This does not get its name because I’m arrogant enough to believe that I’m the only person in the world capable of playing this as a guitar solo. (I can imagine John Renbourn choking on his ambrosia at this moment at the very thought.)
What actually happened is that I was watching ‘Quartet’ on the TV – a dangerous exercise, because it always makes me wish I had a more operatic voice (or even a bearable voice) – and when it finished, I needed a little more music, so I picked up a guitar. I liked the somewhat random thing I found myself playing so much that I wandered back into the office and switched on the recording gear, and was in the zone for at least five minutes.
It will require editing and further polishing (and possibly an overdub or two), but I think it has a lot of potential. I was playing my Baby Taylor in Nashville tuning.
Replacement version: a bit tighter, but it could still be (quite a lot) shorter.
Vestapol (even the name has variant spellings, almost as many as the tune) 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 is to the tune I’m interpreting in this video. Compared to this version, played by Macyn Taylor on parlour guitar, not very. That said, this version, played by Brian Baggett “interpreted from the original manuscript…in collaboration with the Kansas Historical Society” is just about close enough to suggest that mine does derive ultimately from the older piece. As does the resemblance of the naming of the later piece, and, even more, 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 rather less than ‘Bohemian Rhapsody’ resembles the work of Václav Tomášek – which 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 tack it onto the end of one of my own songs as with ‘Highway Fever’ here. Or ‘Castles and Kings‘, but not available as a recording right now.
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.
David Harley Words & Music 
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