The Pascagoula democrat-star. (Pascagoula, Miss.) 1878-1920, 1895-04-26

ORIGIN OF TIE BANJO.
THE FIRST ONE WAS A LARGE GouRp
COVERED WITH A YEEPsKIN.

The banjo was in " long before
the day of Joe Sweeney writes John.
ny Reb in the Richmond Dispatch. II
was indeed a rude and simple instrr. \
ment. The first n ! ever saw was
made in this way: A large gourd coy.
cred with a raw sheepskin served for
the drum and the strings were OF
horse hair pulled from a white horses
tail. 1t had only four strings. l am
confident Sweeney added the bass
string. My fathers carriage driver
was a banjo player. He played two
or three changeless tunes on one
chord. | saw Joe Sweeney for tho
first time about 1912, while l was at
school at Prince Edward Court House,
He and his brother Sam were togetl,.
or. Joe led on the violin and Sam
played a banjo. Both had good voices,
especially Sam, a rich, full baritone
of great sweetness and power. Even
at this distant day l can recall
some Of the tunes they sang-"Old
Dan Tucker" "Do, Johnnie Booker
'Julianna Johnson" "Oh, susanna"
''The Blue-Tailed Fly" "Jim Crack
Corn" and II Don't Care"
When | saw the brothers again the
character Of the music was somewhat
changed and was much more senti.
mental and sympathetic. They rem.
dercd such pieces us dearest May
Rosa Lee" 'Annie Of the Vale,n
"Ncllie was a Lady," and ELLEN
Bayne" with wonderful effect. These
airs were mclodious and cuncordant
and often brought tears to the eyes OF
the audience. Joe Sweeney was above
the medium size" and of fine pr0por.
lions. He had light hair and a rudy
complexion. He had wonderful facial
powers. He could change his expires.
sion in a moment from grave to
comic.
Sweeney, as Il negro d~elineator, was
inimitablc. lie knew the negro well
and was perfectly natural, and, like
Polk Miller, never 0verdid his work.
One of his performances always cx.
cited applause. His old Virginia
breakdown, a Jig tune, he danced and
made his own music with his banjo
hung around his neck with a string.
Sweeney was entirely u%neducatcd, but
he was naturally bright, and he often
made smart local hits that brought
down the house. Yes, the Dispatch
is right.
Sweeney gave nOtOriety to the banjo
and brought It into popular favor.
His habits were improyilent and he
was the subject Of many temptations
lie lived a life of unselfsh generosity
and died In poverty. lie spent his
last days in the co9aty Of Appomat
tox. | have heard this story abou,
him. do not vouch for its truth:
Just before he died, while his mind
wandered, he said to his sister: "Com,
here. The old banjo is out of tune
the screws are slipping and the bridg'
is about to fall" These were TIN
last words of the old fellow, who hat
charmed two continents with his mel
. ody and song. His brother, Sam, wal
In the cavalry service during the war
He often played for General Stuart
and the brave troopers would dane
to his merry music, as he sang
"lf you want a happy time, jinc tn
cavalry"
never heard Of HIM after the wlT
Joe Sweeney taught me how to tun
my banjo and taught me the chords
: | Shall never forget my ecstatic pleas
ure when, under his guidance,
played,
"Reel the rows my true loye; OH
come along, my d%arling."'
Since the days Of Joe Sweeney won
! derful advances have been made /
banjo music, and as well AS he playe
he could not be compared with sue
players as Shakclford or the Davi
brothers OF Richmond. They hay
!, gone away beyond him In variety an
Q technical execution. In fact, til
mode of playing has changed. I d
not know but n ma now who ca
give the real old Joe Sweeney touch
and that is Polk Miller. He can d
1t when he wants to. In my earl
days my banjo served me a good turI
When | went to Princeton college
carried my banjo with me. No on
. had ever seen the instrument In th
y town. No one had ever heard a negr
song. I Was the recipient OF muc
y hospitality and good cheer. l cannc
say that my banjo added anything I
INV cphnlactic prnNctoocv