This is American Routes for the Fourth of July weekend, celebrating our country’s 250th year and more live music recalling the fiftieth anniversary of the Library of Congress’s American Folklife Center. Including Afro-French zydeco and blues from South Louisiana accordionist Jeffery Broussard, classic folk songs from Johnette Downing and Scott Billington, Bentonia, Mississippi, blues from guitar slinger Jimmy “Duck” Holmes, and the latest Cajun French stylings of Louis Michot and band. First, here’s John Fenn, Head of Research and Programs at the American Folklife Center at the Library of Congress, to tell a bit about the Center’s work and legacy over the last half century.

The late tenor saxophonist Sonny Rollins was one of the premier players in jazz. Rollins has been a favorite of both fans and critics, traversing bebop and cool with a strong melodic sound. The calypso rhythm that Sonny Rollins captured on one of his best-known tunes, “St. Thomas,” comes from family life. Sonny’s parents were natives of the Virgin Islands. Sonny was born Walter Theodore Rollins in 1930 and grew up in Harlem. His brother and sister were classically trained musicians, but Sonny turned to jazz early, and by his twenties, he was playing tenor sax with top jazzmen like Bud Powell, Miles Davis, and Thelonious Monk. By the late 1950s, Sonny Rollins had a long list of recordings to his name. Many are still classics today, including Saxophone Colossus, Tenor Madness, and Freedom Suite. Sonny Rollins’s music ranges from social statements to sweet remakes of popular songs. He absorbed it all in his youth: the sounds of his neighborhood, the radio and movies, and the music in his household.

The Gullah Geechee people are descendants of those enslaved in the Sea Islands of Florida, North Carolina, Georgia and South Carolina. Because of the remoteness of the plantations, the Gullah Geechee were able to retain some of their African traditions, including the ring shout. It’s a ritual in which participants move counterclockwise in a circle while shuffling and stomping their feet and clapping their hands, in call and response fashion. The tradition is rooted in West African culture, mixed with elements of Christianity. The Gullah Geechee Ring Shouters from Darien, Georgia have preserved this ancestral heritage through performance and education since 1980. They joined us on stage at the New Orleans Jazz Museum where they started with a song you will probably recognize, that came from the Gullah Geechee culture.

We’re live at Marigny Studios with Little Freddie King, an old school bluesman from McComb, Mississippi who lives in New Orleans’ 9th Ward. Little Freddie is a great teller of tales. During the session, we talked about his comings and goings in music, and I asked about the story behind his homemade first guitar.

This is American Routes with a tribute to the legendary New Orleans drummer, James Black. Black also composed tunes like "Monkey Puzzle" and "Dee Wee," both recorded by Ellis Marsalis' ensemble in the early 1960s. As a composer, Black received support from the National Endowment for the Arts.

This is American Routes Live with New Orleans trombonist Corey Henry and his Treme Funktet at Marigny Studios, at the edge of the French Quarter. As the name of the band suggests, the Faubourg Tremé is an important part of Corey’s family history and his development as a musician. I asked him about the origins of the group.

Creole accordion player Edward, “Eddie,” Poullard is a third-generation musician, born in Eunice, LA. He moved to Beaumont, TX, as a young child with his French-speaking family, and started learning music from father, John, a well-known old-time La-La accordionist. When he was nineteen, Eddie played house parties and church dances in his father’s group, the Poullard Family Band. He went on to learn from and tour with Creole fiddler Canray Fontenot. Eddie Poullard is also a master woodworker, specializing in building accordions. He keeps the tradition alive by teaching Creole and Cajun fiddle and accordion styles at festivals and music camps, as well as mentoring musicians from his community and own family.

We are live with BeauSoleil, the venerable Cajun roots, folk and modernist band, looking back and ahead after fifty years. Brothers Michael and David Doucet were joined by Michael’s son Matthew, also a fiddler and a fiddle maker. I asked David Doucet what’s it like being in a band with his brother Michael.

This is American Routes Live, I’m Nick Spitzer. We’ve got jazz trumpeter from Preservation Hall, Wendell Brunious with his New Orleans All Stars. Wendell Brunious is from a famed New Orleans Creole jazz family. He is the son of Nazimova Santiago and John Brunious, Sr., a trumpeter who played with Onward Brass and Young Tuxedo Brass Bands, and Paul Barbarin. Wendell Brunious’ brother was the late John Brunious, Jr., also a trumpeter who lead the Preservation Hall Jazz Band. Over the years, Wendell Brunious sang with Chief John and the Mahogany Hall Stompers in the 1960s. He studied at Southern University, worked with Danny Barker in the ‘70s, and later played on Bourbon Street and with Kid Thomas Valentine, Eureka Brass, Lionel Hampton, Linda Hopkins, Sammy Rimington and Louis Nelson. Right now it’s Wendell Brunious and band on American Routes Live.

Byrds and Flying Burrito Brothers co-founder Chris Hillman is a musician, singer, songwriter, and author. A third generation Californian, Hillman grew up hearing Count Basie, Duke Ellington, Louis Armstrong, Peggy Lee, Frank Sinatra, all on his parents’ hi-fi. He discovered bluegrass and picked up mandolin by way of Bill Monroe and the New Lost City Ramblers. At seventeen, Hillman joined his first band, the Scottsville Squirrel Barkers, a bluegrass group that included Eagles’ guitarist Bernie Leadon. He later played with the Golden State Boys, the resident bluegrass band for Los Angeles television’s Cal’s Corral, which became the Hillmen. I spoke to Chris Hillman over Zoom, where he told me how he was recruited to play bass for the Byrds at a studio rehearsal in L.A.