Gene Goforth & John Hartford - The Famous 1950's Recordings

It's been a while since I've updated this site. I used to think life would slow down as I got older, but that hasn't been the case—and for that, I'm grateful! 

Last July, I was honored to be elected President of the Missouri State Old Time Fiddlers Association.  I've been busy maintaining our music on Bandcamp, and I hope you'll check it out! Our entire discography is currently on sale.

While going through the recordings passed down to me, I came across a wonderful session with Gene Goforth and John Hartford from the late 1950s. I know this recording has circulated and been bootlegged for decades, so I assumed it was online somewhere. Nope, I couldn't find a copy of this recording anywhere. Those of you who've followed this site over the years know that I strive to make these recordings as accessible (and free) as possible.

These 46 tracks really showcase how ferocious Gene's playing was over a vast repertoire of tunes.  

Here's a little bit about Mr. Goforth for those unfamiliar.

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Gene Goforth's journey with the fiddle began in his childhood, marked by early performances at local house dances. He fondly recalled sitting on a stool next to the piano player, his feet swinging to the music, while playing for enthusiastic crowds. These gatherings often featured locally brewed corn whiskey, and young Gene was sometimes given a sip, which would quickly lull him to sleep.

Dink, Gene’s father, believed in self-learning over formal lessons. Gene learned his first tune, “Black Eyed Susie,” by watching and listening to his father and other fiddlers. Out of necessity, he used sewing thread to string an old violin bow and raw pine sap for rosin. By the age of eight, Gene was performing at pie suppers and square dances, often sharing the stage with his uncle, Dee Goforth. Another significant influence was Roy Wooliver, a fiddler known for his bluesy style, which Gene incorporated into his own playing.

In the 1920s, the advent of battery-powered radios transformed the landscape for rural musicians like Gene. These radios introduced him to popular Nashville fiddlers such as Arthur Smith, Howdy Forrester, and Benny Martin, expanding his repertoire and influencing his style. These new sounds blended with the traditional Ozark fiddle music of his upbringing, creating a unique musical fusion.

Gene’s talent quickly gained recognition, and in the 1950s, he played with several groups around St. Louis, including Roy Queen’s country band, “The Brush Apes.” He later joined the Bluegrass Rounders with Dub Crouch and Norman Ford, becoming a prominent figure in Missouri’s bluegrass scene during the 1960s and 1970s. His connections with bluegrass legends like Bill Monroe and Kenny Baker further enriched his musical style, with Monroe often inviting Gene on stage during his St. Louis concerts.

While often labeled an Ozark fiddler, Gene’s mature style was a blend of traditional dance tunes and early bluegrass influences. His ability to adapt to different styles was evident in his performances, whether playing bluegrass at a festival or old hoedowns at home. His distinctive bowing and phrasing, reminiscent of his friend Kenny Baker, and his slower, more deliberate approach to bluegrass allowed him to express the full range of his musicality.

Despite his success, Gene preferred a quieter life in High Ridge, Missouri, where he worked as a heavy equipment operator. His home became a gathering place for friends and aspiring musicians, including the late John Hartford, who considered Gene a significant influence. Hartford’s 1997 CD, "Eminence Breakdown", showcased Gene’s fiddling and highlighted his importance in Hartford’s own musical development.

Throughout his career, Gene participated in several recordings, including the Grammy finalist project "Now That’s a Good Tune: Masters of Traditional Missouri Fiddling". However, he was often reluctant to be recorded, preferring the intimacy of jam sessions with friends. His recordings by Dr. Howard W. Marshall from the 1987 session in Hannibal, Missouri, capture the essence of his style and the rich tradition of Missouri fiddle music.

Gene’s recordings ensure that his unique brand of fiddling will continue to inspire future generations. His journey from the house dances of Shannon County to becoming a revered figure in the fiddle community is a testament to his enduring talent and passion for music.

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You can access the folder to download the album by clicking the cover art above.  There are two folders, one is a compressed .zip file for easier downloading on a desktop, and there is also a folder of individual tracks for listening online or on your phone.  Hope everyone enjoys!

Thanks to each and every one of you that follows this blog, helps me with the research involved, and all of my fellow music nerds who help support my efforts here. There's a lot of hours, weekends, and a bit of money that goes into this site and storage. I always enjoy getting feedback, stories, and whatever so please leave a comment or email me at - BrokenBowFiddleCo@gmail.com