Playing for the Man at the Door: Field Recordings from the Collection of Mack McCormick, 1958–1971

Spider Kilpatrick and Mack McCormick (photo by Chris Strachwitz)

 

 

 

Many years ago at record fairs, there were always two sets of rumors floating around, circulated by collectors about recordings that allegedly existed, but no-one had, or for that matter even heard. The first was about a gentleman by the name of Dean Benedetti, who recorded Charlie Parker shows, but only Bird’s solos. When I first heard the name Dean Benedetti, it sounded so Kerouac-esque, that I wrote it off as a myth. But, then in 1990, and much to my surprise, Mosaic Records released ‘The Complete Dean Benedetti Recordings Of Charlie Parker’ which was a 7CD set of Bird’s solos. (these will be a forthcoming post)

The second rumor was about a gentleman whose last name was McCormick or sometimes MacCormic, and depending on whom you spoke to, his first was either Bob or Mike, or Mick, or Mac, and made field recordings of mostly obscure blues artists similar to those of Alan Lomax and George Mitchell.

Turns out his name was Mack McCormick, he did indeed make field recordings, and this past September Smithsonian Folkways released a 3CD set of Mac’s field recordings. It features, never before-heard performances not only from musicians who became icons in their own right—including Lightnin’ Hopkins and Mance Lipscomb—but also performers whose names may be unfamiliar to even the most devoted blues fans and scholars. The collection spans gospels, ragtime, country blues dirges, and the unclassifiable but wonderful music of George “Bongo Joe” Coleman.

By the time he died in 2015, Mac had amassed a collection of 590 reels of sound recordings and 165 boxes of manuscripts, original interviews and research notes, thousands of photographs and negatives, playbills, and posters. Because McCormick never published or released most of these materials, his collection became a thing of legend and intense speculation among scholars, blues aficionados, and musicians alike. Hopefully, more of Mac’s recordings will become available.

To qualify for 'Playing for the Man at the Door: Field Recordings from the Collection of Mack McCormick, 1958–1971’ tell us about your favorite rumor, whether true or not.