At first glance, Tryon isn’t too different from most small North Carolina towns: Its people are genuinely friendly instead of merely polite; a snug line of mostly brick buildings make up its diminutive downtown; residential housing is a typical mix of stately homes on one side of town and forgotten shacks vanishing into the encroaching kudzu on the other. It’s the kind of place real estate agents describe as “nestled,” situated as it is at the southernmost edge of Polk County, where the great Blue Ridge begins to rise like a crumbling wall. But culturally, the town has distinguished itself in ways that have put a brighter shine on North Carolina’s starry crown.
In 1939, you probably wouldn’t have taken a second look at 6-year-old Eunice Waymon as she walked across the railroad tracks along Trade Street, unless you thought it unusual to see a poor Black kid heading to that part of town. Most everybody in Tryon knew Eunice as a child prodigy, on her way up the hill to Glengarnock Road to take piano lessons from Muriel Mazzanovich, better known as Miss Mazzy. In every sense, Eunice was headed for big things.
Even though many Tryon townsfolk — white and Black — recognized and contributed to Eunice’s artistic development, racism was baked into the Jim Crow South. Before a recital at Lanier Library, a teenaged Eunice saw her parents quietly ushered to the back of the room so white people could take their place in the front row. The young pianist refused to perform until her mother and father were returned to their rightful place.
If systemic racism wasn’t enough to drive ambitious young musicians of color out of the South, professional necessity was. Opportunity was located where the music industry was largely based, either New York or Los Angeles. As her journey into adulthood began, Eunice first attended Asheville’s exclusive Allen Home School, where she befriended Harlem Renaissance poet Langston Hughes. Then it was on to New York’s Juilliard School of Music, and after that, a failed audition for a scholarship to Philadelphia’s Curtis Institute of Music. This was an experience that Eunice remembered for the rest of her life with some bitterness.
Denied a career in classical music, Eunice took a nightclub gig in Atlantic City, where she was informed that she would have to be the featured vocalist as well as the piano accompanist. Soon afterward, she adopted the stage name Nina Simone to protect her family’s reputation. The artist’s new identity and career path would go on to change the world of popular music in ways that defy description: Nina Simone’s music contains elements of jazz, gospel, rock and roll, and rhythm and blues — and still the whole is greater than the sum of its parts.
“Nina Simone was one of the key artists who grew up here and fled at the earliest opportunity,” David Menconi says. “But North Carolina left a mark, as it does.” Menconi has spent a lifetime writing about music — first as a critic who spent a couple of decades at Raleigh’s News & Observer; now as an editor and author, most recently of Oh, Didn’t They Ramble: Rounder Records and the Transformation of American Roots Music.
The list of North Carolina-based musicians who joined that Jim Crow-era Black diaspora is extraordinary: jazz legends John Coltrane, Max Roach, Thelonious Monk; soul singer Roberta Flack; and funk pioneers George Clinton, Maceo Parker and Betty Davis comprise only a partial list.
“Branford Marsalis told me that people like Nina Simone and Thelonious Monk, who left here at a young age, are still identifiable as Southern because of just how deep a mark church puts on everybody,” Menconi says. “That’s what all these artists have in common: They’re not playing gospel, but church is what’s in there if you dig deep enough.”
In 1996, when Crys Armbrust’s dad told him that Nina Simone was born in Tryon, he was met with disbelief. “I actually stood him down for a liar,” Armbrust said when I met him in 2019. “Because any other town in the world that could claim Nina Simone as a local daughter would have it plastered on every building — on every street — in order to build the reputation of that community.” But this was the mid-1990s, and North Carolina had yet to publicly embrace most, if not all, of its distinguished African American sons and daughters. Armbrust, a fan of Nina Simone since his teenage years, spent much of the rest of his life correcting that mistake.
Dr. Joseph Crystal Armbrust was born and raised in South Carolina but summered in Tryon for 45 consecutive years before making it his home. Precious few people can legitimately be called a polymath, but Crys Armbrust is near the top of the list. After earning two Ph.D.s in literature at the University of South Carolina, he taught English literature and in the school of business, later serving as assistant principal at USC’s prestigious Preston Residential College. Once ensconced in Tryon, Armbrust served as the town’s economic development director, commissioner and mayor pro tempore emeritus. As a musician, he performed recitals at Kings Oxford and Westminster Abbey, while serving back home as master of choristers and music director for Tryon’s Episcopal Church of the Holy Cross. An accomplished composer, Armbrust was commissioned to write several works for eminent clients like Her Majesty Queen Elizabeth II and the Vatican.
“My parents wanted a Renaissance man,” Armbrust said, “and they made one.”
None of this would have been immediately obvious to somebody like Menconi if he happened to see Armbrust puttering in the yard of Nina Simone’s birthplace — which he often did. Menconi visited Tryon in 2017, a year before Simone was inducted into the Rock & Roll Hall of Fame. Everyone in town told him he had to talk to Crys Armbrust. “I discovered that he was the guy who knew everything about everyone, but especially her and the cabin where she grew up,” Menconi says. “He was the on-site caretaker of the place.”
The Nina Simone House, saved from obscurity or destruction by a group of artists in 2017, was declared a National Treasure by the National Trust for Historic Preservation a few years later. One of the groups the trust worked closely with when crowdsourcing funds for the house’s rehabilitation was Crys Armbrust’s Nina Simone Project.
“I knew I had the skill set to make a pretty strong impact with respect to creating the Nina Simone Project, so I began in earnest after my father’s death in 2008,” Armbrust said. He conceived a three-phase nonprofit, incorporating a statue, a scholarship and a music festival. When I met Armbrust in 2019, the Nina Simone Project had already bestowed over a dozen general scholarships to local kids.
Despite the economic crash of 2008, Armbrust and the NSP were able to raise enough money to create a statue honoring Simone. It’s situated in a little park on Trade Street, near the railroad tracks Eunice used to cross on her way to take piano lessons. The statue, of Simone seated at a floating, undulating keyboard, contains some of the musician’s ashes in its bronze heart. It was conceived and created by Zenos Frudakis, the same sculptor who did the Payne Stewart likeness behind Pinehurst No. 2’s 18th green.
According to Armbrust, Simone often returned to Tryon. “She left at about 15 and came back quite often,” he told Menconi. “Early on, any and all hours of the day — usually later at night with no fanfare so she wouldn’t have to deal with people. My friend James Payne — who lives a block up the road — would pick her up at the airport, whisk her back here, the door would open, and in she’d walk.” Simone’s last visit to Tryon was to attend her mother’s funeral in 2001.
Crys Armbrust died in August. The Nina Simone Project appears to have gone dormant with his passing, but both he and Simone are very much woven into the fabric of modern-day Tryon. Through his relentless advocacy, Armbrust contributed to a new wave of cultural recognition and reconciliation across the state. In 2006, High Point erected their own bronze statue to “distinguished citizen” John Coltrane. Now there’s a highway marker in the tiny Yancey County seat of Burnsville celebrating Lesley Riddle, an African American native son who, along with the Carter family, helped invent country music. Legendary Piedmont blues artist Elizabeth Cotten is featured in a large mural in her hometown of Carrboro. That list, happily, expands with each passing year.
Hurricane Helene wreaked unimaginable destruction across all of Western North Carolina. Tryon wasn’t spared. The day after, her people did what all tight-knit communities do: They came together. While dazed residents checked in on neighbors and loved ones, the Trade Street Diner set up a generator and offered free coffee and Wi-Fi to all — including evacuees sheltering in Polk County High School. Nearby, at 54 N. Trade St., there’s a bench in Nina Simone Plaza where those who need a break can sit across from the statue of Tryon’s most famous daughter and rest before continuing the work of saving their town. Like a simple act of recognition, a moment’s respite is a small thing that can make a huge difference.
