The first non-Native American settlers of Appalachia and later, the Ozarks, were of primarily of three ethnicities: Scots-Irish, English, and German. These hard-working farmers and craftsmen created a distinct culture which in the 19th Century came to be named “hillbilly.” Although the Northern European roots of hillbilly are routinely acknowledged, even scholars on the culture are far less likely to recognize hillbilly’s other significant place of ancestral origin, West Africa.
Hillbilly music’s biracial parentage should be immediately evident to anyone with any knowledge of the music’s primary instruments, the fiddle and the banjo. The modern fiddle (or violin) may have originated in 16th Century Italy but similar bowed instruments preceded its development by several centuries and the violin made its way to the Americas thanks to English colonists. The banjo, descended from the numerous plucked instruments of West Africa such as the akonting, ngoni, and xalam, was introduced to the Americas by African slaves.
Famous slave owners like George Washington, Thomas Jefferson, James Madison, James Monroe, Andrew Jackson, Martin Van Buren, William Henry Harrison, John Tyler, James K. Polk, Zachary Taylor, and Andrew Johnson routinely required their forced laborers to learn to play violin to entertain their friends and themselves at plantation balls and the White House.
The fiddle and the banjo soon made their way to the mountains of the Upper South where they were played at barn dances and frolics by free men. Although it’s probably a widely held assumption that free blacks all hightailed it to the North, most actually remained in the South. Many free black southerners came from the Caribbean or had lived in France’s La Louisiane, where blacks were free until it was purchased by the US. Even more were freed former slaves who either elected to remain or were unable to leave. In 1860, 84% lived not in the Deep South, however, but in the hilly Upper South (Arkansas, Kentucky, Missouri, North Carolina, Tennessee, and Virginia).
Although black musicians were influenced by white minstrels — often adding minstrel compositions to their repertoire — white minstrels of course took most of their inspiration from black culture. Although the earliest known document of the banjo and fiddle being played together is by The Virginia Minstrels in 1840, black banjo players were documented as having played both the banjo and fiddle in the proximity of one another as early as 1774, at a barbecue near the Florida–Georgia border. The Virginia Minstrels’ first banjoist, Bill Whitlock, also had learned his instrument from black musicians when he was a member of a traveling circus.
Although hillbilly music, then, had revolved around the pairing together of the fiddle and banjo for many years, in the recording age record companies segregated music into racially-specific genres to simplify their marketing. Companies marketed “race music” to the black, record-buying public — which included blues, gospel, and jug band music among other genres. “Hillbilly music” was targeted toward the white public. Black hillbilly musicians, then, quickly learned some other tunes if they hoped to cut music for anyone besides field recorders and ethnomusicologists.
Take the case of DeFord Bailey. Bailey was the first black musician to play on the Grand Ole Opry, had a grandfather who’d been a champion Tennessee fiddler in the 1880s, and as a child played alongside relatives at the Wilson County Fair with The Bailey Family Band. In 1975 he revealed to an interviewer, “I never heard the blues till I came to Nashville to work. All I heard as a boy back then was what we called black hillbilly music.”
Beginning in the 1910s, all of hillbilly culture had begun to vanish along the hillbilly highway, an exodus from the mountains in which many hill folk moved to cities in search of work in the industrial sector and led to a good deal of popular entertainment based on regionalist stereotypes. In the 1940s, field recorders documented some black hillbillies, whose music by then often blurred the lines between blues and jazz. More musicians passed on and few of their descendants followed in their ancestors’ musical footsteps — although a few taught white musicians with whom hillbilly music came to be almost exclusively identified, musicians like A. P. Carter (taught by Lesley Riddle), Bill Monroe (taught by Arnold Shultz), and Hank Williams (taught by Rufus “Tee-Tot” Payne).
If you’re interested in hearing black mountain music, here’s a discography which includes examples from all eras of recorded music:
Blind James Campbell and his Nashville Street Band: Blind James Campbell and his Nashville Street Band (1995)
Butch Cage and Willie B. Thomas: Old Time Black Southern String Band Music (2006)
Cannon’s Jug Stompers: The Best of Cannon’s Jug Stompers (2001)
Cats and the Fiddle: Killin’ Jive: 1939–1940, Complete Recordings, Volume 1 (1999)
Carl Martin: Carl Martin / Willie “61” Blackwell – Complete Recorded Works In Chronological Order (1994)
The Chicago String Band: Chicago String Band (1966)
Deford Bailey: The Legendary DeFord Bailey (1998)
The Ebony Hillbillies: Sabrina’s Holiday (2004), I Thought You Knew (2005), and Barefoot And Flying (2011)
Elizabeth Cotton: Freight Train and Other North Carolina Folk Songs and Tunes (1989)
Gus Cannon: Complete Recorded Works In Chronological Order: Volume 1 (November 1927 To 20 September 1928) (1990)
Howard Armstrong: Louie Bluie (1995)
Joe Thompson: Family Tradition (2009)
Martin, Bogan & Armstrong: Barnyard Dance (1972), Martin Bogan & Armstrong (1974), and That Old Gang Of Mine (1978)
Mississippi Sheiks: Complete Recorded Works Presented In Chronological Order, Vol. 5 (1991), Mississippi Sheiks & Chatman Brothers – Complete Recorded Works In Chronological Order: Volume 4 (26 March 1934 To 15 October 1936) (1991), Complete Recorded Works In Chronological Order Volume 3: 25 October 1931 To 2 6 March 1934 (1991), Complete Recorded Works In Chronological Order Volume 2: 15 December 1930 To 24 October 1931 (1991), Complete Recorded Works In Chronological Order Volume 1: 17 February To 12 June 1930 (1991)
Sankofa Strings: Colored Aristocracy
Spirits of Rhythm: The Spirits Of Rhythm 1932-34 (1985), Spirits Of Rhythm 1932-1941 (1996)
Various Artist Compilations:
Ain’t Gonna Rain No More: Blues and Pre-Blues from Piedmont North Carolina (2006), Altamont: Black Stringband Music From The Library Of Congress (1989), Before the Blues: The Early American Black Music Scene, vol. 1–3 (1996), Black & White Hillbilly Music: Early Harmonica Recordings from the 1920s & 1930s (1996), Black Banjo Songsters of North Carolina and Virginia (1997), Black Fiddlers (The Remaining Titles Of Andrew & Jim Bxter, Nathan Frazier & Frank Patterson. The Complete Recorded Works Of Cuje Bertram) (1929-c.1970) (1999), The Cornshuckers’s Frolic: Downhome Music and Entertainment from the American Countryside, vol. 1 and 2 (1999), Country Negro Jam Session (1993), Deep River of Song: Black Appalachia: String Bands, Songsters and Hoedowns (1999), From Where I Stand: The Black Experience in Country Music (1998), Old Time Black Southern String Band Music (2006), String Bands: 1926–1929 (1993), and Virginia Traditions: Non-Blues Secular Black Music (1995)
African Banjo Echoes in Appalachia: A Study of Folk Tradition (1995), by Cecelia Conway
Hidden in the Mix: The African American Presence in Country Music (2013), edited by Diane Pecknold
Slaves Without Masters: The Free Negro in the Antebellum South (1974) by Ira Berlin
Sinful Tunes and Spirituals: Black Folk Music to the Civil War (1977), by Dena Epstein
“Black String Bands: A Few Notes on the Lost Cause” (1987) and “Rural Black String Band Music” (1990), by Charles K. Wolfe