Old-Time Fiddling Contest in Yankton, SD - 1980
If you’ve spent any time in the old-time fiddle world, you know that certain places hold a kind of reverence. Yankton, South Dakota, is one of those places for me. In 1980 (two years before I came around), fiddlers from all around the Midwest came to Yankton — Kansas, Missouri, Minnesota, Arkansas, and the Dakotas—gathered for a contest that wasn’t just about winning; it was about carrying forward a tradition of music making that stretches back for generations.
This LP, Old Time Fiddling Contest 1980 (Volume 17), is more than just a record of the event. It’s a snapshot of a particular time and place, a moment when old-time fiddling was alive and very well in Yankton. The record features standout legacy musicians like Cyril Stinnett, Dwight Lamb, Vernon Spencer, Amos Chase, Lucy Pierce, and Jake Hockemeyer, along with a host of others, all contributing their own unique and regional take on the music.
The Tracks that Define a Contest
Side One opens with a collection of classic tunes, but what sets them apart is how each fiddler adds their own regional touch and style. Cyril Stinnett’s performance of Mothers Reel is a perfect example. This isn’t just another reel from Canada — it’s an absolute masterclass in bowing, phrasing and precision. Stinnett’s control over the tune is unmistakable to the ear, blending unbelievable technical skill with the heart and soul of his signature and forever inimitable style.
Moving through Side One, Amos Chase's rendition of Marmaduke’s Hornpipe stands out for its intricate phrasing and rhythmic drive. Chase’s playing has a clear, deliberate quality, showing respect for the melody of the tune while still adding his own flair.
On Side Two, the record continues with a lineup of well-known tunes that have been staples of the old-time scene for years. Kay Werre breathes new life into Annie Laurie, a song that pulls at your heartstrings with its slow meter. Then Dwight Lamb’s unmistakable Coming Down from Denver kicks the energy up to 11, with a driving tempo and crisp bow work that makes it impossible to not tap your foot and smile.
The LP closes with Eldon Gregory and Coming Down the Mountain, a tune that feels like a fitting end to the journey in Yankton (even though you can't see a mountain from this part of SD) this record takes you on. Mr. Gregory’s playing captures the essence of the contest itself—joyful, lively, and filled with the kind of heart and character that defines old-time fiddling.
The Spirit of Yankton
This record isn’t just about the tunes—it’s about the people and the place. Wilbur Foss, who put this contest together with his father for years, understood that. He states in the album notes about how this record isn’t just for those who were there in 1980, but for anyone who loves this music and wants to feel a part of that tradition. He even invites listeners to come out to Yankton someday, to see these fiddlers in person and experience that sense of community firsthand. (Wish we could Wilbur, y'all did a fine job.)
In his words: “Maybe after you hear these fiddlers, you’ll want to make a trip to Yankton, South Dakota one September and see these fine fiddlers for yourself.”
Yankton’s contest was always about more than the prize and competition; it was always about connecting with others who share the same passion for the music, the tradition and the community it provides for us.
Why This Record Matters
Today, records like this are precious (and a wonderful investment I tell myself...). They remind us of a time when music wasn’t something you downloaded or streamed—it was something you experienced, live, in the moment, with a group of people who cared about it just as much as you did. This album captures that feeling, and in doing so, it keeps the spirit of the Yankton gatherings alive for future generations. And I know the Foss's are happy to have made that happen.
So, if you ever come across this record or the other volumes Wilbur issued, grab it up! It’s a little piece of Yankton’s fiddling history, preserved in vinyl (or cassette in later years!), waiting to be rediscovered.
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To download this LP in its entirely, click here, or the album cover below.
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