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The Bristol sessions are considered the "Big Bang" of modern country music.〔Johnson, David W. "Did Bristol Sessions Produce Country Music's 'Big Bang'?" Knight Ridder Tribune News Service: 1. Jul 25 2002. Web. 21 Feb. 2015.〕 They were held in 1927 in Bristol, Tennessee by Victor Talking Machine Company company producer Ralph Peer. Bristol was one of the stops on a two-month, $60,000 trip that took Peer through several major southern cities and yielded important recordings of blues, ragtime, gospel, ballads, topical songs, and string bands.〔Stimeling, Travis D. "Recording Reviews: "the Bristol Sessions, 1927-1928: The Big Bang of Country Music"." Journal of the Society for American Music 7.2 (2013): 219-22.〕 The Bristol Sessions marked the commercial debuts of Jimmie Rodgers and the Carter Family. ==Country music before the Sessions== Country music had been recorded commercially since 1922. Among these very early artists were Vernon Dalhart, who recorded the million-selling ''Wreck of the Old 97'', Ernest Stoneman from Galax, Virginia, Henry Whitter, A.C. (Eck) Robertson, who recorded the first documented country record along with Henry C. Gilliland ("Sallie Gooden" b/w "Arkansaw Traveler"), and Uncle Dave Macon. However, any "hillbilly" artists who recorded had to travel to the New York City studios of the major labels, and many artists, including Dalhart, were not true "hillbilly" artists but instead crossed over from other genres. ("Hillbilly" is used here to distinguish the largely secular folk music of the region from gospel and blues, and is not meant as a pejorative.) Okeh Records and later Columbia Records had sent producers around the South in an attempt to discover new talent. Peer, who worked for Okeh at the time, recorded Fiddlin' John Carson using the old acoustic method (known for its large intrusive sound-gathering horn) in 1924, at the behest of the Okeh dealer in Atlanta, Georgia, Polk Brockman. Despite Peer's belief that the record was of poor quality, the 500 copies made of "Cluck Old Hen" sold out in weeks. This experience convinced Peer of the potential for "hillbilly" music. Peer left Okeh for the Victor Talking Machine Company, taking a salary of $1 per year. However, Peer owned the publishing rights to all the recordings he made. Peer's arrangement of paying royalties to artists based on sales is the basis for record contracts today, and the company he founded, Peermusic, remains in existence today. The rise of electronic recording allowed records to have a sound better than radio, which had threatened to reduce the recording industry to irrelevance by 1925. This new method allowed softer instruments such as dulcimers, guitars and jaw harps to be heard, and it also meant recording equipment was highly portable — and as such, recordings could be made nearly anywhere (the acoustic equipment was not really portable.) Peer asked his friend Stoneman, who had recorded for Okeh, how to find more rural talent. Stoneman convinced Peer to travel through southern Appalachia and record artists who might otherwise have been unable to travel to New York. Peer recognized the potential with the mountain music, as even residents of Appalachia who didn't have electricity were using hand-cranked Victrolas. He decided to make a trip, hoping to record blues, gospel and "hillbilly" music. Artists were paid $50 on the spot for each side cut, and 2½ cents for each single sold. In February and March, he made a trip which recorded blues and gospel music, and decided to make another trip. He decided to make a stop in Savannah, Georgia and Charlotte, North Carolina. He settled on Bristol (at the urging of Stoneman) as a third stop, because with Johnson City and Kingsport, Tennessee, it formed the Tri-Cities, the largest urban area in the Appalachians at the time. In addition, three other record companies had held or were scheduling auditions for Bristol. So Peer set out with his wife and two engineers for Bristol. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Bristol sessions」の詳細全文を読む スポンサード リンク
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