Horizon - WP 1606
This record could have been made in a recording studio... it could have been made with many other musicians participating.. .with arrangements, soloists, and echo chamber... but it wasn't! There was a very good reason why that was not done and Travis Edmonson is that reason.
In folk music, as in few forms of entertainment, a rapport can be established between performer and audience which is electrifying to the audience... inspiring to the performer. An entertainer capable of establishing this rapport with an audience cannot be done full justice in a studio recording session. Travis Edmonson is just such an entertainer. For this reason this recording was made in "live performance."
Travis is a veteran in the world of folk music. Having learned to play the guitar as a member of a mariachi band in his home town of Nogales, Arizona...he later joined the legendary Gateway Singers... then went on to form the highly successful team of Bud and Travis, a duo which was one of the greatest influences in the popularization of contemporary folk music. Now on his own, Travis has been touring clubs across the country, where his natural ability to communicate with his audience has brought about thunderous applause and rave reviews.
It was with this ability in mind that Radio Station KPFK (who originally taped this show with the intention of broadcasting it), one January evening, set up its recording equipment at the Troubadour Cafe in Hollywood. By 8:30 the recorders were installed, lines run, microphones tested. Club goers packed the house, and at 9:00, avoiding the clichéd "driving opener," Travis strolled onstage, talked briefly to his audience, and moved swiftly into the rhythmic, humorous Talkin' Blues. Before the applause for the first number died out, he began the introduction to Malaguena Salerosa (a song he had recorded twice previously, first with the Gateway Singers and again with Bud and Travis). Throughout the first set the electricity mounted as the audience responded to Travis, and he, in turn, responded to them. From Cotton-Eyed joe (the oldest Blues on record at the Library of Congress), through East Virginia Blues, and on into Joey, joey (a number which illustrates Travis' ability to infuse depth and meaning into "pop" material) the applause grew longer and louder. Until, finally, at the conclusion of the set, Viva la. Fiesta, a driving Mexican song, the audience broke into unrestrained participation with the performer.
The house lights came up; the audience talked; more people-arrived; but no one left.
As the second set progressed the audience became aware of the versatility of the talent before it. Following the traditional folk song Lonesome Traveler Travis swung into the jazz-influenced guitar and bass harmonies of Michaela and then to the sighing Cross the Plains (a song which invokes the very sound of the wind as its theme). The touching simplicity of High Hilt Country succeeded the haunting lyric of We Live To Love. The evening built to tumultuous climax as, at the end of Viva la Fiesta (part two) the audience refused to let Travis leave the stage, and called him back to do three additional choruses, the last of which he made, off mike, from the balcony next to his dressing room.
It's all here. A record of that evening -a graphic account of a communication between an entertainer and his audience. It's TRAVIS -ON CUE.
-R. F. Davis Jr.
copyright 1962 Richard Franklin Davis Jr.
Produced by David Hubert & Jack Daley
Cover design by Haddad & Bell
Cover & back photos by Jim Dixon
Audio by David Hubert, Jack Daley &.Steve Alsbaerg
a RICHARD BOCK Presentation
This is a live album, made at the Troubador in Los Angeles in 1962 with a casual and relaxed Travis Edmonson playing to an especially appreciative audience, accompanied by Connie Clark on bass. Originally recorded as a radio concert, it was later released in abridged form under the title "Travelin With Travis."
Cotton Eyed Joe
East Virginia Blues
Joey Joey Joey
Viva La Fiesta (Guantanamera)
‘Cross The Plains
We Live to Love
High Hill Country
The Breeze and I
Viva La Fiesta (La Bamba)
denotes Travis Edmonson compositions
denotes Travis Edmonson arrangements
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