Alan Lomax
Alan Lomax: A Pioneer of American Folk Music
Full Name and Common Aliases
Alan Percy Fleming Lomax Jr.
Birth and Death Dates
January 16, 1915 - July 19, 2002
Nationality and Profession(s)
American Anthropologist, Ethnomusicologist, Music Producer, and Writer
Early Life and Background
Born in New York City to a family of intellectuals and artists, Alan Lomax was exposed to music from an early age. His father, John A. Lomax, was a folk music collector and writer who had already published several books on the subject by the time Alan was born. This introduction to traditional American music would shape Alan's life's work and spark his passion for preserving and promoting it.
Growing up in Washington D.C., Lomax spent much of his childhood traveling with his father, attending folk music sessions and observing the musicians at work. These experiences instilled in him a deep appreciation for the rich cultural heritage of American folk music. After completing his education at the University of Texas, Lomax began to make a name for himself as a young ethnographer, documenting the musical traditions of various ethnic groups across the United States.
Major Accomplishments
During his career, Alan Lomax made groundbreaking contributions to the field of ethnomusicology. He traveled extensively throughout the Americas, collecting and recording thousands of songs from diverse cultural backgrounds. These efforts led to the establishment of the Archive of American Folk Song at the Library of Congress, which he helped build into one of the largest repositories of its kind in the world.
Lomax was a prolific writer, producing numerous books and articles on folk music, including his seminal work "The Folk Songs of North America." He also produced numerous recordings featuring traditional artists such as Lead Belly, Woody Guthrie, and Muddy Waters. His innovative approach to field recording – using portable equipment and engaging with the musicians in their natural environments – helped to redefine the way folk music was collected and presented.
Notable Works or Actions
Some of Lomax's most notable works include:
"The Folk Songs of North America," a comprehensive collection of traditional songs from across the continent.
"Mister Jelly Roll," a biography of New Orleans jazz pianist Jelly Roll Morton.
"Deep River of Music," a radio documentary series exploring American musical traditions.Impact and Legacy
Alan Lomax's work has had a lasting impact on our understanding of American folk music. His dedication to preserving the cultural heritage of the country's diverse ethnic groups helped to create a sense of national identity through music. By highlighting the contributions of lesser-known artists, he provided a platform for their voices to be heard and celebrated.
Lomax's legacy extends beyond his own work as well. He inspired generations of musicians, ethnomusicologists, and writers, who continue to build upon his foundation. His innovative approaches to field recording and music documentation remain influential today, shaping the way we collect and present traditional music.
Why They Are Widely Quoted or Remembered
Alan Lomax is widely quoted and remembered for several reasons:
His dedication to preserving American folk traditions has left an indelible mark on our cultural heritage.
His innovative approaches to field recording helped to redefine the way we collect and present traditional music.
His tireless advocacy for lesser-known artists has provided a platform for their voices to be heard.
As a pioneer in his field, Alan Lomax continues to inspire new generations of musicians, ethnomusicologists, and writers. His work serves as a testament to the power of music to unite us across cultural divides and provide a common language for understanding our shared humanity.
Quotes by Alan Lomax

You could hear him, literally, half a mile away when he opened up. He was at his peak then. He was, naturally, dying to get out of the place he was in, and he recorded for us his appeal for pardon to the governor.

Back in the early 30s, Woody and Lead Belly were musical cronies. At all the New York folk-song parties of that day - and the guitar picking population of New York at that time consisted of about ten people, if you can believe it - Lead Belly and Woody were the stars. And usually after all of us had decided to go to bed, Woody would go home with Lead Belly and they'd sit up and play until morning.

The British ballads became a new kind of form in their hand. And out of them came the blues, a new kind of song of commentary and satire, a song form which, after all, has become the main musical form of the whole human species.

We went over Lead Belly's repertory with him. And we helped him round it off into concert form so that when he got up in front of his audience, he sang ballads and work songs and lullabies and children's games and square-dance tunes, the whole thing.

We were doing a benefit for this Spanish cause, the Spanish Loyalists who were fighting against Franco, and Woody was on the show. It was one of the first nights he was in New York. He stepped out on the stage, this little tiny guy, big bushy hair, with this great voice and his guitar, and just electrified us all. I remember the first song I heard him sing: "Mention Dirty to My Heart.

Well I think that, really, when I look back on fifty years of working on folk music in America and elsewhere, I think maybe the most important contribution I made to the future was the time that I put in with these two people. I was very young and I could really sit at their feet.

He learned through the way that my father and I felt about his songs, his country songs, that they were great songs. And then he went out and sang them for the audiences that we found, and he found a tremendous reaction to that.

My father and I met Lead Belly in the Angola Penitentiary in 1933. We came there looking for the roots of American black song, and we certainly found them with Lead Belly.

We now have cultural machines so powerful that one singer can reach everybody in the world, and make all the other singers feel inferior because they're not like him. Once that gets started, he gets backed by so much cash and so much power that he becomes a monstrous invader from outer space, crushing the life out of all the other human possibilities. My life has been devoted to opposing that tendency.

The dimension of cultural equity needs to be added to the humane continuum of liberty, freedom of speech and religion, and social justice.