Elizabeth "Libba" Cotten (néeNevills; January 5, 1893 – June 29, 1987)[1][2][3] was an influential American folk and blues musician. She was a self-taught left-handed guitarist who played a guitar strung for a right-handed player, but played it upside down.[4] This position meant that she would play the bass lines with her fingers and the melody with her thumb. Her signature alternating bass style has become known as "Cotten picking".[5]NPR stated "her influence has reverberated through the generations, permeating every genre of music."[6]
Cotten was born in 1893[11] in or near Chapel Hill, North Carolina.[11] Her parents were George Nevill (also spelled Nevills) and Louisa (or Louise) Price Nevill. Elizabeth was the youngest of five children. She named herself on her first day of school, when the teacher asked her name, because at home she was only called "Li'l Sis".[12] By the age of eight, she was playing songs. At age nine, she was forced to quit school and began work as a domestic worker.[13] At the age of twelve, she had a live-in job at Chapel Hill. She earned a dollar a month, that her mother saved up to buy her first guitar.[14][15] The guitar, a Sears and Roebuck brand instrument, cost $3.75 (equivalent to $127 in 2023).[14] Although self-taught, she became proficient at playing the instrument,[16] and her repertoire included a large number of rags and dance tunes.[13]
By her early teens, she was writing her own songs, one of which, "Freight Train", became one of her most recognized.[17] She wrote the song in remembrance of a nearby train that she could hear from her childhood home.[13] The 1956 UK recording of the song by Chas McDevitt and Nancy Whiskey was a major hit and is credited as one of the main influences on the rise of skiffle in the UK.[18]
Around the age of 13, Cotten began working as a maid along with her mother. On November 7, 1910, at the age of 17, she married Frank Cotten.[19] The couple had a daughter, Lillie, and soon after Elizabeth gave up guitar playing for family and church. Elizabeth, Frank and their daughter Lillie moved around the eastern United States for a number of years, between North Carolina, New York City, and Washington, D.C., finally settling in the D.C. area. When Lillie married, Elizabeth divorced Frank and moved in with her daughter and her family.
Rediscovery
Cotten retired from playing the guitar for 25 years, except for occasional church performances. She did not begin performing publicly and recording until she was in her 60s. She was discovered by the folk-singing Seeger family while she was working for them as a housekeeper.
While working briefly in a department store, Cotten helped a child wandering through the aisles find her mother. The child was Peggy Seeger, and the mother was the composer Ruth Crawford Seeger. Soon after this, Cotten again began working as a maid, this time for Ruth Crawford Seeger and Charles Seeger, and caring for their children, Mike, Peggy, Barbara, and Penny. The Seeger family kids, who were too young to pronounce "Elizabeth", began calling her "Libba", and she embraced that nickname later in life.[20] While working with the Seegers (a voraciously musical family that included Pete Seeger, a son of Charles from a previous marriage), she remembered her own guitar playing from 40 years prior and picked up the instrument again and relearned to play it, almost from scratch.[14]
Peggy Seeger took the song "Freight Train" with her to England, where it became popular in folk music circles. British songwriters Paul James and Fred Williams subsequently misappropriated it as their own composition and copyrighted it. Under their credit, it was then recorded by British skiffle singer Chas McDevitt, who recorded the song in December 1956. Under advice from his manager (Bill Varley), McDevitt then brought in folk-singer Nancy Whiskey and re-recorded the song with her doing the vocal; the result was a chart hit. McDevitt's version influenced many young skiffle groups of the day, including The Quarrymen. Under the advocacy of the influential Seeger family, the copyright was eventually restored to Cotten.[22][23] Nevertheless, it remains mis-credited in many sources.
Shortly after that first album, she began playing concerts with Mike Seeger, the first of which was in 1960 at Swarthmore College.
Bronze statue of Cotten in Libba Cotten Grove, South State St., Syracuse NY.[24]
The newfound interest in her work inspired her to write more songs to perform, and in 1967 she released a record created with her grandchildren, which took its name from one of her songs, "Shake Sugaree". The song featured 12-year-old Brenda Joyce Evans, Cotten's great-grandchild, and future Undisputed Truth singer.[citation needed]
Using profits from her touring, record releases and awards given to her for her own contributions to the folk arts, Cotten was able to move with her daughter and grandchildren from Washington, D.C., and buy a house in Syracuse, New York. She was also able to continue touring and releasing records well into her 80s. In 1984, she won the Grammy Award for Best Ethnic or Traditional Recording, for the album Elizabeth Cotten Live, released by Arhoolie Records. When accepting the award in Los Angeles, her comment was, "Thank you. I only wish I had my guitar so I could play a song for you all." In 1989, Cotten was one of 75 influential African-American women included in the photo documentary I Dream a World.[25]
Cotten died in June 1987, at Crouse-Irving Hospital in Syracuse, New York, at the age of 94.[26]
Guitar style
Cotten began writing music while toying with her older brother's banjo. She was left-handed, so she played the banjo in reverse position. Later, when she transferred her songs to the guitar, she formed a unique style, since on a 5-string banjo the uppermost string is not a bass string, but a short, high-pitched string which ends at the fifth fret. This required her to adopt a unique style for the guitar. She first played with the "all finger down strokes" like a banjo.[14] Later, her playing evolved into a unique style of fingerpicking. Her signature alternating bass style is now known as "Cotten picking". Her fingerpicking techniques have influenced many other musicians.[27]
In 2023, Cotten was named 36th best guitarist of all time by Rolling Stone.[32]
Further reading
Bastin, Bruce (1986). Red River Blues. Chicago: University of Illinois Press.
Cohen, John; Marcus, Greil (2001). There Is No Eye: John Cohen Photographs. New York: PowerHouse Books.
Cohn, Lawrence (1993). Nothing but the Blues: The Music and the Musicians. New York: Abbeville Press.
Conway, Cecilia (1995). African Banjo Echoes in Appalachia. Knoxville: University of Tennessee Press.
Escamilla, Brian (1996). Contemporary Musicians: Profiles of the People in Music. Vol. 16.
Harris, Sheldon (1979). Blues Who's Who. New York: Da Capa Press.
Hood, Phil (1986). Artists of American Folk Music: The Legends of Traditional Folk, the Stars of the Sixties, the Virtuosi of New Acoustic Music. New York: Quill.
Menconi, David (2020). Step it Up and Go. University of North Carolina Press. ISBN978-1-4696-5935-0.
Santelli, Robert (2001). American Roots Music. New York: Harry N. Abrams.
Seeger, Mike. Liner notes accompanying Freight Train and Other North Carolina Folk Songs and Tunes, by Elizabeth Cotten. Washington, D.C.: Smithsonian Folkways, 1989 reissue of the 1958 album Folksongs and Instrumentals with Guitar.
Smith, Jessie Carney (1993). Epic Lives: One Hundred Black Women Who Made a Difference. Detroit: Visible Ink Press.
Smith, Jesse Carney, ed. (1992). Notable Black American Women. Detroit: Gale Research.
^ abcGovenar, Alan, ed. (2001). "Elizabeth Cotten: African American Songster and Songwriter". Masters of Traditional Arts: A Biographical Dictionary. Vol. 1 (A-J). Santa Barbara, CA: ABC-Clio. pp. 144–146. ISBN1576072401. OCLC47644303.
