This is captured from a live video recording. I’'ve replaced the embedded audio with a link to Bandcamp, as for some reason the embedded audio played much faster than the original, which made it even less pleasant. I’ve also changed the title of the blog to reflect the title of the tune on the Bandcamp site. You don’’t, of course, have to pay to hear the tune…
Vestapol (even the name has variant spellings, almost as many as the tune has variants) has a fascinating (if slightly confusing) history. Henry Worrall (1825-1902), an artist and musician who taught guitar at the Ohio Female College, composed a guitar piece apparently inspired by the siege of Sebastopol (1854-1855) and sometimes called ‘The Siege of Sebastopol’ or ‘Sebastopol: Descriptive Fantasie’, or – according to the printout of the sheet music I have in front of me – just ‘Sebastopol’.
Sadly, I can’t read music – well, maybe if it’s simple enough that I can play it on recorder, but that’s about as far as I can go. So I don’t know how close that piece by Worrall is to the tune I’m interpreting in this slightly scratchy video capture. Compared to this version, played by Macyn Taylor on parlour guitar, not very. But the tune is quite pretty, as is the Petros guitar she’s playing. That said, this version, played by Brian Baggett and “interpreted from the original manuscript…in collaboration with the Kansas Historical Society” is just about close enough to suggest that the tune I’m playing might derive ultimately from the older piece. As does the resemblance of the naming of the later piece, of course. Then there’s the fact that both pieces use the same open D (D-A-D-F#-A-D) tuning, often referred to by blues musicians as ‘Vestapol’ or ‘Vastapol’ (or similar) tuning.
It’s worth noting at this point that Worrall also published an arrangement of a popular piece called ‘Spanish Fandango’ – which, though it’s not without charm, to my ear resembles a ‘real’ fandango even less than ‘Bohemian Rhapsody’ resembles the work of Václav Tomášek. Worrall’s tune uses an open G tuning (D-G-D-G-B-D). While I’m not aware that Worrall’s ‘Fandango’ has had anything like the same popularity or influence among blues/ragtime/folk musicians that ‘Sevastopol’ has, it’s notable that this open G tuning is often referred to as ‘fandango’ tuning. And certainly Elizabeth Cotton, who also played ‘Vestapol’, had a very similar tune called ‘Spanish Flang Dang’.
But – returning to ‘Vestapol’ – how did a formal piece apparently intended for the genteel parlours of the US get to my genteel home office/recording studio in the Wild West of Cornwall as a blues-y, train-y, ragtime-ish, clawhammer picking piece?
Stefan Grossman, who put together a three-part video to teach his own version, kind of skates over the issue as barely explainable, though a contributor to a thread on Mudcat points out perfectly reasonably that blacks and whites worked together and blacks worked as servants in the homes of white people: “They heard, they liked, they learned.” And adapted, making the work of other musicians into something of their own. So by the time John Fahey recorded the tune he still called ‘The Siege of Sevastopol’, it had developed into something significantly different Worrall’s tune, and acquired words – Robert Wilkins’s ‘Poor Boy (a long way from home) and ‘Prodigal Son’, later kidnapped by the Rolling Stones.
In fact, I sometimes follow Grossman’s lead in combining ‘Vestapol’ and ‘Poor Boy’ – he was the first person I heard do that, back in the late 60s or early 70s – or even tack it onto the end of one of my own songs. (I might revisit one of those songs — Highway Fever or Castles and Kings — here, in the near future).
However, on this occasion I decided to quit while I was ahead and just do the instrumental. And hope that it doesn’t measure up too badly to the many fine musicians who’ve taken their own shots at this well-worn but well-loved music.
Such pieces often sound more like a train blues than pseudo-classical parlour guitar, and I've introduced some tropes that I like to think build on the train blues theme, hence the change of title.