HOUSTON, November 14, 2023 – Playing for the Man at the Door: Field Recordings from the Collection of Mack McCormick, 1958–1971, the first compilation of music drawn from the fabled blues and folklore archives of the late Robert “Mack” McCormick, has earned two GRAMMY® nominations – for Best Historical Album and for Best Album Notes. The acclaimed album documents a pivotal moment in African American history, featuring never-before-heard performances from musicians who became icons in their own right—including Lightnin’ Hopkins and Mance Lipscomb—as well as performers whose names may be unfamiliar to even the most devoted blues fans and scholars.

Smithsonian Folkways released the album after McCormick’s archives were donated last year to the Smithsonian’s National Museum of American History by McCormick’s daughter, Susannah Nix, an award-winning romance author. For five years, Baker Botts, led by partners Bill Kroger and Roger Fulghum, advised and represented Ms. Nix and the McCormick Estate on the collection on a pro bono basis.

“This project would not have been possible without the tireless efforts of Bill, Roger, and the rest of the Baker Botts team,” Ms. Nix said.

McCormick, who lived most of his life in Houston, was one of the foremost folklorists in the United States. Starting in the 1950s, he documented and preserved information on the lives and music of musicians throughout the South, and especially Texas.  He accumulated a massive archive of unreleased recordings, photographs, interview tapes, research notes, correspondence, essays, and other materials pertaining to Texas and Southern music and folklore.

The recently mastered recordings from Playing for the Man at the Door and accompanying photographs bring to life many forgotten figures, offering insight into their lives and illuminating in new, enlightening ways their joys and anguish, deep social connections, distinctive voices, and cultural networks. The collection spans gospels, ragtime, country blues dirges, the unclassifiable music of George “Bongo Joe” Coleman, and more. Numerous favorable reviews have been written about the release, including by The Guardian, which called the collection a “vital snapshot of mid-century African American music.” The release has also been featured on NPR’s “All Things Considered,” most recently on November 6.

Accompanying the music is a 128-page book, containing breathtaking photographs by McCormick and his associates, as well as contextual essays by producers Jeff Place and John Troutman on McCormick’s life, and by musicians Mark Puryear and Dom Flemons, on some of the marginalized communities throughout “Greater Texas” to which McCormick devoted his life’s work.

“Mack McCormick recognized the beauty and magic of this music at a time when very few people in Houston or in Texas appreciated it,” Mr. Kroger said. “This wonderful compilation shines an important light on the rich cultural life of generations of Texans during a dark period of segregation. We are honored to have played a role in making this historically rich and vital material available to the public.”

In the 1950s and 60s, the blues was the dominant form of Black vernacular music throughout Texas and surrounding areas. In segregated neighborhoods, community members gathered in saloons, dancehalls, and each other’s homes to hear their neighbors sing their stories of sorrow, heartbreak, jubilation, and triumph. Robert “Mack” McCormick, an academically untrained but fanatical devotee of the blues, stepped into this world and became one of its most devout advocates and documentarians. By photographing Black and Latino Texans and their neighborhoods, as well as recording and interviewing musicians—many of whom never stepped foot into a proper recording studio—McCormick endeared and eventually embedded himself into these communities. By the time he died in 2015, McCormick had amassed a collection of 590 reels of sound recordings and 165 boxes of manuscripts, original interviews and research notes, thousands of photographs and negatives, playbills, and posters. Because McCormick never published or released most of these materials, his collection became a thing of legend and intense speculation among scholars, blues aficionados, and musicians.

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