Thus he has proved able to retain the vitality, expressiveness and meaning of the folk material he sings. This has aided him in building a steadily-increasing and loyal following in Florida and throughout the Midwest, where he has worked in nightclubs, on radio and TV, and in concerts before school and university audiences. Although he has been a full-fledged professional only since 1954 (when he left a promising career as a junior executive in a New York management-consultant firm), Gibson’s interest in music goes back at least as far as high school days, when he played leads in community theater group performances of Gilbert and Sullivan, and of Kurt Weill’s “Down in the Valley.”

A further “offbeat” aspect of the Gibson approach is the very wide scope of his repertoire. He ranges from the intricacies and subtle nuances of Flamenco dance (as played, uniquely, on banjo rather than guitar) to the hard-driving banjo-picking style of Southern mountaineers; from the tender lyrical beauty of Irish love songs to the rocking rhythms of Calypso. Such selections as The Pig and the Inebriate (which may be familiar to a good many listeners who’ve just never thought of it as a “folksong”) suggests the open-mindedness of Gibson’s song-collecting habits.

He has recognized that a college student can be as valuable a source as a venerable mountaineer! In travel throughout the United States, and in the West Indies, he has collected from traditional singers, other club performers, students—from “folk” in every walk of life. Nor has he been afraid to delve into the numerous book and recordings of folksongs, from which come some of his best material.

As a combination scholar, collector and performer, Bob Gibson has thus been able to recreate—and create— the essence of the best of folkmusic, to the great satisfaction of audiences, reviewers and even the severest of all critics—those people from whom he has learned much of the material he presents.

By the time singer Bob Gibson is invited to perform, the audience seems to welcome the contrast. Without going into unnecessary detail, let me say that Gibson’s lively approach to folk music is pleasing, particularly in this context. He indicates a rapidly maturing talent, on stage ease, and competence as a banjo player. Gibson is quite personable… and could contribute to the success of the venture, if success is forthcoming.

Summary: Nordine, tall, dark, and eerie, is an impressive figure on stage. His “word jazz” is less impressive. Gibson is talented and worth hearing.