The Micro-Historian’s Guide to Research, Evidence, & Conclusions imparts useful guidance to motivated historians, genealogists, special interest researchers, and local history enthusiasts. As long-buried sources become available via the internet, more regular folks without a Ph.D. in history are joining the fun of information-gathering and shining new light on under-explored history – yet often with no foundation of method. The author answers the call with this volume, “paying forward” the guidance received from long-ago mentors as well as from present-day historians and archivists. Topics include research planning & execution, evaluation of evidence, formulation of conclusions, and the crafting of a summary narrative. Each topic is enriched by practical examples from the author’s experience. The aim is to help the new practitioner build a foundation of research skills that leads to evidence-based conclusions. The author’s perspective of experience – as a disciplined researcher, but also with roots as a no-nonsense old-school newspaper reporter – occasionally prompts a mild tease of the buttoned-down genealogy proof standard, or conversely, a deflating poke at flabby interpretation … and moribund academic writing … wherever it may fester. The Micro-Historian’s Guide to Research, Evidence, & Conclusions draws theory from dozens of history, genealogy, historiography, and research giants through the ages. The book also pays tribute to that long-ago cigar-chomping newspaper editor who admonished a young reporter: “Yer mother sez she loves ya’? You still gotta check it out!”

Chauncey Richmond & "The Old Buckbee" tells the musical micro-history stories of (1) an 1885 banjo and its restoration years after its discovery in crumbling, filth-encrusted condition ; (2) the banjo maker, the resolutely anonymous John Henry Buckbee (1837-1890), and his high-volume, no-name banjo factory in the Bronx, N.Y.; and (3) the banjo player, Chauncey Richmond (1872-1910), a modest farmer and rural mail carrier in North Stonington, Conn. who became an unlikely vaudeville impresario in the years before his death at age 37. Along the way, the three focused studies, illuminated by social, economic, and technological context, yield useful insights into the essence of historical research, evidence, and conclusions.

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The story of the banjo's journey from Africa to the western hemisphere blends music, history, and a union of cultures. In Banjo Roots and Branches, Robert B. Winans presents cutting-edge scholarship that covers the instrument's West African origins and its adaptations and circulation in the Caribbean and United States. The contributors provide detailed ethnographic and technical research on gourd lutes and ekonting in Africa and the banza in Haiti while also investigating tuning practices and regional playing styles. Other essays place the instrument within the context of slavery, tell the stories of black banjoists, and shed light on the banjo's introduction into the African- and Anglo-American folk milieus. Wide-ranging and illustrated with twenty color images, Banjo Roots and Branches offers a wealth of new information to scholars of African American and folk musics as well as the worldwide community of banjo aficionados. Contributors: Greg C. Adams, Nick Bamber, Jim Dalton, George R. Gibson, Chuck Levy, Shlomo Pestcoe, Pete Ross, Tony Thomas, Saskia Willaert, and Robert B. Winans.

The appeal of the banjo has been shown to be timeless and universal---adaptable to almost any form of popular music. It was one of just a few instruments that could be faithfully reproduced in the early days of sound recording, and its recording history dates back to 1889. Heier documents that history on cylinders and 78-rpm disks in the pre-LP era ending in the mid-1950s. The book offers a comprehensive compilation of all such recordings on which the banjo plays a solo role or dominant part. Organized by performer or performing group, the recordings are listed chronologically with location, date, matrix number, and take-digit as available, as well as manufacturer and catalog number. Biographical information on the banjoist is provided wherever possible, and all performers anywhere in the world known to have recorded any type of music on banjo are included even if no data on the actual disks is available. Introduced in a foreword by British discographer Brian Rust, the discography also includes a narrative account of the banjo in phonograph recording history by Lowell Schreyer and an essay on the history of the banjo itself by Robert Lloyd Webb. In addition to the discography proper, the editors have provided a preface, A Quick Look at the Banjo Family, identifying the instruments; an extensive bibliography of sources; an index of all tune titles; and reproductions of 92 recording labels. These elements all combine to make this volume a true discopedia of the banjo.