Jeannie Robertson: emergent singer, transformative voice 9780870499043

Combining biography, folklore, oral history, and ethnomusicology, this book explores the life and repertoire of the Scot

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Jeannie Robertson: emergent singer, transformative voice
 9780870499043

Table of contents :
Frontmatter
Preface (page xi)
Introduction (page xv)
Part I. The Life of Jeannie Robertson
1. "The Bonnie Bunch o' Roses": Traveller Kith and Kin (page 3)
2. "The Lady o' the Lake": Childhood and Courtship (page 17)
3. "A Gift o' Some Kind": Jeemsie, Lizzie, and Second Sight (page 22)
4. "The Flure o' Ma Family': Jeemsie (page 30)
5. "Intil the Country": Renewal and Discovery (page 36)
6. "The Pleasure of Scotland": Fame (page 45)
7. "An' I Nivir Sung Better": London and the MBE (page 58)
8. "A Fine Air and a Good Story": Aesthetics (page 72)
9. "Farewell to My Jean": A Singer's Legacy (page 79)
Notes: Part I (page 95)
Part II. The Songs Annotated
Songs in Part II (page 101)
About the Songs (page 105)
Songs of Childhood: 1‒12 (page 111)
Songs of Freedom: 13‒22 (page 129)
Songs of Social Conflict: 23‒32 (page 151)
Songs of Love Affirmed: 33‒45 (page 171)
The Humors of Love: 46‒55 (page 197)
Songs of Love's Ironies 56‒65 (page 217)
Songs of Love Denied: 66‒74 (page 233)
Songs of Fraught Relationships: 75‒80 (page 251)
Commentary (page 269)
Notes: Part II (page 307)
Appendices
A. Robertson and Stewart Families (page 311)
B. Progress Report by Hamish Henderson, 1956 (page 313)
C. Letter from Hamish Henderson, 1956 (page 317)
D. Recordings of "Son Davit" (page 323)
Glossary (page 325)
Bibliography (page 327)
Discography (page 349)
Index (page 353)

Citation preview

Jeannie Robertson

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chante It unea ytryl Sang wi 1 the Qer ter, squ L sy g ithout 1 ru X, OF. \guitar 1 to fit1her trumental muna erI jfree ree rh accom .|com e Nn 7 . 1 . . m _ focu onment IV iduali st that f of eme ism of 4a pi S attenti , r ged fu sm, forme pipe tion fr -blo Li om outs! asrly she aswn St' ||sub amerged ntt ef SINGELS hBelle traveller eC the Cated e i iJ

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Fintray. i Oe of adapting her own words to an old tune or devising a tune for words she found in a book or in one of the broadsides published by the small press at

, Aye, I cud make a tune for some of those ballads or sing them to an auld- a fashioned air. I could put ma ain air to them if I didnae like the air they named. |

have sangs that I put the air til masel’. Aye, here’s a poetry called “Cruel Fate” _ , that Burns wrote to his Jean when he wes planning to go to the West Indies an’ they wes to be parted for guid. I didnae have a tune to the words, so I made up ~ my ain, like I have for siviral. T’ll tell ye the God’s truth. I got the words but there wes no air til it. It’s in the Burns book without an air. By the God’s truth the air’s ~ mine. I can make up aits, I can. It’s only a small two verses an’ I saw it in a Burns auld, auld song book—a big auld song book, lang, lang ago, when I wes jeest a

| lassiekie. But there wes no air attached til it. So therefore I put a hauntin kind o air til it mysel’. My mother sung a lot o Burns's songs. You see, us people goin __ oot, many’s an’ many’s the auld, auld books o’ Burns we've pickit up. At school

we sung “The Banks o' Doon” to one air, but the air that I sing to it now wes

from a man I heard singin’ it an’ I fancied it. I likit his air better. | , | And on several occasions Jeannie was known to sing what she avowed was a “traditional sang” and then slyly admit she had composed it while washing up. The process of recreation and composition in traditional songs involves several kinds of aesthetic activity: recognition of a completeness, meaningful-

ness, or “fullness” (or lack of these), not just in a text or tune but also in a

, performance; the search for and construction of the component parts; the joining of words and air; the forging of a singing style appropriate to sharply

7 different situations. Jeannie’s observations on composition, re-composition, | and adaptation suggest that, as a singer, she arrived at a working combination of the verbal and musical elements before she would sing, evén in front of her traveller relatives. She could grasp the possibilities of her song tradition on each of its levels: text, tune, performance, context. From her words, one can see the tradition as a merging of a communal traveller tradition and a wider, popular Scottish tradition based on Burns’ centrality as a folk poet and folk composerrecreator. Jeannie developed, if on another social level, a sensibility like that of Anna Brown in absorbing foreign linguistic elements. Yet she could also dem-

| onstrate a sturdy Northeast sense of independence when “realizing” specific

songs in the face of different audiences. oO

, 44 . The Life of Jeannie Robertson — , 7

6. “The Pleasure of Scotland”: Fame

After the broadcasts of Henderson’s first tapes by the BBC Scottish Home | Service, the Aberdeen and Edinburgh newspapers sent reporters to interview Jeannie, and she began to see her name frequently in print. In the cramped flat at Causewayend, sitting regally in an overstuffed armchair with a cage of her

| chirping budgerigars behind her, she would enthrall visitors with stories of her premonitions of tragedy or ribald anecdotes about Robert Burns as seducer and —

wit. Her sure sense of the grand and the heroic, as well as the comic, was

mockery. — — _ -

governed by a gravity, a dignity that put aside any hint of parody or self-

In a few months, she was asked to appear at folk clubs in Glasgow and to — sing at festivals catering to young audiences eager to experience their heritage

of traditional songs. Heavy on her feet by now and slow of gait, she would get | herself ready for these appearances as best she could, considering her limited | means and inexperience in handling “public” stage appearances. The jet black | waves of her hair were as tight as they had been when she was younger, and she | parted the curls across the front of her head, combing a “bonnie fringe of bangs” down her forehead. Her teeth, never comfortable, were a frequent

source of irritation, and she often sang without the lower plate. _ Students in Scotland’s first folk club, stimulated by enthusiasts like Norman Buchan, Maurice Blythman, and Ewan MacColl, invited Jeannie to come to. , Glasgow in fall 1953 to sing at a ceilidh they were staging. The group passed

‘songs among themselves, the mark of a good evening, everyone contributing a her or his piece. Among the members were two young singers, Ray Fisher and | Andy Hunter, who were pursuing further education in the city. Both had musical talent and had been struck by Jeannie’s voice on the tapes played to

| 4S a

~ them earlier by Hamish Henderson. / ee Ray Fisher retains a vivid recollection of her first meeting with Jeannie and its ultimate influence on her own career: , Fs oo |

Norman Buchan was trying to show Jeannie and the other older singers what

| was happening in Glasgow at the time and he asked me to sing. Very sheepishly, I sang “Jeannie My Dear Will You Marry Me?” Jeannie Robertson came up to , me afterwards, and she said to me, “O, that’s one of my songies youre singing,” she says, “and you're no takin’ it oot richt,” she says... . and I said, “Ooh.” To

| “tak it oot” means to vary the emphasis and timing. Thus the implication was that I was not singing it right, and she proceeded to illustrate her proper fashion.

And Jeannie sung the entire song after I'd sung it... . talk about upstaging! _ Nevertheless, as a result of what she said, “I think you'd better come to Aber, deen,” [ went and stayed with her for about six weeks. I learned a tremendous amount about Jeannie’s songs, her singing, and Jeannie herself. (Glasser 1974) |

With her readiness and accessibility, Jeannie dissolved the barriers between urban and rural, traditional and revival, because she was able to stimulate enthusiasm and understanding. She made urban singers like Ray and her brother Archie feel at home with a song repertoire that was not an authentically “traditional” one learned in the domestic circle of their own home. But this was for Ray the beginning of a collaboration and a lasting teacher-pupil

relationship. | |

Jeannie’s version of the way Ray sang at first and how she improved with instruction completes the picture: She wesnae takin’ it oot richt. She wesnae singin’ the words richt an’ she wesnae restin’ whaur she should rest, I thocht. She wesnae pittin’ the richt feelin’ in ’t.

Bonnie singer and lovely voice, but singin’ like an egg withoot salt. Thir wes nae |

taste til it. She had to ken the feelin’.’ ,

During her time with Jeannie, Ray learned the song “Ainst Upon a Time,” but

| Jeannie knew only three verses. Ray thereupon wrote another five verses of her own. The results of this “collaboration” appeared in the journal Chapbook

, (volume 3, no. 1) in 1966, with the following note: “Ray Fisher learned the original of this song from Jeannie Robertson—the traditional verses are 1, 5, and 7, which form Jeannie’s version—and expanded it into its present form, ‘to

| tell a more coherent story.” | oo Jeannie’s “lyric” version, with its emphasis on the devil-may-care attitude of the singer, became, in Ray’s refacimento, a “ballad” with an explicit narrative. It is quite possible that Jeannie’s variant may once have had such a narrative, though this is hard to prove. Some reasons for transformation from ballad to lyric have been identified by Coffin (1977), and, indeed, Jeannie herself recognized the possibilities of recomposition, though in her case it was mostly with

the tune rather than the text. | | 46 - The Life of Jeannie Robertson

Those who heard Ray Fisher sing under Jeannie’s influence, then, would be able to mark her absorption of Jeannie’s style, as much as of the particular song text and tune. “Yes,” Ray would reply, “you mimic because you admire. Any student will take guidelines from the master.” But today Ray Fisher has forged

her own personal style and aesthetic: |

You adapt and find a bit of yourself instead of just a reproduction of the original. I cannot forget Jeannie’s singing, but I sing the songs my way now. Jeannie was such a proficient artist that she communicated the material, the sensitivity, and _

the understanding she had. I would like to think I retain some of this in my singing. ... but I am not a traditional singer: I am a singer of traditional songs. I interpret what traditional singers have done, the difference being that the traditional singers have their songs handed down within the family. (Glasser 1974)

Though Ray’s idea of tradition may seem an idealized one, she studied the repertoire to which Jeannie exposed her, adapting it through her perception of herself and her own personality—a process she also had absorbed from

Jeannie’s example. | | In 1953, Jeannie made her first visit to London, where she and a well-

known Irish singer were guests of Alan Lomax. Lomax invited them to appear

on a television show he was producing, and later they were to sing at the Bedford, a club that had become. a successful night spot for folk musicians as the Revival took hold. Jeannie unfortunately did not take to the other singer: She wes a fine cratur an’, to lots oO folk, she might hae been sensible enough. But tae me she wesna. She wanted tuppence o’ the shillin’. . . . or maybe it wes my

different wey, at that time. Course I wes very, very refined an’ aafie quiet at that time. She was aafie bold, ar’ present, an’ no shame nor nothing. Not one ounce 0 shame. An’ one funny thing: she gaed on an’ on an’ she widnae sit doun an’ she widnae stop singin’... . na, na, she didnae want nobody t’ sing but her. She'd not one bit o shame. She'd nae sense o’ shame like anither body. She wes like the

toon’s clock: she’d a face all round. |

While the two singers were in Lomax’s apartment, an incident occurred that © caused Jeannie some embarrassment. Lomax had bought a bottle of special

| whisky as a prophylactic against his singers’ catching a cold: | 7 But it wesnae a cauld that I took—it wes worse. But we got plenty o’ this, ye see. But Alan says, “You take a glass of that.” An’ I took a wee glassie like this, but -

she, she glassed an’ she glassed, an’ she glassed an’ I says, “I’ll put the bottle awa’ , now. An’ I’se tried tae tell her, ye see. She couldnae understand me speakin’, y’ | , know. No. “Please, for God’s sake,” I says. “You're only supposed to take one

| “The Pleasure of Scotland”: Fame « 47 ,

glass o’ whisky oot o’ that. . . . He tellt me, “I says, ‘that’s a bottle 0° special whisky ’at’s ordered for the night.” I says, “For his ceilidh the night, ye see.” An’, thered be a lot of the BBC folk comin’ down for a ceilidh. Well, Alan Lomax gied awa’ for about twenty minutes an’ when he came back the whole bottle wes

shot. She had it drunken before he had the breakfast made. An’ I tried an’ tried, but na—it wes too much of a temptation til her. An’ aye she said tae me, “Och, I

can’t help Alan Lomax. I’m wantin’ a wee drap o’ the cratur.”2

| Jeannie had her own view of her Irish companion’s singing at the Bedford later: _ She disnae sing like me, looking straight on, an’ maybe haen a peek at the face. She sings looking up an’ doon. She sings wi’ her mooth roun’ intil her ear. Min’ you, the woman's a bonnie singer. She can sing an’ play her banjo. Ye see, it’s jeest shed her own weys o’ singin’.

Avoidable or not, the rivalry was obvious to Lomax and the promoters. Jeannie’s health problems altered the course of events just after the dress

rehearsal for the show: | |

, “Tm nae ill,” I says. “There’s nothin’ wrong wi’ me.” See when the pain passed over I wes aa richt again. But for that second that pain struck me, it wouldha ~ tooken a horse til its knees. I went tae ma room. I took a tablet. An’ I says, “Och,” I says, “Pll be aa richt. Whit could’ve happened.” An’ I thought it’s maybe jist a severe rheumatic pain across ma kidneys. . . . ye see. The tablet pit me tae sleep richt enough . . . for aboot a good hoor an’ a half. Sound sleep. An’ I

| wakit up—TI wes aboot climbin’ the was. I thought I had a nightmare... . An’ here I wes sufferin’ the awfullest pain, an’ O God Almighty. .. . O, terrible... . | An’ I walkit the floor from two o'clock in the morning until nine o'clock. An’ I nivir went fur any ither people t’ help me. . . . I wes sufferin’ the agonies o’ Hell, an I couldnae dae nothin tae help masel’. So, the first one to enter wes the Irish

woman. “God,” she says, “I wes wonderin’ what wey you werenae up this mornin’,” she says, “early,” ken. An’ then she says, “O, what’s wrang?” So I says,

“Well,” I says, ‘there’s something far wrong,” I says. | | Lomax sent immediately for a doctor and Jeannie was taken to hospital where her illness was diagnosed as peritonitis. She was well cared for, but this setback

prevented her from appearing on British television for the first time. Jean Ritchie, the Kentucky singer who had earlier traveled to Aberdeen to swap | | songs with Jeannie, looked after her in the London hospital and with Lomax’s help escorted her to the train when she was well enough to return home. Still weak and disoriented, she fell into her own bed and remained there for several _

weeks through a slow recovery. , : |

48 . The Life of Jeannie Robertson - 7

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