Bountville shows off its bluegrass roots

Posted Sunday, Apr. 13, 2014  comments  Print Reprints
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Getting there

Nearest airport: Tri-Cities Regional Airport in Blountville, Tenn.

Where to stay

Rocky Top Campground

Quiet wooded area with Wi-Fi and cable TV. Tent decks $24, full-hookup RV sites $42, nice furnished cabins from $160 for two nights.

496 Pearl Lane, Blountville, Tenn.


La Quinta Inn & Suites

Recently updated, clean and pet-friendly. Rooms from $79, including breakfast.

10150 Airport Parkway, Kingsport, Tenn.


Marriott Courtyard Bristol

Relatively new hotel in a convenient location. Rooms from $129.

3169 Linden Drive, Bristol, Va.


What to do

Anderson Townhouse

Historic log cabin featuring jam sessions 6:30-10 p.m. Fridays. Free.

3396 Great Stage Road. (Tennessee 126), Blountville


Old Deery Inn and Museum

Beautiful period decor and wonderful artifacts. Call ahead for appointment. Free.

3397 Tennessee 126, Blountville


Pickin' Porch and Mountain Music Museum

Porch features free concerts and jams 7-9 p.m. Monday. Museum features artifacts related to the area’s music heritage. Hours vary, so call ahead. Free.

620 State St., Bristol, Tenn.





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Even if all you play is a radio, you’re as welcome as a long-lost friend at an Appalachian Mountain jam session.

That’s what I’m looking for in Blountville, Tenn. In the late 1700s, this town was a bustling stagecoach stop on the state’s oldest wagon road. This evening, it’s so quiet, you can hear the stars twinkle.

I pass the recently restored Old Deery Inn, a two-story trading post/tavern/wayfarers lodge dating to 1785. It’s now a museum, but the inn’s past guests included presidents, a king of France and ghosts — some of whom reportedly never checked out.

Adding contrast to the white Dutch clapboard building are red doors and an incredible salvage score: late-1800s cast-iron gates that graced the Smithsonian Institution before its 1910 remodel.

Eventually, plucked and strummed notes lead me to my destination: a two-story log cabin built in 1792. A side door creaks opens to whorls of folks here for the old-time jam session that has filled Anderson Townhouse every Friday night for 19 years.

Players sit in tight circles in every room. On warmer evenings, they also fill the porch. The dining room pickers include “CanJoe” John VanArsdall on fiddle. He helps run the Traditional Appalachian Musical Heritage Association, which hosts the weekly jam. He also teaches music, does Civil War re-enactments (playing musicians) and makes a novelty instrument from cans and strings called the “canjo.” He has even played it at the Grand Ole Opry.

But this is no place for canjos.

The log house swirls with rambles through Ragtime Annie and other old-time Appalachian standards. Whoever starts the picking picks the song, says Ricky Quinn, a local musician. If someone doesn’t know it, they learn fast. Quinn’s hanging at the doorway. “I’m waiting for a higher grade of pickers,” he says.

Novices arrive early to pick up licks from masters. As the evening progresses, seasoned pickers regroup, then the jams really cook. No telling what the music will sound like, or who will show, or how many.

“The 88-year-old next to me, Bill McCall, still picks and sings like nobody’s business,” says CanJoe John. And this is no men’s club. Frequent players include Nina Ketron, a superb upright bass picker.

It’s not a locals’ thing either. Taking highways and back roads, pickers and listeners come from all over the northeast Tennessee/southwest Virginia border region, nicknamed the Mountain Empire. TAMHA’s jams were started by Ralph Blizard, a Blountville-based legend who first hit the stages and the airwaves as a teenager in the early 1930s.

Storytelling is another rich tradition here. Before playing Blizard’s signature waltz, Midnight on the Water, CanJoe John reminisces about how his mentor “taught me in hope that the Appalachian long-bow style would live on. I sometimes will sit at his grave and fiddle him a tune. I can still hear his voice: ‘John, just keep on fiddlin’.’ 

Blizard (fittingly pronounced like the storm) earned the National Endowment for the Arts National Heritage Fellowship and Tennessee Folklife Heritage Award shortly before he died in 2004.

In the town-house parlor, three players rollick through Whiskey Before Breakfast on banjo, fiddle and guitar. How old is this Irish jig? “Even older than him,” says fiddler/lead talker Ken Williams, pointing with his chin at 70-something guitarist Uncle Joe Thompson. Banjo player Alex Richey says he visited from Illinois and never left. “The mountains and music and people — there’s no better place to play,” he explains.

In the Appalachians, music is an element equal to air, earth, water and fire. To play songs of their Irish, Scottish and English homelands, settlers made string instruments of wood from local forests. “Old-time” music picked up influences from African-American players in the 1800s, then came to the nation’s attention in 1927 through recordings made in Bristol, a town split between Virginia and Tennessee that’s a pretty 15-minute drive east from Blountville.

The state border runs down the center of State Street, the main drag that, despite recent revitalization, has a yesteryear vibe. Warm weather brings musicians onto the sidewalks, especially for Friday “Border Bash” play-offs.

A walking-tour map guides me around historic plaque-laden streets and shops, theaters and bars housed in buildings from the 1800s. I pass an Italian restaurant, an Irish pub, a country grill and a sushi bistro, all of which have stages occupied most nights by area bands playing traditional bluegrass and old-time music.

Street markers tell the town’s history. The 1927 Bristol Sessions were recorded for Victor Talking Machine Co. by Ralph Peer, who figured that the town’s train station would enable performers to come and audition. As the first nationally distributed country records, these made stars of the Carter Family and Jimmie Rodgers.

The locals have worked to preserve their old-time and bluegrass heritage, scoring big with a 1998 congressional resolution that declared Bristol “the birthplace of country music.” Another boost: Johnny Cash called the sessions “the single most important event in country music.”

Workers are readying a 1920s building to reopen this summer as the Birthplace of Country Music Museum, a Smithsonian affiliate with sense-surround displays. But other heritage stops are open now, and they’re free.

The Mountain Music Museum recently moved from a shopping center to a renovated 1892 building on State Street. Run by the Appalachian Cultural Music Association, the museum displays landmark records, handcrafted instruments and costumes from glitzy to goofy. A country store porch replica doubles as a stage for impromptu jams among instrument-toting visitors.

Curator Suzy Gobble effervesces backstories; for example, Sara Carter hated touring so much that she left her Carter Family bandmates, including her husband.

Later, I climb a gleaming wooden staircase to the Pickin’ Porch. The cold weather is forgotten as the pickers trade licks.

Outside, State Street’s downtown center glows beneath another starry night. By spring, the crowds will be as thick as flies on a berry pie. But now I’m alone, facing super-sized superstars on the “Birthplace of Country Music” mural that blankets one huge wall.

It was painted in 1986 by Tim White, a Blountville musician who hosts the PBS series Song of the Mountains. The mural ignited pride in the region’s heritage music.

A portable stage blocks part of the mural. But that makes sense for a place with so many pickers rarin’ to jam.

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