John Cohen, champion of early music, died at 87



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John Cohen, founding member of New Lost City Ramblers, the New York string group at the forefront of the musical revival of the 1950s and 1960s, died Monday at his home in Putnam Valley, New York. 87.

His son, Rufus, said the cause was cancer.

Although best known as an interpreter, Mr. Cohen was also an accomplished photographer, filmmaker and musicologist. But almost all of his artistic activities were focused on one goal: to revitalize the traditional South American rural music and create a movement around it.

Founded in 1958, the Ramblers were composed of Mr. Cohen on banjo, guitar and vocals; the folklorist Mike Seeger, also on vocals, as well as violin and other instruments; and Tom Paley, who left the trio in 1962, playing banjo, guitar and singing. Together, the three men introduced a generation of urban youth to the work of rural performers of the Depression era such as Dock Boggs, Elizabeth Cotten and Blind Alfred Reed. (Tracy Schwarz, Mr. Paley's replacement played violin and guitar and sang with the band from 1962 to the early 1970s.)

Unlike some of their contemporaries, the trio did not simply imitate – or sanitized, as was the case with groups like the Kingston Trio – the unadorned sounds of their Appalachian ancestors. By mastering the antediluvian musical syntax, the Ramblers accorded great respect to the old group of strings while equipping them to reimagine it with their own exuberant timbre.

The Jon folklorist Pankake, in the liner notes to "Where do you come from? Where Do You Go ?," an anthology of 2009 Ramblers recordings and their influences, called Mr. Cohen "William Blake's group, a visionary role worthy of the training and talents of his artist ".

"In retrospect," continued Mr. Pankake, "he seemed particularly aware of the evolution of the Ramblers' mission, aware that the band had something more entertaining than itself, carving out a still unknown place in the world. the story and inspiring many listeners become a new type of music community. "

Mr. Cohen went periodically to the south to locate and record those of his predecessors from the Depression era who were still alive and, whenever possible, bring them into the north for that they occur in folk festivals and on university campuses. Her commitment to Southern traditional culture also extends to her photographs, published in publications such as Vanity Fair, Rolling Stone and The New York Times, and is part of the collections of the National Gallery and the Metropolitan Museum of Art. Art.

Published in 2001, his book "There Is No Eye" served as a repertoire for his 50 years working as a photographer. It included images of subjects ranging from personalities like Bill Monroe and Woody Guthrie to lesser-known characters like banjo players Clarence Ashley and Charlie Poole.

Mr. Cohen was also a documentary filmmaker. His 1963 short "The High Lonesome Sound" examined the life and music of Kentucky singer and banjo artist Roscoe Holcomb. Among his more than a dozen documentaries were films describing the music and traditional mores of the Incas of Peru.

Unlike some who present Aboriginal cultures to a wider audience, Mr. Cohen did not impose preconceived notions on his subjects. He avoided the term "folk" as a way of referring to Aboriginal music and traditions, describing it in a 2001 interview with roots music magazine No Depression, as "a way of the upper class to describe this. what do the poorer classes do?

John Cohen was born on August 2, 1932 in Sunnyside, Queens, Israel Cohen, owner of a shoe store, and Sonya (Shack) Cohen, a housewife. He grew up in the suburbs of Great Neck on Long Island. His parents introduced him to folk music when he was a child. in high school, he listened to Woody Guthrie's records and started playing the guitar.

He received a BA in Fine Arts from Yale in 1955 and a MA in Fine Arts from that city in 1957. He also helped organize hootenannies on campus and began taking pictures of influential but unknown musicians like folk singer Reverend Gary Davis.

"When I started studying music, it was a multiple implication," Cohen wrote in the cover notes of the CD accompanying his 2001 photographic retrospective. "I photographed it , interpreted, presented, recorded and filmed on this subject.

"While some music collectors were looking for stars and innovators," he continued, "I was looking for music that was always in direct contact with its roots, and I was only photographing elements. related to my research. "

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