, True Believers Premium Membership, 123, 125, 132, 136, 138.
As a student of Classical languages at Harvard University (1961-65), Evans became interested in American folk music by listening to recordings and hearing traditional performers at coffee houses and concerts. He soon began learning guitar and performing in coffee houses. His interest in folk music gravitated toward blues and African American folk music, and he began interviewing folk blues performers who came through Cambridge on tours.
After graduation from Harvard, Evans enrolled in the Folklore and Mythology graduate program at the University of California, Los Angeles, receiving the M.A. degree in 1967 and the Ph.D. in 1976. Beginning in 1965, he did fieldwork in southern states for periods of several weeks at a time over the next dozen years, collecting hundreds of hours of recordings and interviews that have resulted in many publications and record albums of blues and other types of African American folk music. He has also compiled over the years a record collection of 78’s, 45’s, LP’s, and CD’s of folk, popular, and ethnic music that comprises over thirty thousand items.
Evans began teaching in the Anthropology Department at California State University, Fullerton, in 1969. In 1978 he joined the faculty at Memphis State University (now The University of Memphis) and was Professor of Music until his retirement in 2012. He designed and directed the ethnomusicology Ph.D. program, the only doctoral program with a specific specialization in Southern U.S. folk and popular music. He also launched the university’s High Water Recording Company, which has produced a series of records of local blues and gospel performers. He received a First Tennessee professorship for 2006-2009 and the Willard R. Sparks Eminent Faculty Award in 2007. In 2011 he was a Fulbright Senior Specialist at Bahir Dar University in Ethiopia.
He is the author of Tommy Johnson (London: Studio Vista, 1971), a study of the life and music of a folk blues singer, and Big Road Blues: Tradition and Creativity in the Folk Blues (Berkeley:
University of California Press, 1982; paperback reprint, 1987), both based upon his fieldwork. More recently, he has authored (with John Minton) “The Coon in the Box”: A Global Folktale in African-American Tradition (Helsinki: Academia Scientiarum Fennica, 2001) and The NPR Curious Listener’s Guide to Blues (New York: Perigee, 2005), and edited Ramblin’ on My Mind: New Perspectives on the Blues (Urbana: University of Illinois Press, 2008). Evans has also written many journal articles and book chapters on various aspects of blues, African American folk music, and musical instruments, including major biographical studies of Bukka White, Charley Patton, and Blind Willie McTell. He has also contributed many entries to encyclopedias, dictionaries, and handbooks, including The New Grove Dictionary of Music and Musicians, Encyclopedia of Southern Culture, International Dictionary of Black Composers, Encyclopedia of American Folklore, Handbook of American Folklore, The Blackwell Guide to Blues Records, American National Biography, Black Women in America, The Blues: A Bibliographical Guide, Garland Encyclopedia of World Music, American Musical Traditions, The Cambridge Companion to Blues and Gospel Music, Encyclopedia of Popular Music of the World, and Encyclopedia of African American Folklore.
Evans has produced over fifty LP’s and CD’s of field and studio recordings and has written liner and booklet notes for over eighty others. In 2003 and 2019 he received a Grammy™ Award for “Best Album Notes.” He is also the editor for the “American Made Music” series of books for the University Press of Mississippi and the “Deep River of Song” series of CD’s for Rounder Records of field recordings of African American folk music by John and Alan Lomax. Evans has lectured throughout the United States and in thirteen foreign countries. He has been a consultant for a number of museums, exhibits, programs, festivals, radio, television, film, and video productions.
Evans has been a performer (blues vocal and guitar) since the 1960s and has played at concerts and festivals throughout the United States and toured over seventy times as a solo performer and/or accompanist in twenty-two countries of Europe, South America, and Africa. He has performed and/or recorded with Alan Wilson (later of Canned Heat), Van Zula Hunt, Hammie Nixon, Jessie Mae Hemphill, Johnny Shines, and Robert Belfour. In Memphis and the Mid-South he performs with the Last Chance Jug Band and recorded a CD, Shake That Thing, with them in 1997. He also recorded the solo CDs Match Box Blues in 2002, Needy Time in 2007, Live at “Alte Post” in 2012, Under the Yam Yam Tree in 2013, and Lonesome Midnight Dream in 2018. Most of his style and repertoire were learned from artists with whom he has been associated through fieldwork and touring.
NAME: David Huhn Evans, Jr
PLACE OF BIRTH: Boston, Massachusetts
DATE OF BIRTH: January 22, 1944
CITIZENSHIP: U. S. A.
HOME ADDRESS: 3046 Jericho Road | Millington, TN 38053 USA
OFFICE ADDRESS: Rudi E. Scheidt School of Music | The University of Memphis | Memphis, TN 38152 USA
- A. B., Harvard, June 1965 (Classics, magna cum laude). Senior Honors Thesis: “The Homeric Simile in Oral Tradition”
- M. A., University of California, Los Angeles, August 1967 (Folklore and Mythology). Thesis: “The Blues of Tommy Johnson: A Study of a Tradition”
- Ph. D., University of California, Los Angeles, March 1976 (Individual Ph. D. Program in Folklore and Mythology). Dissertation: “Tradition and Creativity in the Folk Blues”
FOREIGN LANGUAGES; French, German, Spanish, Latin, Greek
CURRENT OCCUPATION: Professor of Music and Director of Regional Studies in Ethnomusicology, University of Memphis, 1981-2012 (First Tennessee Professor of Music, 2006-2009). Retired 2012. Post-retirement teaching, 2012-present (Professor Emeritus).
Teaching Assistant, University of California, Los Angeles, Classics, 1965-66
Teaching Assistant, University of California, Los Angeles, Folklore and Mythology, 1966-69
Lecturer in Anthropology, California State University, Fullerton, 1969-72
Lecturer in Folklore and History, University of California, Los Angeles, summer, 1972
Assistant Professor of Anthropology, California State University, Fullerton, 1972-76
Associate Professor of Anthropology, California State University, Fullerton, 1976-78
Associate Professor of Music, Memphis State University, 1978-81
- AWARDS and HONORS
Commencement Latin Oration, Harvard College, June 1965.
- Faculty Research Grant awarded by California State College, Fullerton, Foundation, December 1971. Awarded again December 1972, and April 1978.
- In the Tenth Anniversary Poll of a British magazine, Blues Unlimited, (#100, April 1973) I was voted third place as a writer, and my book was voted eighth place. These were the highest places for a non-British writer in each category.
- Distinguished Service Medal for Academic Distinction in the Division of Humanities, awarded by the University of California, Los Angeles, Alumni Association, June 1976.
- Summer Stipend awarded by the National Endowment for Humanities, summer 1978.
- Seed Grant to Facilitate Learning awarded by Memphis State University, December 1978.
- Faculty Research Grant awarded by Memphis State University, April 1979, for the production of the three documentary films on black folk music.
- Grant awarded by the National Endowment for the Arts, Folk Arts Division, August 1979, for the production and distribution of four records by northern Mississippi blues singers.
- Grant awarded by the Tennessee Arts/Humanities Support Program, January 1980, for a two-day series of seminars and concerts, “Salute to Memphis Music: The Blues.”
- Grant awarded by the Day Foundation for a series of three blues concerts in Overton Park, summer 1980.
- Faculty Research Grant awarded by Memphis State University, October 1980, for the production and distribution of two records by Memphis blues singers.
- 1981 Grammy Award nominations for Atlanta Blues: 1933 compiled and annotated by David Evans and Bruce Bastin, in “Best Ethnic or Traditional Recording” and “Best Album Notes” categories.
- W. C. Handy Blues Award for Blues Research presented by the Blues Foundation, Memphis, 1981.
- Chicago Folklore Prize for 1981-82 for Big Road Blues: Tradition and Creativity in the Folk Blues.
- Faculty Research Grant awarded by Memphis State University, 1982, for the production of five blues and gospel records by Mid-South artists.
- Grant awarded by National Endowment for the Arts, 1982, for Memphis Gospel Quartet Heritage program and record album.
- Spur Award for outstanding research activities, Memphis State University, 1984.
- Grant awarded by Tennessee Arts Commission for Management Training and Travel, 1985.
- University Distinguished Research Award, 1987, Memphis State University.
- Faculty Research Grant awarded by Memphis State University, 1989, for “Three Pioneer Folk Blues Singers.”
- Grant awarded by Partners of the Americas, 1989, for recording Venezuelan traditional music: awarded again, 1990.
- Faculty Research Grant awarded by Memphis State University, 1991, for “Description and Comparison of Solo Guitar-Accompanied Folk Blues Performance Styles.”
- “Classic of Blues Literature” award from the Blues Foundation, 1991, for Big Road Blues: Tradition and Creativity in the Folk Blues.
- Faculty Development Leave awarded by The University of Memphis, fall semester, 1995.
- Grant awarded by Tennessee Humanities Council for “Routes of the Blues in West Tennessee,” 1998.
- Prix Big Bill Broonzy for “Best Blues Record” of 1998 awarded by the Academie du Jazz, Paris, to Lucky 13 by Big Lucky Carter (Westside WESF 106), co-produced by David Evans and Mike Vernon.
- Dean’s Creative Achievement Award, 1999, College of Communication and Fine Arts, University of Memphis.
- Association of Recorded Sound Collections Award for Excellence in Historical Recorded Sound Research, “Best Research in Recorded Blues,” for notes to Screamin’ and Hollerin’ The Blues: The Worlds of Charley Patton, 2002.
- When The Sun Goes Down: The Secret History of Rock and Roll, vols. 1-4, voted Best Historical Reissue/ Pre-War and Producer of the Year: Historical/Reissue (with Barry Feldman and Colin Escott) in 2002 Living Blues Readers Poll.
- Grammy™ Award for “Best Album Notes,” from National Academy of Recording Arts and Sciences, 2003, for notes to Screamin’ and Hollerin’ The Blues: The Worlds of Charley Patton.
- Willard R. Sparks Eminent Faculty Award, The University of Memphis, 2007.
- Faculty Development Leave awarded by The University of Memphis, spring semester, 2011.
- Fulbright Senior Specialist project, Bahir Dar University, Ethiopia, 2011.
- Living Blues Award, “Producer of the Year – Historical Recording,” for Sorrow Come Pass Me Around: A Survey of Rural Black Religious Music, Dust-to-Digital PT-3001/DTD-31, 2014 (shared with Lance Ledbetter).
- President d’Honeur, “Blues au Chateau” Festival, La Ch ze, France, 2014.
- Grammy™ Award for “Best Album Notes” from the Recording Academy, 2019, for notes to Voices of Mississippi: Artists and Musicians Documented by William Ferris.
At the University of Memphis since 1978 I have taught the following courses. When a semester is indicated in parentheses, I usually teach that course every year. Others aretaught occasionally or as needed by students. Classes at the 4000 level and below are undergraduate and the 6000 level and above are graduate.
MUHL 4800/6800 World Musical Styles (spring)
MUHL 4801/6801 American Folk and Popular Music (fall)
MUHL 4803 Individual Studies in Music History
MUHL 4804/6804 Blues (fall)
MUHL 4807/6807 Memphis Music (spring)
MUHL 7800/8800 Field Methods in Ethnomusicology
MUHL 7802/8802 Seminar in Ethnomusicology (topic varies each time)
MUHL 7803/8803 Individual Research in Ethnomusicology
MUHL 7804/8804 Internship in Southern Regional Music
MUHL 7996 Thesis
MUHL 8801 Ethnomusicology
MUHL 8805 Transcription and Analysis in Ethnomusicology
MUHL 8806 Seminar in Southern Regional Music
MUHL 9000 Dissertation
I have also taught a class in Folklore in the Senior Honors Program, co-taught The Global Challenge in the Freshman Honors Program (UNHP 1101), and taught each of the following once: Music Appreciation (MUHL 1101); History of Rock and Roll (MUHL 4805/6805); and History of Jazz (MUHL4806/6806, co-taught), usually on an emergency basis. From 1969 to 1978 I taught in the Anthropology Department at California State University, Fullerton. In 2011 I taught an undergraduate class in Ethnomusicology in the Folklore Department at Bahir Dar University, Ethiopia.
I have done fieldwork in African-American folk music since 1965 in the states of Mississippi, Louisiana, Texas, Arkansas, Tennessee, Georgia, North Carolina, and California. I have spent about a year altogether in the field, mainly in Mississippi and the city of Memphis. Some of this work was concerned with other genres of African-American folklore. This work has resulted in numerous publications listed below. I also conducted fieldwork among the Hopi Indians of Arizona for short periods in 1969, 1970, and 1971, resulting in one joint publication. In 1966, I did some fieldwork in New England regional and ethnic folklore. A further field of research interest is comparative Indo-European mythology, in which I have four publications. In 1989 and 1990 I spent one month in Venezuela researching and recording traditional music, resulting in one article and one record album. In 2012, 2013, 2014, and 2015 I did fieldwork in Ethiopia researching and recording traditional and popular music. I did further fieldwork in traditional and popular music in Malaŵi in 2015.
Tommy Johnson (London: Studio Vista, 1971), 112pp. (Biography of an African-American folk blues singer and study of his music). Reviewed in Journal of American Folklore 85 (1972), 287-88; John Edwards Memorial Foundation Quarterly 8 (1972), 168-70; Ethnomusicology 17 (1973), 326-27.
Big Road Blues: Tradition and Creativity in the Folk Blues (Berkeley: University of California Press, 1982). Paperback ed., New York: Da Capo, 1987. Reviewed in John Edwards Memorial Foundation Quarterly 18 (1982), 95-96; Journal of American Folklore 96 (1983), 488-90; Western Folklore 42 (1983), 297-99; Ethnomusicology 28 (1984), 143-44; The Black Perspective in Music 12 (1984). 271-72. Portion reprinted in Write Me a Few of Your Lines: A Blues Reader, ed. Steven C. Tracy (Amherst: University of Massachusetts Press, 1999), pp. 119-126.
West Tennessee Music (10-page booklet). Nashville: Tennessee Humanities Council.
“The Coon in the Box”: A Global Folktale in African-American Tradition, by John Minton and David Evans (Helsinki: Academia Scientiarum Fennica, 2001). Folklore Fellows Communications, no. 277. Reviewed in Journal of American Folklore 118 (2005), 492-93.
The NPR Curious Listener’s Guide to Blues (New York: Perigee, 2005).
Symposium on “Folk Music and the Phonograph Record” in John Edwards Memorial Foundation Quarterly 14 (1978), 72-79, 86-93, 118-25, 114-50, 156.
Special Edition, “New Perspectives on the Blues,” American Music 14, no. 4 (winter 1996), 393-526.
Special Edition, “Blind Lemon Jefferson,” Black Music Research Journal 20, no. 1 (spring 2000), 1-116
Ramblin’ on My Mind: New Perspectives on the Blues. Urbana: University of Illinois Press.
Culture and Development for Amhara Region, ed. Getie Gelaye, David Evans, and Alula Pankhurst. Bahir Dar, Ethiopia: Bahir Dar University Press.
Book series editor of “American Made Music” for the University Press of Mississippi, Jackson.
- 1996 Shane K. Bernard. Swamp Pop: Cajun and Creole Rhythm and Blues.
- 1997 Charles Wolfe, In Close Harmony: The Story of the Louvin Brothers.
- 1997 Guido van Rijn, Roosevelt’s Blues: African-American Blues and Gospel Songs on FDR.
- 1997 Alan Young, Woke Me Up This Morning: Black Gospel Singers and the Gospel Life.
- 1997 Kenneth M. Johnson, The Johnson Family Singers: We Sang for Our Supper.
- 1998 Sebastian Danchin, “Blues Boy”. The Life and Music of B. B. King.
- 1999 Gerhard Kubik, Africa and the Blues.
- 2001 Sebastian Danchin, Earl Hooker: Blues Master.
- 2001 David Freeland, Ladies of Soul.
- 2001 Richard Congress, Blues Mandolin Man: The Life and Music of Yank Rachell.
- 2001 Timothy P. Lynch, Strike Songs of the Depression.
- 2002 Alan Young, The Pilgrim Jubilees.
- 2002 Bill Koon, Hank Williams, So Lonesome.
- 2002 Frederick J. Spencer, M.D., Jazz and Death: Medical Profiles of Jazz Greats.
- 2002 Drew Beisswenger, Fiddling Way Out Yonder; The Life and Music of Melvin Wine.
- 2002 Lynn Abbott and Doug Seroff, Out of Sight: The Rise of African American Popular Music, 1889-1895.
- 2003 Russ Cheatham, Bad Boy of Gospel Music: The Calvin Newton Story.
- 2003 Clifford Edward Watkins, Showman: The Life and Music of Perry George Lowery.
- 2004 Marc W. Ryan, Trumpet Records: Diamonds on Farish Street.
- 2004 Kristine M. McKusker and Diane Pecknold, eds., A Boy Named Sue:Gender and Country Music.
- 2005 Alan L. Spurgeon, Waltz the Hall: The American Play Party.
- 2005 Derek Mannering, Mario Lanza: Singing to the Gods.
- 2006 Robert Springer, ed., “Nobody Knows Where the Blues Come From”: Lyrics and History.
- 2006 Richard J. Ripani, The New Blue Music: Changes in Rhythm & Blues, 1950-1999.
- 2006 Sam Myers and Jeff Horton, Sam Myers: The Blues Is My Story.2007 Mark Allan Jackson, Prophet Singer: The Voice and Vision of Woody Guthrie.
- 2007 Lynn Abbott and Doug Seroff, Ragged But Right: Black Traveling Shows, “Coon Songs,” and the Dark Pathway to Blues and Jazz.
- 2007 Nolan Porterfield, Jimmie Rodgers: The Life and Times of America’s Blue Yodeler.
- 2007 Neil A. Wynn, ed., Cross the Water Blues: African-American Music in Europe.
- 2007 Guido van Rijn, Kennedy’s Blues: African-American Blues and Gospel Songs on JFK.
- 2007 Jeffrey J. Noonan, The Guitar in America: Victorian Era to Jazz Age.
- 2008 Kip Lornell and Tracey E. W. Laird, Shreveport Sounds in Black and White.
- 2008 Samuel Charters, A Trumpet around the Corner: The Story of New Orleans Jazz.
- 2008 John Minton, 78 Blues: Folksongs and Phonographs in the American South.
- 2008 Mark F. DeWitt, Cajun and Zydeco Dance Music in Northern California: Modern Pleasures in a Postmodern World.
- 2008 Chris Goertzen, Southern Fiddlers and Fiddle Contests.
- 2009 Michael Streissguth, Eddy Arnold: Pioneer of the Nashville Sound.
- 2009 Kip Lornell and Charles C. Stephenson, Jr., The Beat: Go-Go Music from Washington, D. C.
- 2009 Ali Colleen Neff, Let the World Listen Right: The Mississippi Delta Hip-Hop Story.
- 2009 Lisa E. Davenport, Jazz Diplomacy: Promoting America in the Cold War Era.
- 2009 Ron Yule, Louisiana Fiddlers.
- 2009 Paul O. Jenkins, Richard Dyer-Bennett: The Last Minstrel.
- 2010 Mark Berresford, That’s Got ‘Em: The Life and Music of Wilbur C. Sweatman.
- 2010 Roben Jones, Memphis Boys: The Story of American Studios.
- 2010 David B. Pruett, MuzikMafia: From the Local Nashville Scene to the National Mainstream.
- 2010 K. Heather Pinson, The Jazz Image: Seeing Music through Herman Leonard’s Photography.
- 2010 Dick Spottswood, Banjo on the Mountain: Wade Mainer’s First Hundred Years.
- 2010 Ronald D. Cohen, ed., Alan Lomax, Assistant in Charge: The Library of Congress Letters, 1935-1945.
- 2011 Nathan D. Gibson with Don Pierce, The Starday Story: The House That Country Music Built.
- 2011 Charles Farley, Soul of the Man: Bobby “Blue” Bland.
- 2011 Stephen A. King, I’m Feeling the Blues Right Now: Blues Tourism and the Mississippi Delta.
- 2011 Philip R. Ratcliffe, Mississippi John Hurt: His Life, His Times, His Blues.
- 2011 Jack Isenhour, He Stopped Loving Her Today: George Jones, Billy Sherrill and the Pretty Much Totally True Story of the Greatest Country Record of All Time.
- 2012 Ken Prouty, Knowing Jazz: Community, Pedagogy, and Canon in the Information Age.
- 2012 Charlotte Pence, ed., The Poetics of American Song Lyrics.
- 2012 Lawrence Schenbeck, Racial Uplift and American Music, 1878-1943.
- 2012 Christopher Wilkinson, Big Band Jazz in Black West Virginia, 1930-1942.
- 2012 Kip Lornell, Exploring American Folk Music: Ethnic, Grassroots, and Regional Traditions in the United States, 3rd ed.
- 2012 Jill Terry and Neil A. Wynn, eds., Transatlantic Roots Music: Folk, Blues, and National Identities.
- 2012 Bruce Bastin with Kip Lornell, The Melody Man: Joe Davis and the New York Music Scene, 1916-1978.
- 2012 John McCusker, Creole Trombone: Kid Ory and the Early Years of Jazz.
- 2012 Don Cusic, Saved by Song: A History of Gospel and Christian Music.
- 2013 David W. Johnson, Lonesome Melodies: The Lives and Music of the Stanley Brothers.
- 2013 Lynn Abbott and Doug Seroff, To Do This You Must Know How: Music Pedagogy in the Black Gospel Quartet Tradition.
- 2013 Scotty Moore, with James L. Dickerson, Scotty and Elvis: Aboard the Mystery Train.
- 2013 George Mitchell, Mississippi Hill Country Blues 1967.
- 2013 Clarence Bernard Henry, Quincy Jones: His Life in Music.
- 2014 Jimmi Mayes, with V. C. Speek, The Amazing Jimmi Mayes: Sideman to the Stars.
- 2014 David W. Johnson, Lonesome Melodies: The Lives and Music of the Stanley Brothers.
- 2014 Vic Hobson, Creating Jazz Counterpoint: New Orleans, Barbershop Harmony, and the Blues.
- 2015 Philippe Carles and Jean-Louis Comolli, Free Jazz/Black Power, trans. Gr goryPierrot.
- 2015 Victor Svorinich, Listen to This: Miles Davis and Bitches Brew.
- 2015 Sara le Menestrel, Negotiating Difference in French Louisiana Music.
- 2015 Harry Bolick and Stephen T. Austin, Mississippi Fiddle Tunes and Songs from the 1930s.
- 2015 Burt Feintuch, Talking New Orleans Music: Crescent City Musicians Talk about Their Lives, Their Music, and Their City. Photographs by Gary Samson.
- 2016 Kip Lornell and Anne K. Rasmussen, eds., The Music of Multicultural America: Performance, Identity, and Community in the United States.
- 2016 Diane Pecknold and Kristine M. McCusker, eds., Country Boys and Redneck Women: New essays in Gender and Country Music.
- 2016 Richard Carlin, Godfather of the Music Business: Morris Levy.
- 2016 Emily D. Edwards, Bars, Blues, and Booze: Stories from the Drink House.
- 2016 Timothy E. Wise, Yodeling and Meaning in American Music.
- 2017 Jim Dickinson, I’m Not Dead, I’m Just Gone.
- 2017 Lynn Abbott and Doug Seroff, The Original Blues: The Emergence of the Blues in African American Vaudeville.
- 2017 Ryan P. Harper, The Gaithers and Southern Gospel: Homecoming in the Twenty-First Century.
- 2017 Wim Verbei, Boom’s Blues: Music, Journalism and Friendship in Wartime, trans. Scott Rollins.
- 2017 Nina Goss and Eric Hoffman, eds., tearing the World Apart: Bob Dylan and the Twenty-First Century.
- 2017 Chris Goertzen, George P. Knauff’s Virginia Reels and the History of American Fiddling.
- 2017 Jack Sullivan, New Orleans Remix.
- 2017 Gerhard Kubik, Jazz Transatlantic, Vol. 1: The African Undercurrent in Twentieth-Century Jazz Culture.
- 2017 Gerhard Kubik, Jazz Transatlantic, Vol. 2: Jazz derivatives and Developments in Twentieth-Century Africa.
- 2017 Ronald D. Cohen and David Bonner, Selling Folk Music: An Illustrated History.
- 2018 Dick Spottswood, The Blue Sky Boys.
- 2018 Steven Loza, The Jazz Pilgrimage of Gerald Wilson.
- 2018 Robert Sacred., Charley Patton: Voice of the Mississippi Delta.
- 2018 Terry Wait Klefstad, Crooked River City: The Musical Life of Nashville’s William Pursell.
- 2018 Vic Hobson, Creating the Jazz Solo: Louis Armstrong and Barbershop Harmony.
- 2018 Tina Bucuvalas, ed., Greek Music in America.
- 2019 Clive Wilson, Time of My Life: A Jazz Journey from London to New Orleans.
- 2019 Laurent Cugny, Analysis of Jazz: A Comprehensive Approach, trans. B reng re Mauduit.
- 2019 Tammy L. Turner, Dick Waterman: A Life in Blues.
- 2019 Michael Streissguth, Johnny Cash at Folsom Prison: The Making of a Masterpiece.
- 2020 Ate van Delden, Adrian Rollini, The Life and Music of a Jazz Rambler.
- 2020 John Kane, The Last Seat in the House: The Story of Hanley Sound.
- 2020 Phil Wiggins and Frank Matheis, Sweet Bitter Blues: Washington, D. C.’s Homemade Blues.
- 2020 Chris Goertzen, American Antebellum Fiddling.
- 2020 Tony Bolden, Groove Theory: The Blues Foundation of Funk.
- 2020 Stooges Brass Band and Kyle DeCoste, Can’t Be Faded: Twenty Years in the New Orleans Brass Band Game.
- 2020 Reva Marin, Outside and Inside: Race and Identity in White Jazz Autobiography.
- 2020 Evan Rapport, Damaged: Musicality and Race in Early American Punk.
- 1999-2002 Editor of the “Deep River of Song” compact disc series for Rounder Records, comprised of field recording of African American folk music made by John and Alan Lomax and associates in the 1930s and 1940s (nine CDs).
- 1968 “Babe Stovall,” in Back Woods Blues, ed. Simon A. Napier. Bexhill-on-Sea, England: Blues Unlimited, 1968, pp. 50-55.
- 1970 “Afro-American One-Stringed Instruments,” Western Folklore 29 (1970), 229-45. Reprinted in Afro-American Folk Art and Crafts, ed. William Ferris (Boston: G. K. Hall, 1983), pp. 181-96.
- 1971 “Some Early Elephant Jokes,” Western Folklore 30 (1971), 58.
- 1971 “Blues on Dockery’s Plantation: 1895 to 1967,” in Nothing But the Blues, ed. Mike Leadbitter. London: Hanover Books, 1971, pp. 129-32.
- 1971 “The Woodrow Adams Story,” ibid., pp. 142-44.
- 1971 “Rubin Lacy,” ibid., pp. 239-45.
- 1971“Booker White,” ibid., pp. 248-55.
- 1972 “Black Fife and Drum Music in Mississippi,” Mississippi Folklore Register 6 (1972), 94-107. Reprinted in Afro-American Folk Art and Crafts, ed. William Ferris (Boston: G. K. Hall, 1983), pp.163-71.
- 1972 “Afro-American Sculpture from Parchman Penitentiary,” Mississippi Folklore Register 6 (1972), 141-52. Reprinted in Afro-American Folk Art and Crafts, ed. William Ferris (Boston: G. K. Hall, 1983), pp. 141-48.
- 1972 “An Interview with H. C. Speir,” John Edwards Memorial Foundation Quarterly 8 (1972), 117-21.
- 1972 “Africa and the Blues,” Living Blues no. 10 (autumn 1972), 27-29. Reprinted in Write Me a Few of Your Lines: A Blues Reader, ed. Steven C. Tracy. Amherst: University of Massachusetts Press, 1999, pp. 63-68.
- 1972-73 “Black Musicians Remember Jimmie Rodgers,” Old Time Music, no. 7 (winter 1972-73), pp. 12-14.
- 1973 “The Kachina Sash: A Native Model of the Hopi World,” by Edwin Wade and David Evans, Western Folklore 32 (1973), 1-18.
- 1973 “Bubba Brown: Folk Poet,” Mississippi Folklore Register 7 (1973), 15-21.
- 1973 “Folk, Commercial, and Folkloristic Aesthetics in the Blues,” Jazzforschung 5 (1973), 11-32.
- 1974 “Dodona, Dodola, and Daedala,” in Myth in Indo-European Antiquity, ed. Gerald Larson, C. Scott Littleton, and J. Puhvel. Berkeley: University of California Press, 1974, pp. 99-130.
- 1974 “Ain’t Nothin’ But the Blues,” in The Eighth San Diego State Folk Festival, ed. Donald Brader and John Bruce. San Diego Friends of Old Time Music, 1974, pp. 33-36.
- 1974 “Techniques of Blues Composition Among Black Folksingers,” Journal of American Folklore 87
- (1974), 240-49. Reprinted in Roots Music, ed. Mark F. DeWitt. Farnham, Surrey, UK: Ashgate, 2011.
- 1976 “The Singing Stammerer Motif in Black Tradition,” Western Folklore 35 (1976), 157-60.
- 1976 “Riddling and the Structure of Context,” Journal of American Folklore 89 (1976), 166-88.
- 1976 “The Roots of Afro-American Gospel Music,” Jazzforschung 8 (1976), 119-35.
- 1977 “The Toast in Context,” Journal of American Folklore 90 (1977), 129-48.
- 1978“Structure and Meaning in the Folk Blues,” in The Study of American Folklore, rev. ed. by Jan Harold Brunvand. New York: W. W. Norton, 1978, pp. 421-47; 3rd ed., 1986, pp. 563-93.
- 1978 “African Elements in Twentieth-Century United States Black Folk Music,” Jazzforschung 10 (1978), 85-110. Also printed in Report of the Twelfth Congress: Berkeley 1977, ed. Daniel Heartz and Bonnie Wade (Philadelphia: American Musicological Society, 1981), pp. 54-66.
- 1978 “Field Recording with the Phonograph Record in Mind,” John Edwards Memorial Foundation Quarterly 14 (1978), 89-93.
- 1978 “Fieldwork with Blues Singers: The Unintentionally Induced Natural Context,” Southern Folklore Quarterly 42 (1978), 9-16.
- 1979 “Agamemnon and the Indo-European Threefold Death Pattern,” History of Religions 19 (1979), 153-66. Reprinted in Roger D. Woodard, ed., To Fetch Some Golden Apples: Readings in Indo-European Myth, Religion, and Society. Dubuque, IA: Kendall/Hunt, 2006, pp. 201-13.
- 1981 “Bukka White,” by F. Jack Hurley and David Evans, in Tom Ashley, Sam McGee, Bukka White: Tennessee Traditional Singers, ed. Thomas G. Burton. Knoxville: University of Tennessee Press, 1981, pp.143-203, 212-13, 226-29.
- 1981 “Black American Music As a Symbol of Identity,” Jazzforschung 13 (1981), 105-16.
- 1982 “Blues and Modern Sounds: Past, Present, and Future,” In Folk Music and Modem Sound, ed. William Ferris and Mary L. Hart. Jackson: University Press of Mississippi, pp. 163-76.
- 1982 “Since Ol’ Gabriel’s Time: Hezekiah and the Houserockers,” Louisiana Folklife 7, no. 2 (October 1982), 1-34.
- 1983 “Folk Singers and Musicians,” in Handbook of American Folklore, ed. Richard M. Dorson. Bloomington: Indiana University Press, 1983, pp. 282-86.
- 1985 “A Note on Riddling Sessions,” Western Folklore 44 (1985), 45.
- 1986 “Tennessee Blues and Gospel: From Jug Band to Jubilee,” by David Evans and Richard M. Raichelson, in 1986 Festival of American Folklife program booklet. Washington: Smithsonian Institution,
- 1986, pp. 50-55. Reprinted in American Musical Traditions, Volume 2: African American Music, ed. Jeff Todd Titon and Bob Carlin. New York: Schirmer, 2002, pp. 59-67.
- 1987 “The Origins of Blues and Its Relationship to African Music,” in Im ges de 1’africain de 1’antiquit au XXe si cle, ed. Daniel Droixhe and Klaus H. Kiefer. Bayreuther Beitr ge zur Literaturwissenschaft, Band 10. Frankfurt: Peter Lang, 1987, pp. 129-141.
- 1987 “Charley Patton, The Conscience of the Delta,” in The Voice of the Delta, ed. Robert Sacr . Li ge: Presses universitaires de Li ge, 1987, pp. 109-217.
- 1987 “Mississippi Blues Today and Its Future,” ibid., pp. 315-333.
- 1988 “Composing Folk Blues for Live Performance and Records,” The Southern Quarterly 26, no. 2 (winter 1988), 35-50.
- 1988 “Few Scholars Are Involved in Studying and Preserving the Music We Call the Blues,” The Chronicle of Higher Education, Nov. 9, 1988, p. B4.
- 1989 “Blues” in Encyclopedia of Southern Culture, ed. William Ferris and Charles Wilson. Chapel Hill: University of North Carolina Press, pp. 995-998.
- 1989 “The Music of the Blues,” in The Blues: A Bibliographical Guide, ed. Mary L. Hart, Brenda M. Eagles, and Lisa N. Howorth. New York: Garland, 1989, pp. 31-96.
- 1989 “The West Tennessee Blues Tradition,” Touchstone, no. 15 (1989), 6-8.
- 1989 “Early Deep South and Mississippi Valley Blues,” in The Blackwell Guide to Blues Records, ed. Paul Oliver. Oxford, England: Basil Blackwell, 1989, pp. 31-58.
- 1990 “African Contributions to America’s Musical Heritage,” The World & I, vol. 5, no. 1 (Jan. 1990), pp. 628-639.
- 1991 “Venezuelan Folk Music,” by Salvador Toro Moya and David Evans, The World & I, vol. 6, no. 4 (Apr. 1991), pp. 670-681.
- 1991 “Blues Traditions,” in Musical Roots of the South, ed. Peggy A. Bulger. Atlanta: Southern Arts Federation, 1991, pp. 14-17.
- 1992 “The Blues from Country to Urban Styles,” in 100 Years of Jazz and Blues, festival program booklet, ed. Leonard Goines. Brooklyn, N. Y.: 651/Kings Majestic Corp., 1992, pp. 35-43.
- 1993 “Jessie Mae Hemphill,” in Black Women in America: An Historical Encyclopedia, ed. Darlene Clark Hine. Brooklyn: Carlson Publishing, 1993, vol. 1, pp. 555-56.
- 1993 “African Elements in the Blues,” in The Blues Project, ed. Isa N. Engleberg and Lyle E. Linville. Largo, MD: Prince George’s Community College, 1993, pp. 13-15.
- 1993 “Goin’ up the Country: Blues in Texas and the Deep South,” in Nothing But the Blues: The Music and the Musicians, ed. Lawrence Cohn. New York: Abbeville Press, 1993, pp. 32-85.
- 1994 “What Is the Blues? An Overview” and “Folk Blues from the Rural South,” Broadsheets I and II in Blues in America: A Social History, ed. Michelle Smith. Amawalk, NY: Golden Owl, 1994. Produced by Smithsonian Institution, Washington, D. C.
- 1994 “The Music of Eli Owens: African Music in Transition in Southern Mississippi,” in For Gerhard Kubik, ed. August Schmidhofer and Dietrich Schuller. Frankfurt: Peter Lang, 1994, pp. 329-359.
- 1995 “Form, Imagery and Style in Blues and African-American Folk Art,” River City 15, no. 2 (summer 1995), 100-110.
- 1996 “Early Deep South and Mississippi River Basin Blues,” in The New Blackwell Guide to Recorded Blues, ed. John Cowley and Paul Oliver. Oxford, UK: Blackwell, 1996, pp. 64-95.
- 1996 “Introduction,” American Music 14 (1996), 397-401.
- 1996 “Blues,” “W. C. Handy,” “Tommy Johnson,” and “Charlie Patton,” in American Folklore: An Encyclopedia, ed. Jan Harold Brunvand. New York: Garland, 1996, pp. 90-94, 362-63, 414, 545-46.
- 1999 “(‘Blind’) Arthur Blake,” “Blind Lemon Jefferson,” “Robert Leroy Johnson,” and “Charley Patton,” in International Dictionary of Black Composers, ed. Samuel A. Floyd, Jr. Chicago: Fitzroy Dearborn, pp. 109-113, 604-609, 650-656, 900-904.
- 1999 “Blind Willie Johnson,” in American National Biography, ed. John A. Garraty and Mark C. Carnes. New York: Oxford University Press, 1999, vol. 12, pp. 47-48.
- 1999 “Demythologizing the Blues,” Institute for Studies in American Music Newsletter 29, no. 1 (fall 1999), 8-9, 13.
- 1999 “The Reinterpretation of African Musical Instruments in the United States,” in The African Diaspora: African Origins and New World Identities, ed. Isidore Okpewho, Carole Boyce Davies, and Ali A. Mazrui. Bloomington: Indiana University Press, pp. 379-90.
- 2000 “Editor’s Introduction” and “Musical Innovation in the Blues of Blind Lemon Jefferson,” Black Music Research Journal 20 (2000), 1-4, 83-116.
- 2001 “Blues,” in Garland Encyclopedia of World Music, vol. 3: “The United States and Canada,” ed. Ellen Koskoff. New York: Garland, pp. 637-649.
- 2001 “Handy, William Christopher” and “Memphis,” in The New Grove Dictionary of Music and Musicians, 2nd ed. Stanley Sadie. London: Macmillan, vol. 10, pp. 817-819; vol. 16, pp. 381-382.
- 2001 “The Guitar in the Blues Music of the Deep South,” in Guitar Cultures, ed. Andy Bennett and Kevin Dawe. Oxford: Berg, pp. 11-26.
- 2001 “Traditional Blues Lyrics and Myth: Some Correspondences,” in The Lyrics in African American Popular Music, ed. Robert Springer. Bern: Peter Lang, pp. 17-40.
- 2001 “The Birth of the Blues,” in American Roots Music, ed. Robert Santelli, Holly George-Warren, and Jim Brown . New York: Rolling Stone Press, pp. 34-55.
- 2001 “Foreword” and “Comments on Yank Rachell’s Guitar Style” in Richard Congress, Blues Mandolin Man: The Life and Music of Yank Rachell. Jackson: University Press of Mississippi, pp. ix-xi, 93-96.
- 2002 “Introduction” to American Musical Traditions, Volume 2: African American Music, ed. Jeff Todd Titon and Bob Carlin. New York: Schirmer, pp. 1-5.
- 2002 “Development of the Blues,” in The Cambridge Companion to Blues and Gospel Music, ed. Allan Moore. Cambridge: Cambridge University Press, pp. 20-43.
- 2003 “Alan Lomax: An Appreciation,” Living Blues 168 (June-Aug. 2003), 48-55.
- 2003 “New Songs of Blind Lemon Jefferson,” by Luigi Monge and David Evans, Journal of Texas Music History 3, no.2 (fall 2003), 8-28.
- 2003-2005 “Beale Street,” “Fife and Drum Band,” “Helena, AR” “Memphis, TN” and “Mississippi Valley,” in Continuum Encyclopedia of Popular Music of the World, 7 vols., ed. John Shepherd, David Horn, Dave Laing, Paul Oliver, and Peter Wicke. London: Continuum, Vol. 2, pp. 26-28; Vol. 4, pp. 117-20, 215-16, 240-43.
- 2004 “Foreword,” in Guido Van Rijn, The Truman and Eisenhower Blues. London: Continuum, 2004, pp. vii-xi.
- 2004 “Isolement, individualisme et origines du blues,” trans. Robert Sacr , in Sentiments doux-amers dans les musiques du monde, ed. Michel Demeuldre. Paris: L’Harmattan, pp. 261-271.
- 2004 “W. C. Handy” and “John Lee ‘Sonny Boy’ Williamson,” in Creating Traditions, Expanding Horizons: A History of Tennessee Arts, ed. Carroll Van West and Margaret D. Binnicker. Knoxville: University of Tennessee Press, pp. 418, 424.
- 2006 “Blues: Chronological Overview,” in African American Music: An Introduction, ed. Mellonee V. Burnim and Portia K. Maultsby. New York: Routledge, pp. 79-96. 2nd ed., 2015, pp. 119-37.
- 2006 “High Water Everywhere: Blues and Gospel Commentary on the 1927 Mississippi River Flood,” in “Nobody Knows Where the Blues Come From”: Lyrics and History, ed. Robert Springer. Jackson: University Press of Mississippi, pp. 3-75.
- 2006 “R. L. Burnside,” Sing Out!, 49, no. 4 (winter 2006), 207.
- 2006 “Delta Blues,” “Fife and Drum Tradition,” “Son House,” “Robert Johnson,” “Blind Willie McTell,” “Charlie Patton,” “Race Records,” and “Slide Guitar,” in The Greenwood Encyclopedia of African American Folklore, ed. Anand Prahlad. Westport, CT: Greenwood, vol. 1, pp. 316-17, 433-34, vol. 2, pp. 638-39, 718-19, 843, 968-69, vol. 3, pp. 1049-51, 1200-02.
- 2006 “Jessie Mae Hemphill,” Living Blues, no. 186 (Sept.-Oct. 2006), 84.
- 2006 “Willie and India Slayton (Also known as Will and Emma Slayden): Two Lives in Outline,” by Chris Smith and David Evans, Tennessee Folklore Society Bulletin 62, no. 2 (2006), 20-23.
- 2007 “Bessie Smith’s ‘Back-Water Blues’: The Story behind the Song,” Popular Music 26, no. 1 (winter 2007), 97-116.
- 2007 “African Elements in the Blues,” in L’Oceano dei Suoni: Migrazioni, Musica e Razze nella Formazione delle Societ Euroatlantiche, ed. Pierangelo Castagneto. Torino: Otto Editore, pp. 3-16.
- 2007 “Country Blues and Gennett Records,” Starr-Gennett Foundation Inc. News 6, no. 1 (summer 2007), 6-11.
- 2007 “Formulaic Composition in the Blues: A View from the Field,” Journal of American Folklore 120 (478) (fall 2007), 482-99.
- 2007 “Voyage au Pays des Fieldstones,” trans. Jean-Luc Vabres. ABS Magazine 14 (June 2007), 16-25.
- 2007 “Hill Country Blues, “Living Blues 189 (April 2007), 76-81.
- 2008 “Introduction” and “From Bumble Bee Slim to Black Boy Shine: Nicknames of Blues Singers,” in Ramblin’ on My Mind: New Perspectives on the Blues, ed. David Evans. Urbana: University of Illinois Press, pp. 1-10, 179-221.
- 2008 “The High Water Recording Company,” Blues & Rhythm 232 (Sept. 2008): 14-16.
- 2008 “Patterns of Reinterpretation in African-American Music of the United States,” in African Perspectives: Pre-Colonial History, Anthropology, and Ethnomusicology, ed. Regine Allgayer-Kaufmann and Michael Weber. Frankfurt: Peter Lang, pp. 207-14.
- 2010“The Blues Formula: A Response to Taft,” Journal of American Folklore 123 (488) (spring 2010), 218-21.
- 2019“ Integrating Folklore and Music Research into Tourism and Development,” in Culture and Development for Amhara Region, ed. Getie Gelaye, David Evans, and Alula Pankhurst. Bahir Dar, Ethiopia: Bahir Dar University Press, pp. 77-82.
“Jessie Mae Hemphill (1923-2006),” in Head, Hands & Feet: A Book of One Man Bands, by Dave Harris. Bremerton, WA: Dave Harris, pp. 203-05.
“David Evans Interview,” in Pioneers of the Blues Revival by Steve Cushing. Urbana: University of Illinois Press, pp. 292-322.
“David Evans, Expert de Terrain,” interview by Fr d ric Adrian, Soul Bag 225 (Jan., 2017), 22-27.
“An Early Interview with Son House,” The Frog Blues & Jazz Annual 5 (2017), pp. 29-44, 176-94.
“In Memoriam: Paul Hereford Oliver, MBE (1927-2017), Folklore 129 (Mar., 2018), 94-96.
“Charley Patton: The Conscience of the Delta,” in Charley Patton: Voice of the Mississippi Delta, ed. Robert Sacr . Jackson: University Press of Mississippi, pp. 23-137. (Revised version of 1987 chapter.)
“Mississippi Blues Today and Its Future,” in Charley Patton, Voice of the Mississippi Delta, ed. Robert Sacr . Jackson: University Press of Mississippi, pp. 207-20. (Revised version of 1987 chapter.)
“Ethiopian Azmari and African-American Blues Singers: Comparisons and Contrasts,” in The Second International Azmari Conference Proceedings: “Azmari: Change and Continuity,” October 9 and 10, 2015, ed. Andebet Hailu. Bahir Dar, Ethiopia: Abbay Research Center for Culture and Development, pp. 104-14.
“Ethiopia: History, Culture, and Geography of Music” and “Ethiopia: Modern and Contemporary Performance Practice,” in The SAGE International Encyclopedia of Music and Culture.
Thousand Oaks, CA: SAGE Publications, Vol. 2, pp. 828-36.
“Ralph Lembo, H. C. Speir, and Charley Patton,” ARSC Journal 50, no. 2 (fall 2019), 240-48.
“Dink Brister” and “Herb Quinn” in Harry Bolick and Tony Russell, Mississippi Fiddle Tunes, Commercial and Informal Recordings, 1920-2018. Jackson: University Press of Mississippi.
“Lightning Struck Him: Walter Rhodes, The Delta’s Crowing Rooster,” by David Evans, Ed Payne, Richard Linster, T. DeWayne Moore, and Bob Eagle. The Frog Blues & Jazz Annual 6.
Foreword,” in Wichita Blues: Music in the African American Community, by Patrick Joseph O’Connor.
“Atomic Bomb,” “Back Door,” “Banjo,” “Barefoot,” “Catfish,” “Dragonfly,” “ Drum” and “Emerald” in Encyclopedia of American Popular Beliefs and Superstitions, ed. Wayland D. Hand and Frances Cattermole-Tally. Berkeley: University of California Press.
Gravel Springs Fife and Drum, camera by William Ferris, sound by David Evans, editing by Judy Peiser. 16mm., color, sound, 12min. (Memphis, Center for Southern Folklore: released 1973, Indiana University Audio Visual Center, Bloomington). Included in Voices of Mississippi: Artists and Musicians Documented by William Ferris, Dust-to-Digital DTD-53 (2018). This film was awarded the cash prize at the 1972 Sinking Creek Film Celebration, Greenville, Tennessee, as well as a CINE Golden Eagle award in 1973. It has been shown at many festivals, conferences, television stations, theatres, museums, and college campuses. Reviewed in American Anthropologist 75 (1973), 581-82, 2036; 77 (1975), 473-75; Ethnomusicology 17 (1973), 597-601; Journal of American Folklore 90 (1977), 249-50.
Three films on black folk music, funded by a Faculty Research Grant from Memphis State University. Trial prints shown at various academic meetings, conferences, lectures, and festivals in U. S. and in Toronto, Li ge, Toulouse, Florence, Genoa, Bogot , and Caracas. Published in 2014 in Vestapol 13131, Various Artists, Music from the South, DVD.
(Note: These are all documentary records compiled from my field
and studio recording sessions of African-American folk music with liner notes by me.)
Goin’ Up the Country, British Decca LK 4931, 12” LP. Reissued 1976, on Rounder 2012.
Presenting the Country Blues: Roosevelt Holts, Blue Horizon 7-63201, 12” LP.
“Down the Big Road”/ “Blues on My Mind,” by Roosevelt Holts with Boogie Bill, Bluesman 100, 45 r. p. m. record.
It Must Have Been the Devil: Mississippi Country Blues by Jack Owens and Bud Spires, Testament T-2222, 12” LP. Reissued 1995 with additional tracks, Testament TCD 5016.
Roosevelt Holts and His Friends, Arhoolie 1057, 12” LP. Reviewed in Ethnomusicology 17 (1973), 499.
South Mississippi Blues, Rounder 2009, 12” LP. Reviewed in Ethnomusicology 19 (1975), 499.
The Legacy of Tommy Johnson, Matchbox SDM-224, 12” LP.
High Water Blues, Flyright LP 512, 12” LP.
Traveling Through the Jungle: Negro Fife and Drum Music from the Deep South, Testament T-2223, 12” LP. Reissued 1995 with additional tracks, Testament TCD 5017.
Sorrow Come Pass Me Around, Advent 2805, 12” LP. Reissued in 2013, Dust-to-Digital PT-3001, 12” LP, and DTD-31, CD. Reviewed in Ethnomusicology 19 (1975), 500.
Afro-American Folk Music From Tate and Panola Counties, Mississippi, Archive of Folk Song, Music Division, Library of Congress, AFS L67, 12” LP with documentary booklet. Reviewed in Ethnomusicology 24 (1980), 342-44. Reissued in 2000 with new “Foreword-2000” as Rounder 1515 (CD). Portion of booklet notes reprinted in American Musical Traditions, Volume 2: African American Music, ed. Jeff Todd Titon and Bob Carlin. New York: Schirmer, 2002, pp. 30-41.
Four 45 r. p. m. records on High Water label.
Jessie Mae Hemphill, She-Wolf, Vogue 513501, 12” LP.
R. L. Burnside, Sound Machine Groove, Vogue 513502, 12” LP.
Two 45 r. p. m. records on High Water label.
Four 45 r. p. m. records on High Water label.
The Fieldstones, Memphis Blues Today!, High Water LP 1001, 12” LP.
Two 45 r. p. m. records on High Water label.
One 45 r. p. m. record on High Water label.
Hammie Nixon, Tappin’ That Thing, High Water LP 1003, 12” LP.
The Pattersonaires, Book of the Seven Seals, High Water LP 1004, 12” LP.
Houston Stackhouse (1910-1980), Wolf 120, 779, 12” LP.
Traveling On with the Spirit of Memphis Quartet, High Water LP 1005, 12” LP.
Two 45 r. p. m. records on High Water label.
The Blues Busters, Busted!, High Water LP 1006.
The Jubirt Sisters, Ladies Sing the Blues, High Water LP 1008, 12” LP.
One 45 r. p. m. record on High Water label.
The Hollywood All Stars, Hard Hitting Blues from Memphis, High Water LP 1009, 12” LP.
Chicago Bob and the Shadows, Just Your Fool, High Water LP 1010, 12” LP.
Hezekiah and the House Rockers, High Water LP 1011, 12” LP.
Jessie Mae Hemphill, Feelin’ Good, High Water LP 1012, 12” LP.
The Music of Venezuela (with Salvador Toro Moya), High Water LP 1013, 12” LP.
Catfish Blues, P-Vine PCD-2406, compact disc. Eleven tracks. Notes by Marc Ryan.
Franklinton Muscatel Society (with Marc Ryan). Blue Moon CDBM 091, compact disc. Notes by Marc Ryan.
The Spirit Lives On: Deep South Country Blues and Spirituals in the 1990’s, Hot Fox HF-CD-005.
Bottleneck Blues, Testament 5021, compact disc. Nine tracks.
Last Chance Jug Band, Shake That Thing, Inside Memphis ISC-0501, compact disc (with Eddie Dattel).
R. L. Burnside, Sound Machine Grove, High Water/HMG 6501, compact disc.
Jessie Mae Hemphill, Feelin’ Good, High Water/HMG 6502, compact disc.
The Pattersonaires, Why Not Try My God, High Water/HMG 6504, compact disc (with David McNair).
The Fieldstones, Memphis Blues Today!, High Water/HMG 6505, compact disc.
Chicago Bob and the Shadows, Just Your Fool, High Water/HMG 6506, compact disc.
The Spirit of Memphis Quartet, Traveling On, High Water/HMG 6507, compact disc.
Jessie Mae Hemphill, She-Wolf, High Water/HMG 6508, compact disc.
Hammie Nixon, Tappin’ That Thing, High Water/HMG 6509, compact disc.
The Harps of Melody, Sing and Make Melody Unto the Lord, High Water/HMG 6510, compact disc (with Rob Bowman).
Hezekiah and the House Rockers, High Water/HMG 6511, compact disc.
Big Lucky Carter, Lucky 13, Blueside WESF 106, compact disc (with Mike Vernon).
The Blues Busters, Busted!, High Water/HMG 6512, compact disc.
Deep South Blues, High Water/HMG 6513, compact disc.
The Pattersonaires, Book of the Seven Seals, High Water/HMG 6514, compact disc.
The Jubirt Sisters, Sing! Sister! Sing!, High Water/HMG 6515, compact disc.
The Hollywood All Stars, Hard Hitting Blues From Memphis, High Water/HMG 6518, compact disc.
R. L. Burnside and the Sound Machine, Raw Electric 1979-1980, Inside Sounds ISC-0513, compact disc.
Jessie Mae Hemphill, Shake It, Baby, HighTone HCD 8156, compact disc.
Jessie Mae Hemphill, Get Right Blues, Inside Sounds ISC-0519, compact disc.
The Fieldstones, Mud Island Blues, High Water/HMG 6519, compact disc.
Memphis Blues Bands and Singers, High Water/HMG 6520, compact disc.
Jessie Mae Hemphill, Moi J’Connais MJCR011, 12” LP.
RECORD and COMPACT DISC NOTES
Jackson Blues, 1928-1938, Yazoo 1007.
Mississippi Delta Blues, Vol. 2, Arhoolie 1042. Notes by George Mitchell and David Evans.
The Mississippi Blues, 1926-1940 and The Mississippi Blues No. 2: The Delta. 1929-1932, Origin Jazz Library 5 and 11.
The Mississippi Blues, No. 3: Transition, 1926-1937, Origin Jazz Library 17.
Let’s Go Riding, Origin Jazz Library 18.
The Blues in Memphis, 1927-39. Origin Jazz Library 21.
Let’s Get Loose: Folk and Popular Blues Styles from the Beginning to the Early 1940’s, New World NW 290. Reviewed in John Edwards Memorial Foundation Quarterly 15 (1979), 131-32; Journal of American Folklore, 98 (1985), 500-01.
Atlanta Blues: 1933, JEMF-106. Notes by David Evans and Bruce Bastin, 36 pp. Reviewed in Western Folklore 40 (1981), 200-02. Grammy Award Nomination for “Best Album Notes.”
“Rural L. Burnside,” Mississippi Blues, Arion ARN 33765 (France).
National Downhome Blues Festival, Vol. 1. Southland SLP-21.
Blind Willie McTell, 1927-1939. The Early Years, Yazoo L-1005.
Blind Willie Johnson, Sweeter As the Years Go By, Yazoo 1078.
Good Time Blues, Columbia/Legacy CK 46780. Included in American Folk Music and Folklore Recordings 1991: A Selected List (Library of Congress).
Texas Piano, Vol. 1 (1923-1935), Document DOCD-5224.
Texas Piano, Vol. 2 (1927-1938), Document DOCD-5225.
Texas Field Recordings (1934-1939), Document DOCD-5231.
Deep South Piano (1935-1937), Document DOCD-5233.
Johnnie Temple, Vol. 1 (1935-1938), Document DOCD-5238.
Johnnie Temple, Vol. 2 (1938-1940), Document DOCD-5239.
Johnnie Temple, Vol. 3 (1940-1949), Document DOCD-5240.
Harlem Hamfats, Vol. 1 (1936), Document DOCD-5271.
Harlem Hamfats, Vol. 2 (1936-1937), Document DOCD-5272.
Harlem Hamfats, Vol. 3 (1937-1938), Document DOCD-5273.
Harlem Hamfats, Vol. 4 (1938-1939), Document DOCD-5274.
Black Boy Shine and Black Ivory King (1936-1937), Document DOCD-5290.
State Street Swingers, Jazz Perspectives JPCD-1507-2.
Bukka White, 1963 Isn’t 1962, Gene’s CD 9903.
The Definitive Blind Willie McTell, Columbia/Legacy C2K 53234, double CD.
Rev. A. W. Nix, Vol. 1 (1927-1928), Document DOCD-5328.
Elder J. E. Burch & Rev. Beaumont (1927-1929), Document DOCD-5329.
Rare 1930’s Blues, Vol. 1 (1934-1937), Document DOCD-5331.
Rev. Johnny Blakey & Rev. M. L. Gipson (1927-1929), Document DOCD-5363.
Hokum Blues (1924-1929), Document DOCD-5370.
Barrelhouse Women, Vol. 1 (1925-1930), Document DOCD-5378.
Son House, Delta Blues and Spirituals, Capitol CDP 7243.
Spark Plug Smith & Tallahassee Tight (Louis Washington) (1933-1934), Document DOCD-5387.
Rare Jazz & Blues Piano (1927-1937), Document DOCD-5388.
Rev. E.D. Campbell, Rev. Isaiah Shelton, & Rev. C.F. Thornton (1927), Document DOCD-5389.
Rare 1930’s Blues, Vol. 2 (1936-1939), Document DOCD-5391.
Leroy Carr (1934)/Black Boy Shine (1937)-Unissued Test Pressings, Document DOCD-5465.
Blues Obscurities (1923-1931), Document DOCD-5481.
Rev. A. W. Nix & Rev. Emmett Dickinson, Vol. 2 (1928-1931), Document DOCD-5490.
Female Blues Singers, Vol. 1: A/B (1924-1932), Document DOCD-5505.
Female Blues Singers, Vol. 2: B (1920-1928), Document DOCD-5506.
Female Blues Singers, Vol. 3: B/C (1923-1938), Document DOCD-5507.
Female Blues Singers, Vol. 4: C (1921-1930), Document DOCD-5508.
Female Blues Singers, Vol.5: C/D/E (1921-1928), Document DOCD-5509.
Female Blues Singers, Vol. 6: E/F/G (1922-1928), Document DOCD-5510.
Female Blues Singers, Vol. 7: G/H (1922-1929), Document DOCD-5511.
Female Blues Singers, Vol. 8: HI (1923-1928), Document DOCD-5512.
Female Blues Singers, Vol. 9: H2 (1923-1930), Document DOCD-5513.
Female Blues Singers, Vol. 10: H/I/J (1923-1929), Document DOCD-5514.
Female Blues Singers, Vol. 11: J/L (1921-1931), Document DOCD-5515.
Female Blues Singers, Vol. 12: M/0/P/O/R (1922-1935), Document DOCD-5516.
Female Blues Singers, Vol. 13: R/S (1921-1931), Document DOCD-5517.
Female Blues Singers, Vol. 14: S/T/V/W/Y (1923-1932), Document DOCD-5518.
“Cow Cow” Davenport (1940’s)- Unissued Acetates + Bonus Tracks: Mama Yancey. 1951, Document DOCD-5586.
Junior Kimbrough and the Soul Blues Boys, Do the Rump! High Water/HMG 6503, compact disc (with Sylvester Oliver).
National Downhome Blues Festival, Volume One, Southland SCD-21.
Pace Jubilee Singers, Vol. 1 (1926-27) + Four Harmony Kings (1921-24), Document DOCD-5617.
Pace Jubilee Singers, Vol. 2 (1928-29) + C. & M. A. Colored Gospel Quintet, Document DOCD-5618.
Jimmie Gordon, Vol. 1 (1934-1936), Document DOCD-5648.
Jimmie Gordon, Vol. 2 (1936-1938), Document DOCD-5649.
Jimmie Gordon, Vol. 3 (1939-1946), Document DOCD-5650.
Deep River of Song: Mississippi-Saints & Sinners, Rounder 11661-1824-2.
Deep River of Song: Mississippi-The Blues Lineage, Rounder 11661-1825-2.
Blue C, Swimming against the Tide, BCR 51 (with Raphael Callaghan).
Deep River of Song: Georgia-I’m Gonna Make You Happy, Rounder 11661-1828-2.
Little Victor, featuring Miss Sophie Kay, Just Rockin’ the Blues!, Blue Rabbit BR 8002.
“Charley Patton: The Conscience of the Delta” (revised version of 1987 article) and “David Evans Responds” in notes to Screamin’ and Hollerin’ the Blues: The Worlds of Charley Patton, Revenant 212 (7-CD set), pp. 6-34, 119. Grammy Award, 2003.
Will Slayden, African-American Banjo Songs From West Tennessee, Tennessee Folklore Society TFS 123 (with Charles McNutt).
When The Sun Goes Down: The Secret History of Rock and Roll, Vols. 1-4, RCA Victor/ Bluebird 09026-63986-2 – 09026-63989-2 (with Colin Escott). Best Historical Reissue/ Pre-War and Producer of the Year: Historical/ Reissue, 2002, in Living Blues poll.
Leadbelly, Take This Hammer, RCA Victor/ Bluebird 82876-50957-2 (with Colin Escott).
Various Artists, Poor Man’s Heaven, RCA Victor/ Bluebird 82876-50958-2 (with Colin Escott).
Lars Vegas and the Love Gloves, No Particular Blues, Juke Joint Records, unnumbered.
Babe Stovall, The Old Ace, Arcola ACD 1005.
Sonny Boy Williamson, Blue Bird Blues, RCA Victor/ Bluebird 82876-55156-2 (with Colin Escott).
Blind Willie McTell, Statesboro Blues, RCA Victor/ Bluebird 82876-55157-2.
Various Artists, Alan Lomax: Blues Songbook, Rounder 82161-1866-2 (with John Cowley).
Various Artists, Goodbye, Babylon, Dust-to-Digital 01 (6-CD set), CD 6, pp. 1-25.
Various Artists, Sacred Roots of the Blues, RCA Victor/Bluebird 82876-60084-2.
Blind Willie McTell, Statesboro Blues: The Early Years, 1927-1935, Document DOCD-5677, 3-CD set.
Daddy Mack, Slow Ride, Inside Sounds ISC-0527.
Bonnie McCoy, A Child of the Blues, Arcola CD 1009.
Various Artists, Drop On Down in Florida: Field Recordings of African-American Traditional Music, 1977-1980, Dust-to-Digital DTD-24, with Peggy A. Bulger, Dwight DeVane, Doris J. Dyen, Brenda McCollum, and Blaine Waide. Winner of the 2013 Stetson Kennedy Award from the Florida Historical Society.
2016 David “Honeyboy” Edwards, I’m Gonna Tell You Somethin’ That I Know, Pro
Sho Bidness PSB 1752, CD & DVD, with Jeff Dale.
2018 Various Artists, Voices of Mississippi: Artists and Musicians Documented by
William Ferris, Dust-to-Digital DTD-53, with Scott Barretta and Tom Rankin.
in press Blind Joe Reynolds & King Solomon Hill: The Mysterious Legends of the
Review of Samuel Charters, The Bluesmen, in Ethnomusicology 12 (1968), 454-56.
Review of Mike Leadbitter and Neil Slaven, Blues Records: 1943-1966, in John Edwards Memorial Foundation Quarterly 6 (1970), 71-74.
Review of John Godrich and R.M. W. Dixon, Blues and Gospel Records: 1902-1942, in John Edwards Memorial Foundation Quarterly 6 (1978), 40-44.
Reviews of Paul Oliver, The Story of the Blues, and Harry Oster, Living Country Blues, in John Edwards Memorial Foundation Quarterly 6 (1970), 184-89.
Record reviews of “Black Religious Music,” in Journal of American Folklore 84 (1971), 472-80.
Review of George Mitchell, Blow My Blues Away, in Jazzforschung 3/4 (1971-72), 256-57.
Reviews of William Ferris, Jr., Blues from the Delta, and Bob Groom, The Blues Revival, in John Edwards Memorial Foundation Quarterly 8 (1972), 45-46.
Review of Jaan Puhvel, ed.. Myth and Law among the Indo-Euopeans, in American Journal of Sociology 77 (1972), 804-806.
Four record reviews in Ethnomusicology 16 (1972), 583-87.
Review of William Ferris, Jr., Mississippi Black Folklore: A Research Bibliography, in Western Folklore 32 (1973), 59-60.
Record review of “Black Religious Music,” in Journal of American Folklore 86 (1973), 82-86.
Review of Bruce Bastin, Crying for the Carolines, in John Edwards Memorial Foundation Quarterly 10 (1973), 38.
Seven record reviews in Ethnomusicology 17 (1973), 589-96.
Record reviews of “Afro-American Folklore,” in Journal of American Folkore 86 (1973), 413-34.
Review of Richard M. Garvin and Edmond G. Addeo, The Midnight Special, in Jazzforschung 5 (1973), 175-77.
Review of Mike Rowe, Chicago Breakdown, in John Edwards Memorial Foundation Quarterly 10 (1974), 134-36.
Review of Charles Nanry, ed., American Music: From Storyville to Woodstock, in Jazzforschung 6/7 (1974-75), 281-84.
Four Record Reviews in Ethnomusicology 19 (1975), 149-54.
“From the Record and Film Review Editor,” Journal of American Folklore 88 (1975), 333-36, 442-44.
“From the Record and Film Review Editor,” Journal of American Folklore 89 (1976), 117-24, 368-77, 380-83, 389-91, 512-19.
Reviews of C. Scott Littleton, The New Comparative Mythology, rev. ed., and Georges Dum zil, Gods of the Ancient Northmen, in Journal of American Folklore 89 (1976), 345-50, 500.
Review of Michael Haralambos, Right On: From Blues to Soul in Black America, in John Edwards Memorial Foundation Quarterly 12 (1976), 96-97.
Three record reviews in Ethnomusicology 20 (1976), 617-20.
Review of Gerhard Kubik, The Kachamba Brothers’ Band: A Study of Neo-Traditional Music in Malawi, in Jazzforschung 8 (1976), 235-36.
“From the Record and Film Review Editor,” Journal of American Folklore 90 (1977), 107-16, 119-22, 225-36, 364-71.
Two film reviews in Journal of American Folklore 91 (1978), 629-31, 632-33.
“Record Reviews,” Journal of American Folklore 91 (1978), 615-21, 728-47, 983-1001.
Review of Ruth M. Stone and Frank J. Gillis, African Music and Oral Data: A Catalog of Field Recordings, 1902-1976, in Research in African Literatures 9 (1978), 298-300.
“Record Reviews,” in Journal of American Folklore 92 (1979), 108-115, 263-64.
Three book reviews in Journal of American Folklore 93 (1980), 84-86, 190-93, 205-206.
Review of Daryl C. Dance, Shuckin’ and Jivin’: Folklore from Contemporary Black Americans, in American Anthropologist 82 (1980), 193-94.
Review of Jacqueline Cogdell DjeDje, American Black Spiritual and Gospel Songs from Southeast Georgia: A Comparative Study, in Ethnomusicology 24 (1980), 587-88.
Record review of “Texas-Mexican Border Music,” in Journal of American Folklore 94 (1981), 406.
“Record Reviews,” Journal of American Folklore 95 (1982), 104-109.
“Record Reviews,” Journal of American Folklore 96 (1983), 244-55.
Review of Charles Sawyer, B. B. King: The Authorized Biography, in Popular Music: A Year Book, (New York: Cambridge University Press, 1983), pp. 317-19.
Review of Art and Margo Rosenbaum, Folk Visions and Voices: Traditional Music and Song in North Georgia, in Atlanta Historical Journal 28, no. 2 (summer 1984), 71-73.
Review of Brett Williams, John Henry: A Bio-Bibliography, in Kentucky Folklore Record 30 (1984), 48-51.
“Record Reviews,” Journal of American Folklore 97 (1984), 247-52.
Review of Barry Lee Pearson, “Sounds So Good to Me”: The Bluesman’s Story, in Western Folklore 45 (1986), 234-36.
Review of George Albert and Frank Hoffman, The Cash Box Country Singles Charts, 1985-1982, in The Sonneck Society Newsletter 12 (spring 1986), 23-24.
Review of Elaine Feinstein, Bessie Smith, in The Sonneck Society Newsletter 12 (1986), 67-68.
Review of Pleasant “Cousin Joe” Joseph and Harriet J. Ottenheimer, Cousin Joe: Blues from New Orleans, in Ethnomusicology 32 (1988), 150-52.
Review of Alan Govenar, The Early Years of Rhythm & Blues: Focus on Houston, in Gulf Coast Historical Review 7 (1991), 96-98.
Record review in Ethnomusicology 35 (1991), 447-51.
Video reviews in Journal of American Folklore 106 (1993), 218-21.
Record reviews in Ethnomusicology 37 (1993), 465-67.
Video review in Ethnomusicology 38 (1994), 205-07.
Review of The Baby Dodds Story: As Told to Larry Gara, in Gulf Coast Historical Review 9, no. 2 (spring 1994), 90-92.
Record reviews in Ethnomusicology 38 (1994), 181-86, 562-64.
Review of Ray Allen, Singing in the Spirit: African-American Sacred Quartets in New York City, in The Sonneck Society Bulletin 20, no. 2 (summer 1994), 36-37.
Review of Glen Alyn, I Say Me for a Parable – The Oral Autobiography of Mance Lipscomb, Texas Bluesman, in Southern Cultures 1 (1995), 513-15.
Review of Austin Sonnier, Jr., A Guide to the Blues: History, Who’s Who, Research Sources, in International Journal of African Historical Studies 28, no. 3 (1995), 705-06.
Review of Bill C. Malone, Singing Cowboys and Musical Mountaineers: Southern Culture and the Roots of Country Music, in Tennessee Librarian 47, no. 2 (spring 1995), 69-70.
Record review in Yearbook for Traditional Music 31 (1999), 193-194.
Review of Glenn Hinson, Fire in My Bones: Transcendence and the Holy Spirit in African American Gospel, in The Bulletin of the Society for American Music 26, no. 2/3 (summer/fall 2000), 77.
Review of Elijah Wald, Josh White: Society Blues, in Notes 58, no. 2 (Dec. 2001), 377-378.
Review of Ruth Crawford Seeger, The Music of American Folk Song and Selected Other Writings on American Folk Music, in Institute for Studies in American Music Newsletter 31, no. 2 (spring 2002), 9, 15.
Record review in The World of Music 46, no. 3 (2004), 196-97.
Review of Timothy Duffy, ed., Music Makers: Portraits and Songs from the Roots of America, in Notes 61, no. 2 (Dec. 2004), 469-71.
Review of Roger Wood, Texas Zydeco, in Arkansas Review 38, no. 3 (Dec. 2007), 182-83.
Review of Peter C. Muir, Long Lost Blues: Popular Blues in America, 1850-1920, in The Journal of Southern History 77, no. 3 (Aug. 2011), 706-07.
Review of Ulrich Adelt, Blues Music in the Sixties: A Story in Black and White, in American Music 29, no. 2 (Summer 2011), 271-73.
Record review in Journal of the Society for American Music 6, no. 3, 393-95.
Review of Pascal Bokar Thiam, From Timbuktu to the Mississippi Delta: How West African Standards of Aesthetics Shaped the Music of the Delta Blues, in The Journal of African American History, 98, no. 3 (Summer, 2013), 484-85.
Review of Adam Gussow, Beyond the Crossroads: The Devil and the Blues Tradition, in Journal of Folklore Research, https://jfr.sitehost.iu.edu/review.php?id=2191.
Review of Sandra Jean Graham, Spirituals and the Birth of a Black Entertainment Industry, in Journal of Folklore Research, https://jfr.sitehost.iu.edu/review.php?id=2273.
Review of David Whiteis, Blues legacy: Tradition and Innovation in Chicago, in Journal of Folklore Research, https://jfr.sitehost.iu.edu/review.php?id=2497.
MEETINGS, SYMPOSIA, SEMINARS, GUEST LECTURES
Since 1966 I have attended over 45 annual meetings of the California Folklore Society, American Folklore Society, American Anthropological Associations, Society for Ethnomusicology, Southwestern Anthropological Association, Southern California Academy of Sciences, Tennessee Folklore Society, Arkansas Folklore Society, Mississippi Folklore Society, and Society for American Music. I have read papers of otherwise participated in the program at over 35 of these meetings.
In March, 1971, I participated in a two-day symposium with Professor Georges Dum zil at Santa Barbara, California, and presented the paper, “Dodona, Dodola, and Daedala.”
In October, 1971, I participated in a seminar at the University of California, Los Angeles, on “The Role of the Storyteller in Africa” and read a paper on “Storytelling in Mississippi: Continuity and Change.”
On March 29, 1973, I gave a lecture on African-American folk music to inaugurate the “Blues Program” portion of the 1973 Fine Arts Festival at the University of North Carolina, Chapel Hill.
On June 27, 1975, I lectured on “The Rhetoric of the Folk Blues Singer” at the “Conference on the Rhetoric of the Contemporary South” held at Western Kentucky State University, Bowling Green.
In August, 1977, I participated in a round table and study session on “African Roots of Music in the Americas” at the 12th Congress of the International Musicological Society in Berkeley, California, contributing a paper on “African Elements in Twentieth-Century United Stated Black Folk Music.”
I was the keynote speaker for the 1979 annual meeting of the Arkansas Folklore Society.
On May 17, 1979, I gave a lecture to inaugurate the Blues Museum at the Carnegie Public Library, Clarksdale, Mississippi.
I gave a lecture and helped to organize a seminar on “Perspectives on Elvis: Life and Times” held at Memphis State University, August 16, 1979.
On February 6, 1982, I presented a paper on “Composing Folk Blues for Live Performance and Phonograph Records” at a conference on “Black American Blues Song” at the Smithsonian Institution, Washington, D.C.
Script for a program in the radio series This Little Light of Mine dealing with gospel music, produced by Fisk University through a grant from the Tennessee Arts Commission.
A 90-minute television program of the 1984 National Downhome Blues Festival, of which I was Associate Producer, was broadcast on Georgia Public Television, and a 60-minute version was broadcast on National Educational Television.
The Phillips Barry Lecture for the Annual Meeting of the American Folklore Society, 1999.
Interpretive scripts for West Tennessee Music Museum and John Adam Estes Home at West Tennessee Delta heritage Center, Brownsville, Tennessee.
Instructor in “American Roots Music Program,” Rocky Ridge Music Center, Estes Park, CO, 2019.
Additional invited lectures (since 1982) for Louisiana Folklore Society (luncheon speaker), Southern Historical Association, American Studies Association, Carnegie Public Library (Clarksdale), Yazoo City Public Library, Blytheville Public Library, Caruthersville Public Library, Jackson/Madison Co. Public Library, Memphis and Shelby County Public Library, Mississippi River Museum, LeMoyne-Owen College, University of Tennessee Center for the Health Sciences, University of Mississippi, Jackson State University, River City Blues Festival (Baton Rouge), Fisk University, Tuskegee Institute, University of California, Los Angeles, Cornell University, York University (Toronto), University of Gothenborg (Sweden), Free University of Brussels, University of Li ge, University of the Andes (Bogot ), Caracas Jazz Festival, Cahors Blues Festival (France), cultural centers in six cities in Venezuela, six universities in England, University of Vienna (Austria), Phillips County Community College (Arkansas), Prince George’s Community College (Maryland), University of Maryland, Festival Jazz en Limousin (Limoges, France), Arkansas State University, Universidad del Zulia (Venezuela), University of Mainz (Germany), University of Liverpool (England), Natchez (Mississippi) Literary Celebration, Pennsylvania State University, University of Metz (France), Maison des Cultures du Monde (Paris, France), University of Wrocław (Poland), Telfair Museum of Art (Savannah, GA), Hochschule für Musik Karl Maria von Weber (Dresden, Germany), Festival Druga Godba (Ljubljana, Slovenia), King Biscuit Blues Festival (Helena, AR), Vanderbilt University, University of Genova (Italy), Tanz und Folk Festival Rudolstadt (Germany), University of North Carolina, Chapel Hill, Earlham College, Latvia Blues Festival (Riga, Latvia), Masaryk University (Brno, Czech Republic), University of Weimar (Germany), Rybnik Blues Festival (Poland), Bahir Dar University (Ethiopia), Sigmund Freud University (Vienna, Austria), University of Hildesheim (Germany), William J. Clinton Presidential Center (Little Rock, AR), Grammy Museum Mississippi (Cleveland, MS).
PERFORMANCES (CONCERTS AND FESTIVALS)
Folk blues vocal and guitar: six times at Folk Arts, San Diego (1972-74); University of California, San Diego (1973); San Diego State Folk Festival (1973, 1984); American Folk Festival, California State University, Fullerton (1974); Delta Jubilee, Clarksdale, Mississippi, with Wade Walton and Raymond Hill (1979); various picnics, house parties and clubs, Memphis and Mississippi, both solo and with other musicians (since 1979).
Member and organizer of Beale Street Jug Band, guitar and vocals (1979-1985); Beale Street Festival, Memphis in May; Louisville Blues and Jug Band Festival; Folk Festival, Stanton, Tennessee; Meeman-Shelby State Forest Folklife programs (twice); Industrial
Labor Conference Reception, Holiday Inn Rivermont, Memphis; Memphis Music Heritage Festival; Mid-South Fair; WEVL-FM live broadcast; Memphis State University; Octoberfest, Memphis; W. C. Handy Birthday Celebration, Handy Park, Memphis; Delta Blues Museum, Clarksdale, Mississippi; CBS-TV national network news broadcast; Mid-South Folklife Festival, Mud Island, Memphis; 1982 World’s Fair, Knoxville, Tennessee; Beale Street Grand Opening, Memphis (1983); Memphis Music Festival (1984, 1985); Mud Island Folkfest (1984); Northwest Tennessee Folk Festival (1985).
Guitarist in Jessie Mae Hemphill’s blues band: concerts at Mid-South Fair (Memphis, 1979); Pink Palace Crafts Fair (Memphis, 1979); concert and workshop tour of Virginia, Delaware, and Washington, DC (1980); Memphis State University (1980); Homecoming Festival (Fayette, Mississippi, 1980); various clubs in Memphis and Mississippi; New Orleans Jazz and Heritage Festival (1986); San Francisco Blues Festival (1986); Delta Blues Festival (1986); tour of France (1987).
Concert and workshop tour with five Mississippi and Tennessee folk musicians (January 1980): Richmond, Virginia, Public School System; Virginia Union University; Episcopal High School (Arlington, Virginia); University of Delaware; Folklore Society of Greater Washington; Smithsonian Institution. Tour of Germany, Sweden, and The Netherlands with similar group (October-November 1980). Tour of France with two folk blues musicians, sponsored by Maison de la Culture in Rennes and the Maison des Cultures du Monde in Paris (1983). Tour of France, Germany, Spain, The Netherlands, and Belgium with five folk blues musicians (March 1986). Tour of Italy and France with five folk blues and gospel musicians (October-November 1986). Tour of France with Mississippi blues musician (1987). Concert and lecture tour of Colombia (1988). Tour of France and Italy with Alabama blues musician (1989). Concert and television appearance in Caracas, Venezuela (1989). Tour of Peru, Ecuador, and Venezuela with Memphis blues band (1989). Tour of Venezuela with Memphis blues band (1990). Solo tour of England (1991). Solo tour of Germany and Austria (1993). Tour of France with one blues musician (1994). Tour of Germany with four blues musicians (1995). Solo tour of Germany (1995). Concerts in Maracaibo, Venezuela (1996). Solo tour of Germany (1996). Chicago Blues Festival (1996). Piazza Blues Festival (Bellinzona, Switzerland), and Rovigo (Italy) Blues Festival with Mississippi blues musician (1996). Festival International de Guitare (Li ge, Belgium) and concert tour of France (1997). Concert tour of Germany (1997). Concert and Festival tour of France (1998). Concert in Lancaster, England (1998). Concert and Festival tour of France with Memphis blues band (1999). Concert at University of Metz, France (2000). Two concerts in Brussels, Belgium (2001). Concert tour of Switzerland and France with Memphis blues musicians (2001). Chicago Blues Festival (2001). Cognac Blues Festival, France (2001). Concert and Festival tour of Poland, Germany, and Austria (2002). Concert in Antwerp, Belgium (2002). Concert and lecture in Savannah, Georgia (2002). Dresden, (Germany) Blues Festival (2003). Concert and Festival tour of Germany, Slovenia, and Italy (2003). Port Townsend (WA) Blues Workshop and Festival (2003). Concert and lecture at University of North Carolina, Chapel Hill (2003). Concert tour of Germany and France (2004). Concert in Genova, Italy (2004). Tanz und Folk Festival Rudolstadt, Germany (2004).
Earlham College (2004). Vienna, Austria (2004). Latvia Blues Festival, Riga, Latvia (2005). Concert tour of Slovakia, Austria, Czech Republic, Slovenia, and Latvia (2005). Concert tour of Italy (2005). Concert tour of France and Belgium (2006). Paramount Blues Festival, Grafton, Wisconsin (2006). Concert tour of Italy and France (2007). Concert tour of Italy (2008). Concert tour of France, Germany, and Czech Republic (2008). Concert tour of Italy and France (2008). Concert tour of France, Czech Republic, and Austria (2009). Concert tour of The Netherlands, Belgium, and France (2009). Concert tour of Germany (2009). Concert tour of Austria, Czech Republic, and Poland (2010). Concert tour of Germany (2010). Concerts in Ethiopia (2011). Concert tour of Germany, Austria, France, and Italy (2011). Concert tour of Germany (2011). Concert tour of Czech Republic (2011). Concerts in Vienna, Austria (2011). Concert tour of Germany (2012). Concert tour of France (2012). Concert tour of Austria and Germany (2012). Concert tour of Germany and Italy (2012). Concert tour of France #2 (2012). Concert tour of Germany (2013). Concert tour of Denmark and Finland (2013). Concert tour of France (2013). Concert tour of Germany #2 (2013). Concert tour of France #2 (2013). Concert in Addis Ababa, Ethiopia (2013). Concert tour of Germany (2014). Concert tour of Germany and Czech Republic (2014). Concert tour of Mississippi, Florida, Alabama, and Tennessee (2014). Concert tour of Belgium and France (2014). Concert tour of California (2015). Concert tour of Germany and Czech Republic (2015). Concert tour of Mississippi and Florida (2015). Concert tour of The Netherlands and France (2015). Concert tour of California #2 (2015). Concert tour of Germany and Czech Republic (2016). Concert tour of California (2016). Concert tour of Mississippi, Alabama, and Florida (2016). Concert tour of Belgium and France (2016). Concert tour of Venezuela (2016). Concert tour of California (2017). Concert tour of Germany and Czech Republic (2017). Concert tour of Mississippi and Florida (2017). Concerts in District of Columbia (2017). Concert tour of Germany and Czech Republic (2018). Concert tour of France (2018). Concert tour of California (2019). Concert tour of Switzerland and France (2019). Rocky Ridge Music Center, Colorado (2019). Concert tour of Germany and Czech Republic (2019). Concert tour of Georgia and Florida (2019).
RECORDINGS AND VIDEOS
Recordings (vocal and guitar)
Various Artists, The Spirit Lives On: Deep South Country Blues and Spirituals in the 1990’s, Hot Fox HF-CD-005 (Germany, 1994, 2 tracks).
Last Chance Jug Band, Shake That Thing, Inside Memphis ISC-0501 (1997). One track reissued on Blues against Racism, Anti Race Records OAF! D033 (France, 1999).
David Evans, Match Box Blues, Inside Memphis ISC-0514 (2002).
Various Artists, Blues desde el Sur Profundo, MFP002 (Venezuela, 2003,1 track).
Various Artists, The Art of the Motorcycle, Inside Sounds ISC-0524 (2005,1 track).
David Evans, Needy Time, Inside Sounds ISC-0532 (2007). One track reissued on Rich Man’s War: New Blues and Roots Songs of Peace and Protest, Ruf 1144 (Germany, 2008).
David Evans, Live at “Alte Post”, Blind Lemon BLR-CD 1203 (Germany, 2012).
Various Artists, Black Horse Tracks, Blind Lemon BLR-CD 1302 (Germany, 2013), 2 tracks).
David Evans, Under the Yam Yam Tree, Blind Lemon BLR-CD 1401 (Germany, 2014).
David Evans, Lonesome Midnight Dream, Blind Lemon BLR-CD 1801 (Germany, 2018).
Various Artists, Blues desde el Sur Profundo Vol 2 (Venezuela, 2020), 3 tracks, internet release – Youtube).
The Guitar of Tommy Johnson: Taught by David Evans (instructional video), Stefan Grossman’s Guitar Workshop GW 862 (2019)
YouTube playlist: http://www.youtube.com/view_play_list?p=BE8B823267FE6501
Additional recordings as guitarist with Beale Street Jug Band on Jug Band WS 1930-31 (1982); with Hammie Nixon on High Water 416 (1982), High Water LP 1003 (1984), and High Water/HMG 6509 (1998), reissued on P-Vine PCD-5441 (Japan); with Jessie Mae Hemphill on High Water 409 (1980), Vogue 5l3501 (France, 1981), Black & Blue 33.745 (France, 1986), Frenzi FZ 6000/Au-Go-Go (Australia) ANDA 47 (1986), High Water LP 1012 (1990), High Water/HMG 6502 (1997), and High Water/HMG 6506 (1998); and with Tom Shaka on Blind Lemon BLR-CD1202 (Germany, 2012).
SCHOLARLY and PROFESSIONAL SOCIETIES
American Folklore Society (since 1967)
California Folklore Society (since 1967)
Mississippi Folklore Society (since 1967)
Friends of the John Edward Memorial Foundation (1965-1984)
American Anthropological Association (1970-1980)
Internationale Gesellschaft für Jazzforschung (1972-1987)
Society for Ethnomusicology (since 1972)
Southern California Academy of Sciences (1974-1977)
Tennessee Folklore Society (since 1978)
Mid-America Folklore Society (since 1979)
National Academy of Recording Arts & Sciences (since 1980)
Society for American Music (since 1984)
Pi Kappa Lambda (since 1991)
International Association for the Study of Popular Music (since 2009)
Local arrangements chairman, 1971 annual meeting of the California Folklore Society.
Member of the Afro-American Musical Performance committee for the 1976 U. S. Bicentennial Celebration Meeting of the Society for Ethnomusicology.
Member of the Advisory Board of the John Edwards Memorial Foundation, 1976-1982.
Southern California Academy of Sciences, Secretary of the Folklore Section, 1974-75; President, 1975-76.
Record and Film Review Editor of the Journal of American Folklore, 1974-76; Record Review Editor, 1976-79.
Southern Regional Vice-President of the California Folklore Society, 1977-79.
Program Committee Chairman, Music Industries of Memphis, 1981.
Chair of a voting committee, Memphis Chapter, National Academy of Recording Arts & Sciences, 1982 to 2009. Member of the Album Notes craft committee, 1982-2005. Also member of NARAS Hall of Fame committee, 1982 to present. Board of Governors, Memphis Chapter, 1985-86.
SERVICE TO DEPARTMENT, COLLEGE and COMMUNITY
From 1970 to 1978 I served on the California State University, Fullerton, Department of Anthropology Graduate Studies Committee and from 1972 to 1977 on the Faculty Recruitment Committee. I was chairman of the latter for 1973 and 1976 and was its affirmative action coordinator for 1973-75. From 1970 to 1977 I was the department’s audio-visual coordinator and for 1974-75 the Library Acquisitions Coordinator. I served on the department’s speakers committee for 1974-77. In spring, 1978, I was the department’s undergraduate advisor.
In 1973-74 I served on an advisory committee for the founding of an American Studies M. A. program at California State University, Fullerton.
In May, 1972, and from December, 1972, to March, 1973, I loaned materials to the Anthropology Museum of California State University, Fullerton, for exhibits of “Afro-American Folk Music” and “Southwestern Indian Arts and Crafts.”
I helped to organize the American Folk Festival at California State University, Fullerton, November 6-7, 1974.
Since 1978 I have served on the Graduate Studies Committee of the Music Department, the University of Memphis. I served for one and one-half years on the university’s
Faculty Research Grants committee, and two years on the Eminent faculty Award committee, one year as Chair. I have also served three times on the Music Department’s Promotion and Tenure committee, once as Chair, and have served a term on the university’s Academic Senate. I have been a member of the School of Music Awards Committee, Graduate Admissions Committee, and Guest Artists Committee, and president of the local chapter of Pi Kappa Lambda (Music Honor Society), 2002-2004. Since 1978 I have been coordinator of the Ethnomusicology Ph.D. program.
I served on the organizing committee for a Celebration of Memphis Music in Memory of Elvis Presley held at Memphis State University, August 16, 1979.
I organized a two-day program of seminars and concerts of blues music as part of Memphis State University’s 1980 “Salute to Memphis Music,” August 15-16, 1980.
I have been a consultant on court cases, films, and manuscripts for publishers.
In 1971 I deposited a taped collection of 25 hours of African-American folk music, folklore, and background information in the Archive of Folk Song, Library of Congress.
Over 2,000 items of folklore collected by my students between 1969 and 1978 have been excerpted for publication in the Dictionary of California Folk Beliefs to be edited by Professor Donald Ward of the University of California, Los Angeles.
I was head of the consulting committee for the music exhibit of the Mississippi River Museum, Memphis, 1978-79.
I served as advisor to the Tennessee State Parks Folklife Project, summer, 1979.
I was a consultant on various projects for Mississippi Action for Community Education (MACE), Greenville, Mississippi, 1979.
Representative of the State of Tennessee at the Southern Arts Federation Regional Forum, September 27-30, 1979.
Member of Folk Advisory panel of Tennessee Arts Commission for 1980-82.
Chairman, Memphis and Shelby County Music Commission, 1981; member, 1982.
Member of Board of Directors, Blues Foundation, 1982-1988.
Producer since 1980 for High Water Recording Company, a division of the University of Memphis, in charge of recording, distribution, and marketing of records of southern regional music.
Evaluator for National Endowment for the Arts, two projects, 1985.
Panel member for Travel to Collections program, National Endowment for the Humanities, 1985.
Panel member for Selected List of Folk Recordings, Archive of Folk Song, Library of Congress, 1985, 1993.
Since 1987 I have been a reviewer of various grant proposals for the National Endowment for the Humanities. In 1991 I served on the NEH Performing Arts panel in the Tools and Access Categories. In 2001 I served on the Collaborative Research panel of the NEH.
I have served as a consultant to the following music festivals, variously involved in recommending artists, presenting artists on stage, participating in symposia and workshops, road management, festival production, and evaluation: Memphis in May Beale Street Music Festival (Memphis), Cotton Carnival Musicfest (Memphis), Mid-South Folklife Festival, Memphis Music Heritage Festival, Mud Island Folkfest (Memphis), Labor Day Blues Bash (Memphis), Memphis Music Festival, African-American Crafts Conference and Jubilee (Memphis), Pink Palace Crafts Fair (Memphis), 1982 World’s Fair (Knoxville), Northwest Tennessee Folk Festival, Northeast Mississippi Blues and Gospel Folk Festival, Delta Blues Festival, Delta Blues Museum Concerts (Clarksdale), Crosstie Arts Festival (Cleveland, Mississippi), Oxford Folklife Festival (Mississippi), River City Blues Festival (Baton Rouge), New Orleans Jazz and Heritage Festival, National Downhome Blues Festival (Atlanta; Associate Producer), Georgia Grassroots Music Festival, Smithsonian Institution Concerts, Smithsonian Festival of American Folklife, Emancipation Day Festival (Providence), University of Chicago Folk Festival, San Diego Folk Festival, UCLA Folk Festival, Winnipeg Folk Festival, Blues Estafette (Utrecht), Berlin Jazz Festival, Musica dei Popoli (Florence), Maison des cultures du monde (Paris), Banlieues Blues (France), Cit de la musique (Paris), Cognac Blues Festival (France), South Main Arts Festival (Memphis).