Ivory Joe Hunter

Millie Jackson

J.J. Jones: country bassist

Coffey Anderson

Arthur Alexander

Henry Glover: wrote and produced many country songs at King Records

Cynthia Mae Talley

Milton Patton

L.M. Stone

Ray Charles & Oak Ridge Boys with Janie Fricke, B.J. Thomas, Ricky Skaggs

Shirley Caesar

Nat King Cole

Fats Domino

Aaron Neville

Etta James

Brook Benton

Lesley Riddle (1905 - 1980)

Born June 13, 1905, in Burnsville, North Carolina, guitarist Lesley Riddle is perhaps best known for his association with A. P. Carter and the Carter Family, which began around 1928. A. P. Carter was always searching for new material for the Carter Family, and one morning he returned to nearby Kingsport, Tennessee, to revisit John Henry Lyons, an exceptional African American guitarist. Leslie Riddle dropped by to visit Lyons.

Riddle’s guitar work, gentle voice, and repertoire immediately impressed A. P. Carter, and the two occasionally got together over the next several years. Maybelle Carter stated that she learned Riddle’s finger-picking style and applied it to their 1930 recording of “The Cannon Ball.” The Carter Family also learned “I Know What It Means to Be Lonesome” from Riddle. Perhaps most importantly, Leslie Riddle and A. P. Carter went out on several song-hunting trips together, an important example of the type of black and white interpersonal musical exchange that helped to inform the emerging country music industry.

"I played a couple of songs for him (A.P.) and he wanted me to go back home with him right then and there," said Riddle in an interview with Mike Seeger. "I went over to Maces Spring with him and stayed about a week. We got to be good friends and for the next three or four years I continued going over to his house, going where he wanted to go. I went out about 15 times to collect songs."

"He was just gong to get old music, old songs, what had never been sung in sixty years," said Riddle. "He was going to get it, put a tune to it, and record it." Riddle also taught the Carter Family such songs he knew like "Coal Miner Blues," "The Cannon Ball," "I Know What It Means To Be Lonesome," and "Let the Church Roll On." Maybelle Carter learned to fingerpick and play slide guitar from Riddle. "You don’t have to give Maybelle any lessons," said Riddle. "You let her see you playing something, she’ll get it- you better believe it."

It was Riddle’s job to learn the melody of the song. "If I could hear you sing, I could sing it too," said Riddle. "I was his tape recorder. He’d take me with him and he’s get someone to sing the whole song. Then I’d get it and learn it to Sara and Maybelle."

But Riddle’s life consisted of more than his several-years’ acquaintance with the Carter Family. In many respects his life was representative of so many African American non-professional folk musicians growing up in the South in the first half of the twentieth century. He worked at a variety of jobs, ranging from cook to cement factory worker. A bit too old to serve in World War II and, in 1942, in search of more substantial employment, Riddle migrated to Rochester, New York.

Riddle continued to play music for a few years after he moved north, but eventually he stopped performing. In the early 1960s, folklorist-musician Mike Seeger, who learned about Riddle from Maybelle Carter, tracked him down in Rochester. Seeger encouraged Riddle to begin playing music again, and Riddle appeared at a few festivals, where he performed a wide range of gospel, blues, and folk-based selections. He made a number of recordings for Seeger, which were eventually released on the album Step By Step—Lesley Riddle Meets the Carter Family (Rounder, 1993). Riddle died on July 13, 1980.

Encyclopedia of Appalachia

Rufus "Tee Tot" Payne (1884 - 1939)

Rufus Payne may not have really been a hillbilly music singer or performer in the strictest sense of the word. But his influence on country music and one particular performer in particular, Hank Williams, has been documented through the years. He was living in Greenville, Alabama when a youngster by the name of Hiram Williams met him. He became known as Tee Tot to Hank.

Hank got his first guitar from his mother, Lillie. It cost her $3.50 and she has told authors that she paid for it fifty cents a month until it was paid for. Hank contributed to that effort by turning over the money he made from his shoeshining efforts and selling peanuts. One story goes he was so happy when he got it, he ran outside and slipped and fell and broke his arm. But even with the cast on, he still tried to play the guitar.

Working the streets in Georgiana, Alabama, Hank encountered someone Jay Caress called a '...worldly-wise old black street minstrel.' He played the guitar and would entertain folks on the street corners to try and get a bit of money. That man was Rufus Payne, who locals called "Tee Tot". That was short for "Teetotaler" but in another sense, it more likely had to do with the storied 'tea' that he always had in his flask, a combination of home brew whiskey and tea.

Rufus worked part time doing odd jobs such as cleaning or delivery for a local business, Peagler's Drug Store. And spent other times, playing his music with two other musicians for anyone that would listen and contribute a few coins. He often played local dances when asked.

Hank met Tee Tot when he was about 12 years old. But that relationship would be the beginning of a legend.

Hank was determined to learn to play the guitar and he was just as determined that Tee Tot would be his teacher. He taught Hank more than just the guitar. Tee Tot began to open Hank's eyes to the world a bit, and more of what it might take to be an entertainer and keep the crowds happy. Mr. Caress notes that they had to put the poetry aside and learn to draw a crowd. Being a street singer meant he did not get to play to a captive audience. That meant he had to grab their attention with a style and delivery that would make them want to stop and listen and in the end, drop a few coins in appreciation. Another aspect was to not only get them to stop and listen, but to keep them through a couple of songs or three. The thought was that folks might feel like they owed something to the spontaneous entertainment they enjoyed before they went on with their daily lives.

Jay Caress notes that Hiram Hank Williams was "...too frail for sports, too smart for farming, too poor for politics and still a bit too young for girls, performing with Tee Tot was the challenge of his young life."

Hank was around Tee Tot so much that he began calling Hank "Little White Boss". Recall the old south and the era they were a part of. Tee Tot is said to have warned Hank that some of the local white folks did not like him taking so much care of Hank. But if it worried Hank, he never showed it. Tee Tot was a frequent visitor to the kitchen of Hank's mom, Lillie, who fed him as a sort of payment for what he was doing for Hank.

Pictures of Hank at this early age show him wearing wire-rimmed glasses that are more suited for scholarly types perhaps. One of the lessons Hank must have learned was to make sure he had the timing and a strong rhythm down for the band behind him to follow. It must have been apparent he would never be a lead guitar player.

Mr. Caress inferred that in the few years Hank worked with Tee Tot, it laid the foundation for everything that Hank would need musically going forward. Chords, chord progressions, some bass runs, rhythms, the feeling of a song, communicating not only with the voice and body, but speaking "soul to soul." This learning of providing a strong rhythm has been noted by other autors such as Roger M. Williams.

Hank always gave credit to Tee Tot. "All the musical training I ever had was from him." Colin Escott cites the Montgomery Advertiser article from 1951 in his book.

During those two years of mentoring, teaching and friendship, Hank's family moved to Greenville, Alabama where Hank's mother setup another boarding house. Greenville was also where Rufus Payne lived. Hank hung around Tee Tot so much in Greenville that Chet Flippo notes they were calling them the "Greenville Troubadours." In fact, it seems that local merchants would encourage the duo to perform in front of their stores.

In his book, Chet Flippo seeming quotes a conversation between Tee Tot and Hank as Tee Tot tries to educate young Hank how to work a crowd. Hank trusted Tee Tot. He saw all of the give and take he did with the local white folks and saw his entertainment talent. He told Hank to smile. Folks wanted to see that he was friendly. Tell them jokes. Make them laugh. It don't even matter if they are homey or corny jokes. He told Hank, don't act like you are above your audience. Let them feel like there is nothing you would rather be doing than entertaining them at that moment. Hank was a bit shy at the time, perhaps uncomfortable in front of a crowd and what he saw. But Tee Tot persisted and perhaps the lessons began to sink in.

Mr. Flippo relates that one day Tee Tot set his pupil down and taught him the best song he had, a tune that had been passed down to him. It was called "My Bucket's Got A Hole In It". That song bears the copyright of Clarence Williams. Clarence was a black composer from New Orleans as well as a pianist. He also wrote "Baby, Won't You Please Come Home." Colin Escott notes that there was a unique aspect to Hank's recording. The version included an acoustic guitar break that was perhaps played by Hank himself; that makes it the only recorded solo of Hank's guitar work. Louis Innis was playing rhythm guitar on that session in the manner and sound that Fred Rose was looking for.

Why did Tee Tot have such influence over Hank's musical education? Mr. Escott points out it may have been largely due to the fact the local musicians were what he was exposed to as he grew up. His mom could not afford or own a radio or a phonograph record player.

Not much else is known about Mr. Payne's later life after Hank went off on his own. The sources we've read indicate he died in a 'charity hospital' and was on 'relief' at the time of his death. Some accounts indicate he was about 55 at the time of his death, which means he was born around 1884 or so. Some accounts indicate he had white hair by the time Hank met up with him.

Hank did not keep in touch with his mentor after leaving Alabama. Greenville held a homecoming tribute of sorts for Hank in 1951. Hank would again tell the press of the influence of Tee Tot and tried to find him, but at the time, it appears no one knew and could tell Hank he had died in 1939.

In the MGM movie of Hank's life story, Hollywood took a bit of liberty to go so far as to show Tee Tot dying in Hank's arms. But at least they did pay a bit of homage to the person who had a hand in developing Hank's career. Rex Ingram played the part of Tee Tot / Rufus Payne in the movie.

The theme is consistent throughout the research on the career of Hank Williams. It seems a given that this street singer Rufus Payne known as Tee Tot had a distinct and lasting influence on the musical development of one of country music's all time legends, Hank Williams.

Hillbilly Music

Vikki Carr

Joe Tex

Kazuya Kosaka & The Wagonmasters

Kenji Nagatomi and the Tennessee Five

Unity Bluegrass Band

Brent Williams interview (features clips from 1960s with partner Harry Cromwell)

Born and raised on a small farm in Hassetts, Nova Scotia, the youngest of eight children, at an early age Brent developed a love and appreciation of music from his mother. With his first guitar in hand and his older brother Robert teaching him a few chords, by the age of seven Brent knew he wanted to make music his life and the first steps were taken on a path that would reveal an incredible talent and lead to a long and successful career.

One-night stands in the Maritimes in their early teens, with fellow Afro-Canadian and lifelong friend Harry Cromwell, started a journey which was to prove Brent a pioneer in many facets of the music industry, an accomplished Musician, consummate entertainer and recipient of numerous coveted awards from his peers. Following the Birch Mountain Boys, the ‘Brent & Harry Show’ was formed. Two LPs were recorded .during that time – ‘Country Special’ and ‘More Country with Brent & Harry’. “The Birch Mountain Boys” were one of the first groups to play and perform live bluegrass music in Canada. In the following years Brent worked with “Don Messer Jubilee” CBC TV” “The Maritime Playboys” CHAU-TV Carleton, Quebec and “The Marcel Martel Show” CHLT TV Sherbrooke, Quebec, toured extensively and made regular television appearances. Settling into a solo career he recorded ‘Soft Soft Shoulders and Dangerous Curves’ which was a significant hit in the Toronto area and led to numerous releases including the Nashville recordings of ‘Back Home in Georgia’ and ‘Till I Can’t Take it Anymore, many of which made the national charts.

The 1970s were busy and exciting years for Brent – the nightclub and concert circuits were flourishing and he travelled extensively with his Show Band. Changing music trends took Brent’s life in a different direction and he entered the hotel business, allowing him to build a successful establishment offering live music for the guests. Following this endeavour he secured a contract with Wal-Mart, entertaining in their stores coast-to–coast, promoting his many CDs and earning a strong and loyal following of his music.

Brent served as one of the first members on the Board of Directors for the Canadian Country Music Association (CCMA) and received a nomination for one of his songs in the ‘Outstanding Performance Category’. In 1976 he won first place in the Bon Soo Fiddle Championship in Sault Ste. Marie, Ontario. In 1995 he was presented with the Condor/Marathon Music Certificate of Merit in recognition of his contribution to Country Music in Canada. On September 14, 2013 he received the honour of being inducted into the Nova Scotia Country Music Hall of Fame.

Brent made his acting debut in the movie ‘Steel Kiss’ in the role of ‘Mr. Slaight’, and performed and acted in ‘Cafe of Romance’, a live musical which ran for 10 days at the Scarborough Village Theatre, Toronto, Ontario. He recently completed a 4-part mini-series with CBC-TV of African-Nova Scotian folklore, based on the 1923 writings of Arthur Fauset.

In recent years, turning more to his love for gospel music and having produced CDs for other country music artists, his fans and followers will be delighted to hear that Brent is currently working on two Gospel CDs of his own – one a cover version of some of his personal favourites, the second one will be a compilation of original songs penned mostly by Brent.

On March 7, 2015 Brent received the prestigious lifetime achievement award from the African Nova Scotian Music Association. Brent continues to delight audiences wherever he plays. His outstanding talent and sheer love of music transcends to all listeners who have the opportunity and privilege of attending a performance given by this true Nova Scotian gem.

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Brent Williams

Kohichi Moriyama

The Armstrong Brothers Band

Whistler's Jug Band

Arnold Shultz (1886–1931) Bluegrass Today

Arnold Shultz was a blues-guitar-playing mentor and friend of Bill Monroe’s.

The multi-talented African-American Shultz – he could play the fiddle, banjo, mandolin and piano, as well as guitar, and was the writer of Cannonball Rag – was a laborer and itinerant musician, playing with both jazz and blues bands. Taught by an uncle, he developed a ‘thumb-style’ way of playing the guitar, although he was as readily able to play finger-style.

Apparently, he gave Bill Monroe his opportunity to play his first paid gig, joining Shultz at square dances with Arnold on fiddle and Monroe on guitar.

As well as being a major influence on Bill Monroe, introducing the blues element that Monroe incorporated into his own playing and providing a key ingredient for bluegrass music, Shultz was an influence on the four legendary Muhlenberg County (Kentucky) finger-pickers Kennedy Jones, Ike Everly, Mose Rager and Merle Travis. That influence later extended to Chet Atkins.

Legend has it that Shultz either died of ‘bad’ whiskey or poison administered by jealous white musicians, or that he suffered a stroke while boarding a bus.

He is buried in Morgantown’s only black cemetery.

Monroe once said of Shultz “There’s things in my music, you know, that come from Arnold Shultz; ½ runs that I use in a lot of my music. I don’t say that I make them the same way that he could make them, ’cause he was powerful with it. In following a fiddle piece or a breakdown, he used a pick and could just run from one chord to another the prettiest you’ve ever heard. There’s no guitar picker today that could do that.”

While Richard D. Smith wrote in his book about Bill Monroe, Can’t You Hear Me Callin’, that had he been recorded by field folk recorders or race record labels “Arnold Shultz would today share the pantheon of African-American country blues greats with Mississippi John Hurt, Son House, and even Robert Johnson.”

Cedric Watson