Tag Archives: banjo

Finely Crafted A Je

Monoswezi – A Je (Riverboat Records TUG1103, 2017)

Transnational band Monoswezi, led by Hallvard Godal has released another fine example of African and world fusion. A Je showcases Pan-African influences that include West African ngoni, Zimbabwean mbira, trans-African percussion; African American banjo; along with Indian harmonium.

Monoswezi is at its best when the explosive mix of global percussion, traditional strings and western musical instruments interact with each other.

Personnel: Hallvard Godal (Norway) on vocals, harmonium and clarinet; Sidiki Camara (Mali) on ngoni; Kim Johannesen (Norway) on banjo; Hope Masike (Zimbabwe) on mbira, percussion and vocals; Calu Tsemane (Mozambique) on vocals and percussion; Putte Johander (Norway) on vocals and bass; and Erik Nylander (Sweden) on drums and percussion.

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Artist Profiles: Noam Pikelny

Noam Pikelny

Noam Pikelny was born February 27, 1981, in Chicago, Illinois. He is one of the finest banjo musicians in the United States. In 2004 he released his first solo album titled In the Maze. In 2010 he was awarded the first annual Steve Martin Prize for Excellence in Banjo and Bluegrass earning him an appearance on the popular American TV program The Late Show with David Letterman.

In 2011 Pikelny released his second album Beat The Devil and Carry A Rail. The album hit both the Billboard Top Heatseekers and Bluegrass album charts and was the focus of a Funny or Die parody video starring Pikelny with appearances from Steve Martin, Ed Helms, Earl Scruggs, Chris Thile, Gillian Welch and others.

Noam Pikelny works regularly with well-known artists beyond the bluegrass world including Punch Brothers Wilco Fiona Apple Norah Jones and Jon Brion for the soundtrack to This is 4 a feature song on The Hunger Games soundtrack and a collaboration with Marcus Mumford for the Coen Brothers’ film Inside Llewyn Davis.

In 2013 Noam Pikelny released Noam Pikelny Plays Kenny Baker Plays Bill Monroe, an interpretation of traditional Bluegrass through a bold complete adaptation of one of the most influential instrumental bluegrass records of all-time. Joining Pikelny on this album are some the best instrumentalists in bluegrass: Stuart Duncan (fiddle), Bryan Sutton (guitar), Ronnie McCoury (mandolin), and Mike Bub (bass).

The original album Kenny Baker Plays Bill Monroe was recorded in 1976 five years before Pikelny was even born. It contains twelve classic tunes written by the father of Bluegrass Bill Monroe (1911-1996) and performed by his longtime fiddler Kenny Baker (1926-2012). While many outstanding musicians worked for Bill Monroe, Monroe would introduce Kenny Baker to audiences as “the best in bluegrass.”

Baker’s fiddle provided an elegant and refined voice to Monroe’s music and Pikelny accurately transposes Baker’s versions to the banjo note-for-note track-by-track. It is the first bluegrass record that remakes an entire album in sequence though never turning into an exercise in musical impersonation; instead Pikelny uses the Monroe instrumentals as blueprints and catalysts for his own improvisations and those of his band.

Discography:

In the Maze (Compass Records 2004)
How to Grow a Woman from the Ground, with Chris Thile (Sugar Hill 2006)
Punch, with Punch Brothers (Nonesuch 2008)
Antifogmatic, with Punch Brothers (Nonesuch 2010)
Beat the Devil and Carry a Rail (Compass Records 2011)
Who’s Feeling Young Now?, with Punch Brothers (Nonesuch 2012)
Noam Pikelny Plays Kenny Baker Plays Bill Monroe (Compass Records 2013)
Universal Favorite (Rounder Records, 2017)

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Artist Profiles: Lee Sexton

Lee Sexton

Lee Sexton is one of the most respected and revered traditional musicians in eastern Kentucky. A master of traditional banjo styles both two-finger picking and “drop-thumb” (clawhammer) Sexton has lived his whole life near his birthplace in Letcher County Kentucky.

Born in 1927 he grew up in an intensely musical family and community He worked for a week clearing a field to earn the dollar that bought him his first banjo a homemade wooden fretless model with a groundhog skin head that he acquired when he was eight years old With instruction from his father and uncles (one of whom was the legendary banjo player Morgan Sexton Sexton soon mastered the instrument and the fiddle as well He is also a powerful singer whose repertoire includes such classics as “Cumberland Gap” and “Little Birdie.” As a young man he would work all week in the mines and then play music all weekend at house parties, bean stringings and corn shuckings.

In his sixty-five year musical career Lee has been an essential figure in the musical life of his community and one of the foremost tradition bearers of Kentucky’s mountain music heritage He has played from front porches and community dances to radio stations national festivals and college campuses.

He is a regular at Appalshop’s annual Seedtime on the Cumberland festival and at Hindman Settlement School’s Family Folk Week. He was featured in Appalshop’s music video, Whoa Mule, shown on Country Music Television and The Nashville Network and garnered a brief scene in the 198 film Coal Miner’s Daughter based on the life of Loretta Lynn where he appears playing at a square dance. In 1999 he was presented with the Kentucky Governor’s Award for Lifetime Achievement in the Arts.

Discography:

Whoa Mule

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Artist Profiles: Earl Scruggs

Earl Scruggs

Earl Scruggs was born and grew up near Shelby, North Carolina in Cleveland County.

For many bluegrass began when Earl Scruggs joined Bill Monroe’s band with his blazingly fast three-fingered picking banjo style. It quickly became and remains the standard for the true bluegrass banjo sound.

Earl?s next endeavor, Flatt & Scruggs and the Foggy Mountain Boys, continued his fame and legend through work in films and television. From 1948 until 1969 Flatt & Scruggs and the Foggy Mountain Boys dominated the bluegrass field due to their residency on the Grand Ole Opry in Nashville yet that renown was dwarfed by their huge success in 1962.

In 1962 they recorded the theme song for The Beverly Hillbillies leading bluegrass into mainstream American culture. That popular TV show led Flatt & Scruggs’ long-time signature tune, Foggy Mountain Breakdown, to be chosen as the background music for the 1967 film Bonnie and Clyde. In 1969 Earl sought a more contemporary sound and split with Lester to make music with his sons and other musicians in Nashville.

Though it’s been more than three decades since they broke up the music of Flatt & Scruggs and the Foggy Mountain Boys continues to define the bluegrass sound. The band was elected to the Country Music Hall of Fame in 1985. Earl Scruggs received the National Heritage Award in 1989, the highest honor given by the National Endowment for the Arts to folk and traditional artists.

www.earlscruggs.com

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Danny Barnes Celebrates Acoustic Bluegrass Banjo

Danny Barnes – Stove Up (Wendell Records, 2016)

Stove Up is the first acoustic bluegrass recording focused on the banjo released by multi-faceted musician Danny Barnes. The acclaimed banjo virtuoso invited seasoned bluegrass musicians to collaborate on Stove Up.

The repertoire includes original material as well as recreations of traditional songs. Throughout the album, Danny Barnes and his colleague deliver dazzling performances deeply inspired by traditional bluegrass music, acoustic jams and blues.

The lineup includes Danny Barnes on banjo, vocals and 12-string acoustic guitar; Nick Forster on guitar and mandolin; Chris Henry on mandolin; Jason Carter on fiddle; and Mike Bub on bass.

Stove Up features impeccable examples of bluegrass craftsmanship.

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Artist Profiles: Jayme Stone

Jayme Stone – Photo by Leo Patrone

Canadian banjo explorer Jayme Stone is a musician straddling bluegrass, jazz, old time and African music.

Jayme Stone picked up a passion for music from an eccentric uncle who listened to records endlessly, placing his ashtray on the speaker so Stone could join him in watching how the cigarette smoke swirled to the music.

An unlikely set of circumstances has lent Stone a broader set of reference points than most banjoists and those early beginnings have influenced his sound, choice of material, and collaborations. It started with the architecture of the banjo, led to a mysterious librarian who stocked his local public library with a vast trove of banjo recordings, and landed him long-lasting lessons with a series of maestros, from Bela Fleck and Tony Trischka, to Dave Douglas and Bill Frisell.

His CD titled The Utmost (2007), was co-produced by David Travers-Smith, was made possible through assistance from the Music Section of the Canada Council for the Arts.

Jayme spent several weeks in Mali in 2007, where he sought out the roots of the banjo. His exploits included sitting in at Toumani Diabate’s Hogon nightclub with Toumani’s twenty piece Symmetric Orchestra.

Jayme Stone now leads 2 quartets – the eponymous JSQ and the Africa to Appalachia project.

Jayme Stone

JSQ’s repertoire is diverse, ranging from a twelve-part composition in eleven, a dirge for Ray Charles, and a medley of Appalachian fiddle tunes all in the same set. They travel from bluegrass hoedowns to jazz festivals.

The Africa to Appalachia project evolved from Jayme’s travels to West Africa to learn the history of his instrument, the banjo. Although Stone’s mission was to uncover common musical ground between Africa and Appalachia – like the shared affinity for sustaining culture and the similar open-string styles – he found the differences between two continents just as intriguing. This is the sound of traditional music re-imagined.

In 2015, Stone released Jayme Stone’s Lomax Project, a collaboration with several acclaimed musicians, including Tim O’Brien, Bruce Molsky, Margaret Glaspy, Moira Smiley, Brittany Haas, Julian Lage and others.

Discography

The Utmost (2007)
Africa to Appalachia, with Mansa Sissoko (2008)
Room of Wonders (2010)
The Other Side of the Air (2013)
Jayme Stone’s Lomax Project (Borealis, 2015)

Web sites

Official Web Site: http://www.jaymestone.com

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Artist Profiles: Bela Fleck

Bela Fleck in 2009

 

Bela Fleck is often considered the leading banjo player in the world. He was born on July 10, 1958, and raised in New York City. Named after composer Bela Bartok, Bela picked up the banjo at age 15 after being fascinated by the bluegrass playing of Flatt & Scruggs. He began experimenting with playing bebop on the banjo in high school.

In 1982, he joined the progressive bluegrass band New Grass Revival, where he made a name for himself in the country-bluegrass world. At the same time he was releasing a series of solo albums for Rounder Records.

He collaborated with Sam Bush, Jerry Douglas, Edgar Meyer and Mark O’Connor in an acoustic super-group called Strength in Numbers. The group released an iconic album titled The Telluride Session (MCA) in 1989.

In 1989 Bela formed the Flecktones. The group made its self-titled debut recording in 1990 by playing a “blu-bop” mix of jazz and bluegrass and soon became a commercially successful, critically-acclaimed and award-winning band. Fleck, the only musician to be nominated for Grammys in jazz, bluegrass, pop, country, spoken word, Christian, composition and world music categories, also recorded solo releases.

 

Bela Fleck & The Flecktones

 

Bela Fleck began the decade of 2000 by signing a deal with Sony Music. The first release was Outbound, that featured the band performing with an all-star group of guest artists including vocalists Shawn Colvin and Jon Anderson (of the group Yes), guitarist Adrian Belew, oboe player Paul McCandless, and keyboardist John Medeski (of the jazz jam-band Medeski, Martin & Wood). Like previous Flecktones albums, the music on Outbound is a mix of styles-from bluegrass to jazz to world music-that is often built around Fleck’s concept of “the banjo being weird.”

In 2003, Bela Fleck & The Flecktones released Little Worlds, the first new studio album from the group since 2000’s Grammy-winning Outbound. Produced by Bela Fleck, the new album is a monumental work on 3 CDs and includes many special guests, including Sam Bush, The Chieftains, Jerry Douglas, Branford Marsalis, Bobby McFerrin, Nickel Creek, Derek Trucks, and Bernie Williams. The album is a collaborative effort showcasing the ever-evolving group dynamics of the band.

The ambitious Little Worlds is an eclectic, yet cohesive, collection of 27 musical pieces. The limited-edition 3 disc set includes liner notes by Bela Fleck and a 24 page booklet filled with photos taken by the Flecktones and their crew. The group began work on the album in October 2001, with the original intention of creating a “lean and mean” “no rules” record with just the four band members: Bela Fleck (banjo), Victor Wooten (bass), Future Man (synth-axe drumitar), and Jeff Coffin (tenor and alto sax). As the recording process progressed, it became apparent that these were no ordinary sessions and the floodgates of musical inspiration and diversity had opened. Ranging from jazz to Gaelic airs and bluegrass to classical and world music Little Worlds is the band’s most adventurous album.

Throw Down Your Heart, Tales from the Acoustic Planet, Vol. 3: Africa Sessions (2009) chronicles Fleck’s musical journey to Africa to explore the little known African roots of the banjo. Bela’s boundary-breaking musical adventure took him to Uganda, Tanzania, The Gambia, and Mali, and provided a glimpse of the beauty and complexity of African music.

In 2006, jazz keyboardist Chick Corea and Béla Fleck joined together to explore the interactions between the piano and banjo. Corea was an admirer of Fleck’s bluegrass-meets-jazz band the Flecktones and Fleck had been inspired by Corea’s pioneering jazz-rock fusion band, Return to Forever. The two musicians recorded The Enchantment, released in 2007. This collaboration also led to multiyear international live tours.

 

Béla Fleck & Abigail Washburn

 

Béla Fleck and his wife (also an acclaimed banjo player) Abigail Washburn released Béla Fleck & Abigail Washburn (Rounder Records) in 2014. The recording featured new music, Appalachian murder ballads, gospel, chamber pieces and blues. Both musicians are generally credited for revitalizing and revolutionizing the banjo and decided it was time to collaborate. “We didn’t want any other instruments on there, because we’re into this idea that we’re banjo players, and that should be enough,” said Béla. “Sometimes when you add other instruments, you take away from the ability of the banjo to show all its colors, which are actually quite beautiful.”

 

 

Béla Fleck and Chick Corea followed up in 2015 with a recording titled Two (Concord Jazz), a live double album with material from The Enchantment, along with Corea and Fleck classic pieces and a few additional new compositions.

 

 

Discography:

Solo albums

Crossing the Tracks (Rounder Records, 1979)
Natural Bridge (Rounder Records, 1982)
Deviation (Rounder Records, 1984)
Double Time (Rounder Records, 1984)
Inroads (Rounder Records, 1986)
Daybreak, compilation (Rounder Records, 1987)
Places, compilation (Rounder Records, 1988)
Drive (Rounder Records, 1988; SACD reissue: Mobile Fidelity, 2004)
Tales From The Acoustic Planet (Warner Brothers, 1995)
The Bluegrass Sessions: Tales from the Acoustic Planet, Vol. 2 (Warner Brothers, 1999)
Perpetual Motion (Sony Classical, 2001)
Music For Two (Sony Classical, 2004)
Tales From The Acoustic Planet, Vol. 3: Africa Sessions (Rounder Records, 2009)
Throw Down Your Heart – Africa Sessions Part 2 (2010)
The Impostor (Mercury Records, 2013)
Béla Fleck & Abigail Washburn (Rounder Records, 2014)
Banjo Banjo, with Abigail Washburn (Rounder Records, 2015)

With the Flecktones:

Béla Fleck and the Flecktones (Warner Bros. Records, 1990)
Flight of the Cosmic Hippo (Warner Bros. Records, 1991)
UFO Tofu (Warner Bros. Records, 1992)
Three Flew Over the Cuckoo’s Nest (Warner Bros. Records, 1993)
Live Art (Warner Bros. Records, 1996)
Left of Cool (Warner Bros. Records, 1998)
Greatest Hits of the 20th Century (Warner Bros. Records, 1999)
Outbound (Columbia, 2000)
Live at the Quick (Columbia, 2002)
Little Worlds (Columbia, 2003)
Ten From Little Worlds (Columbia, 2003)
The Hidden Land (Sony, 2006)
Jingle All the Way (Rounder, 2008)
Rocket Science (eOne, 2011)

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Artist Profiles: Abigail Washburn

Abigail Washburn
Abigail Washburn

Abigail Washburn’s soulful singing was one of the signature sounds of Uncle Earl since she joined in May 2003. Signed to Nettwerk Records as a solo recording artist, her album Song of the Traveling Daughter was released in August, 2005. The album features original songs in English and Mandarin Chinese, which she speaks. Actually, Abby was headed down a career path in Sino-American relations when she heard an LP of Doc Watson and decided to take up old-time banjo.

She met KC Groves at the International Bluegrass Music Association (IBMA) in Louisville, Kentucky and joined the band that summer. Combining her love of traditional American music, Chinese language and classical Chinese poetry, she began writing songs, some of which happen to be in Chinese. Her writing earned her a second place award in the Chris Austin Songwriting Contest at MerleFest in 2004.

In 2012, after attending Doc Watson’s funeral, Abigail began performing “And Am I Born to Die,” a sacred harp piece recorded by Watson. “Doc is one of the main reasons I play the banjo and sing American old-time music,” says Washburn.

Along with 24 innovative and creative thinkers from across the world, Abigail Washburn was named a TED Fellow and presented at the 2012 Ted Convention about building United States-China relations through music. Her efforts to share American music in China, and Chinese music in the Unied States exist within a hope that cultural understanding and the communal experience of music will lead the way to a richer existence.

In 2014, Béla Fleck and Abigail Washburn released their eponymous debut album October 7th on Rounder Records. Béla Fleck & Abigail Washburn is a front porch banjo and vocal album of new music, Appalachian murder ballads, gospel, chamber and blues; the culmination of a yearlong tour as a duo in 2013, following the birth of their son, Juno.

Discography:

She Waits for Night, with Uncle Earl (Rounder Records, 2005)

Song of the Traveling Daughter (Nettwerk Records, 2005)

The Sparrow Quartet EP (Nettwerk Records, 2006)

Waterloo, Tennessee, with Uncle Earl (Rounder Records, 2007)

Abigail Washburn & The Sparrow Quartet (Nettwerk Records, 2008)

Afterquake, with Shanghai Restoration Project (Afterquake Music, 2009)

City of Refuge (Rounder Records, 2011)

Béla Fleck & Abigail Washburn (Rounder Records, 2014)

Banjo Banjo EP, with Béla Fleck (Rounder Records, 2015)

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Béla Fleck And Abigail Washburn Wins the Best Folk Album Award at the 58th Annual GRAMMY Awards

Béla Fleck And Abigail Washburn -  Béla Fleck And Abigail Washburn
Béla Fleck And Abigail Washburn – Béla Fleck And Abigail Washburn

The Recording Academy announced today the winners the 58th Annual GRAMMY Awards. Béla Fleck And Abigail Washburn’s self titled album, Béla Fleck And Abigail Washburn, won the Best Folk Album Award.

Other nominees included

Wood, Wire & Words by Norman Blake (Plectrafone Records)

Tomorrow Is My Turn by Rhiannon Giddens (Nonesuch)

Servant Of Love by Patty Griffin (PGM)

Didn’t He Ramble by Glen Hansard (Anti)

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