Tag: Banjo

MIXTAPE: The Foreign Landers’ Transatlantic Story

Posted on by Editor

Each of us having grown up on either side of the Atlantic, our common interests and musical influences could not have been more similar. All of these tracks hold sweet memories in our years of being a couple, and each artist has definitely influenced our sound as The Foreign Landers. David and I thought we’d share some of our transatlantic story together through a few of our favorite songs. — Tabitha Benedict, The Foreign Landers

Paul Brady – “The Lakes of Pontchartrain”

This is one of our favorite tracks of all time. This version of the popular ballad is from Paul’s album Nobody Knows: The Best of Paul Brady rereleased in 2002. With Paul’s flawless storytelling ability and tasteful guitar playing, it makes it a joy to come back for a re-listen.

Crooked Still – “It’ll End Too Soon”

David and I have been big Crooked Still fans for a long time and they will often be our first choice of car music on any long journeys. Here’s a beautiful song written by banjoist Greg Liszt for Aoife O’Donovan that is just so sweet to the ears. This was one of the last songs they recorded before the band stopped touring in 2012 and it appears on their EP Friends of Fall.

Tatiana Hargreaves – “Foreign Lander”

This is where the inspiration for our band name “The Foreign Landers” was drawn from. Aside from having more of a story behind our name than just that, we both love this old song and especially love this version from Tatiana Hargreaves debut album Started to Ramble released back in 2009.

Alison Brown – “Fair Weather”

This title track of Alison Brown’s album Fair Weather released back in 2000 is a common favorite of ours. Vince Gill features on lead vocals and guitar, Alison on banjo, Stuart Duncan on fiddle, mandolin, and vocals and Gene Libbea on Bass and vocals.

Ron Block – “Ivy”

Well, we knew we had to involve some of Ron’s writing and performing in this mixtape. We love this track, “Ivy,” off his album Walking Song. This is a perfect album for all year round, with guest appearances from a host of our favorite players.

The Weepies – “I Was Made for Sunny Days”

I first was introduced to The Weepies through hearing them on the radio back in Northern Ireland many years ago. My family instantly fell in love with their songs and sound, so I was so delighted to introduce David to their catalog when we were dating. Another favorite for long drives and singing along in the car. Here’s a real feel good song of theirs called “I Was Made for Sunny Days” from their album Be My Thrill released back in 2010.

The Boxcars – “You Took All the Ramblin’ Out of Me”

We just had to stick some good bluegrass in this mix of songs, and we’re so glad we chose this one. When David and I started dating, we would sing this to each other, and it has to be one of our favorites from the Boxcars album It’s Just a Road released in 2013.

Hot Rize – “You Were on My Mind This Morning”

At one of our first-ever performances about three years ago at the well-loved Cantab Lounge in Cambridge, Massachussetts, David sang lead vocals on this track written by Hot Rize. They recorded this on their 2014 release When I’m Free.

Dori Freeman – “If I Could Make You My Own”

We are big fans of Virginia-based singer-songwriter Dori Freeman, and especially love this track of hers from her 2017 release Letters Never Read. We recorded a cover of this song on our honeymoon on the Isle of Skye about two years ago now, so it holds a sweet spot in our relationship!

John Reischman – “Little Pine Siskin”

One of our favorite tunes off John’s album Walk Along John! John had been touring with the wonderful Greg Blake in Ireland back in January/February 2018, right when David took his first visit to Northern Ireland, and right when we started dating. We went to see them at a wonderful show at the Red Room in Cookstown. It was just a couple of days prior to making things “official.” I remember David playing this tune on that visit and it brings back happy memories!

The Foreign Landers – “I’m Not Sayin’”

We discovered this Gordon Lightfoot song from the late great Tony Rice on his album Tony Rice Sings Gordon Lightfoot. We have both loved this song for many years, and knew that when he would start a duo we would definitely be covering this one. We recorded this version on our EP Put All Your Troubles Away that we released in May 2021. We’re so thankful we did and hope you enjoy it!

David Benedict – “Colonna & Smalls”

David released this tune on his solo project The Golden Angle in 2018, named after the specialty coffee shop in Bath, England, back when we were dating. He has the amazing David Grier and Mike Barnett playing on this track with him.

Cup O’Joe – “Till I Met You”

David and I also tour and record with my two brothers in Cup O’Joe, our band based out of Northern Ireland. I wrote this song back in 2018, and recorded it on Cup O’Joe’s most recent album, In the Parting. I wrote this one with David in mind, not thinking that he would be playing mandolin on it a few months later!

Photo courtesy of The Foreign Landers

WATCH: Bendigo Fletcher, “Sugar in the Creek” (Blackacre Barn Session)

Posted on by Editor

Artist: Bendigo Fletcher
Hometown: Louisville, Kentucky
Song: “Sugar in the Creek” (Blackacre Barn Session)
Album: Fits of Laughter
Release Date: August 13, 2021
Label: Elektra Records

In Their Words: “Playing ‘Sugar in the Creek’ live feels like floating compared to some of our other songs that probably require more attention to recreate. There are a few key and tempo fluctuations that we sort of arrive at and navigate as the song continues, and we just have to rely on staying in the moment together to hit those transitions naturally. Looking back, I think it was written under the spell of a band called Relatively Clean Rivers, whose only known album consists of those types of songs that just kind of start and end before you remember again that you’re in a human body.” — Ryan Anderson, Bendigo Fletcher

Photo credit: Jimmy Fontaine

LISTEN: Tray Wellington, “Pond Mountain Breakaway”

Posted on by Editor

Artist: Tray Wellington
Hometown: Originally from Ashe County, North Carolina and now calls Johnson City, Tennessee home
Song: “Pond Mountain Breakaway”
Release Date: May 28, 2021
Label: Mountain Home Music Company

In Their Words: “I actually wrote the main riff to this song while playing electric guitar — but then, while playing banjo the same day, I tried it out with more of a bluegrass feel, and thought, ‘Wow, it would be cool to write a fast, upbeat instrumental around it.’ When recording, I got to the session late because my car broke down on the way, and while I was trying to think of a name for the tune during the actual recording session, Wayne Benson, who plays mandolin on the track, asked me, ‘Where did you break down?’ I replied, ‘A place called Pond Mountain,’ and he said, ‘Call it “Pond Mountain Breakdown.” I thought that was a great idea, but as I was thinking about it later, I realized that I don’t get a full breakdown vibe from this tune — and when I thought that a little variation in bluegrass titles wouldn’t be a bad thing, I decided to make a slight change to ‘Pond Mountain Breakaway.’” — Tray Wellington

Photo credit: Rob Laughter

Double the Banjos, Double the Fun!

Posted on by Justin Hiltner

Twin fiddles are the bluegrass instrumental duo that get all the attention, but double banjos are really where it’s at. (Is this writer a banjo player? Why, yes. Is this writer biased? Why, of course!) It makes sense that twin or triple fiddling would end up more popular than double or triple banjos, given that fiddles are sounded by bows, so the melodic contours are more like vocal harmony, often longer phrases and bow strokes languidly and charismatically laced together. Banjos, with their rapid-fire sixteenth notes and syncopated, idiosyncratic rolls, are just more difficult to sync up. Hundreds – if not thousands – of banjo jokes devoted to rhythm and timing will certainly back that claim up.

But double banjo is an art form as old as bluegrass itself – and older, by quite a few dozen decades, if you count early American popular music, banjo orchestras, minstrel and vaudeville songs that all centered banjos before and during the turn of the 19th to 20th century.

In bluegrass, twin five-strings are at their most astounding in jaw-dropping and acrobatic contexts such as High Fidelity’s incredible rendition of the Don Reno classic instrumental, “Follow the Leader.” Famous for his steel guitar and chicken-pickin’ Telecaster licks transferred to banjo, Reno’s harebrained and wonky turns of phrase might seem like the last musical context in which one should attempt perfect synchronization, especially on banjo, but Jeremy Stephens and Kurt Stephenson defy reason, logic, and surely physics with their buttery, seamless, double banjo blend. The track perfectly encapsulates the “WHAT IS THAT!?” quality of five-string, three-finger banjo – raised to the second power.

Anyone who grew up tuning in to or has ever binge-watched reruns of Hee Haw knows the beauty of a good double, triple, quadruple, quintuple banjo number, a common feature of the homespun country, comedy, and pickin’ variety show. Roy Clark, the Hee Haw host who could tear through almost any instrument in any style, released an entire album of double banjo music with regular Hee Haw guest Buck Trent in 1978 called Banjo Bandits. “Down Yonder” kicks with all-too-rare (and certainly delicious) bluegrass piano, a delightful intro to a bluegrass, old-time, and American songbook standard that almost sounds like a carnival merry-go-round thanks to the effect of the banjos “in stereo.” Banjo Bandits is something like a bluegrass and country double banjo primer, every track a stunning example of the form.

Like twin fiddling, double banjo lends itself so intuitively to the collaborative, community quality of bluegrass music. Through many a duo album and “featured artist” slot pickers have been using double banjo tunes to bring in their favorites, their mentors, their heroes, and their peers to swap licks, rising and falling, rolling and tumbling in breakneck unison. Alison Brown’s first Grammy Award was won for “Leaving Cottondale,” her double banjo instrumental with Béla Fleck from her also-nominated 2000 record, Fair Weather. In 2007, modern banjo hero Tony Trischka released a 14-track album of all twin banjo tunes entitled Double Banjo Bluegrass Spectacular. Its roster included Earl Scruggs, Brown, Fleck, Noam Pikelny, Steve Martin, and more. On “Doggy Salt,” a silly, winking instrumental that reconfigures the classic chord progression of “Salty Dog,” Scott Vestal joins Trischka, leaning into the humorous, comedic quality of these sorts of duets — a quality we see in Banjo Bandits and “Follow the Leader,” too.

Do not be mistaken, though, putting together a banjo duet isn’t just a comedic or intra-bluegrass activity! Cross-genre double banjo forays are certainly just as delightful, if not rarer and even more difficult to lock into rhythmic synchronization. Those that can mesh together three-finger’s rolling right hand with clawhammer and frailing’s loping, looser right hand are true virtuosos, defying not one but two genre’s expectations that banjos are intrinsically arhythmic and constantly rushing. Old-time players like Allison de Groot, Cathy Fink, Mark Johnson, Victor Furtado, and others all make it look and sound easy, matching their bluegrass compatriots’ rhythms and syncopations with ease and not just blending in, but counterpointing tastefully as well. One such recording, “Cluck Old Hen” from Pikelny’s Beat the Devil and Carry a Rail project, features Steve Martin, once again, on clawhammer. A less traditional approach, the two play with textures and senses, not striving for perfect unison, but rather exploring what an old-time-and-bluegrass dialogue can look and sound like, expanding our ideas of what twin banjo can be.

No matter the context, genre, roster of pickers, or style of playing, this fact remains true: more banjos equals more fun. (To this writer, at least.)

With Her Banjo and Best Friends, Allison Russell Delivers ‘Outside Child’ (Part 2 of 2)

Posted on by Editor

Allison Russell’s first solo album offers an intimate look into her life, yet it’s far more than just her musical vision that elevates Outside Child to one of the year’s most eloquent albums. Working with Dan Knobler in Nashville, she populated the studio with musicians like Joe Pisapia, Jason Burger, Chris Merrill, Jamie Dick, and Drew Lindsay, as well as exceptional guests such as Yola, Ruth Moody, Erin Rae, and the McCrary Sisters. She describes them as her “chosen family,” accompanying her as she shares stories about other families in her life.

Enjoy the second half of our BGS Artist of the Month interview with Allison Russell. (Editor’s note: Read the first half of our AOTM feature here.)

BGS: You can feel that sense of community between the musicians on this record. Can you talk a little bit about what it felt like while you were tracking?

Allison Russell: These songs were recorded in four days. Everything that you are hearing, I sang live with the band. We did it at Sound Emporium Studio A. There’s a lovely, big room with glass doors that you can open up. Everyone was in a semi-circle. It was a magical experience. We would gather in the center of the room and work out an arrangement together and then we would record the song. Most of what you are hearing is the second take. That was sort of when it magically coalesced, when everyone was communing and free flowing.

Dan [Knobler] shares my deep conviction that it is not about perfection. It is about capturing the communication in as honest and as true of a way as you can. That has been my approach ever since working with Joe Henry four or five years ago on a record called Real Midnight. So what you are hearing is a community choosing to come together to uplift these songs. I will be grateful for that for the rest of my life, even if no one ever heard the record. That experience of getting to record that way with chosen family. I can’t imagine a more healing, supportive environment than I experienced.

This is your first solo record and though you’ve made many records with groups, I’m wondering if the feeling of picking the songs and the sounds was different for you as a solo artist?

I don’t know that I really picked them. I think that the songs just poured out. So much of the sound is my community of artists. I would never dream of telling any of those artists what to play. I trust their ears and I trusted Dan Knobler’s ears, who produced the record. And I trusted my own ears too, of course, but really what we did was cast the room with people who we love and trust. What was different is that I’d never worked with Dan before and I trusted him bringing in two of his brothers, Joe Pisapia and Jason Burger to join the family of musical kindred that I’ve been part of. A lot of the artists who played on the record were artists that I’d met over my many years and different projects. …

And then since I moved to Nashville in 2017, I’ve been going to hear the McCrary Sisters and loving them. I really got to know them through Yola, because they formed a friendship at a festival in Scotland and I got to know them through her. I’m a huge admirer of them and their work and their harmonies. I reached out to them thinking I wouldn’t be able to afford them and they were so generous. They came and sang for way less than they are worth and worked within my budget. I was honored that they came. So it was really a matter of casting the room and then letting people shine the way they do.

I read your speech from the [2020] Women’s March [in Nashville]. It is really gorgeous, thought- and emotion-provoking. In it you mention that you are the hero of your own story which is wildly inspiring and important for us all to remember – that there are some things we can save ourselves from. Can you talk a bit about ways in which you save yourself?

I feel like connection with a loving community is what saves me every day. Art and music save me every day. I’ve been a book worm my entire life and I can’t emphasize enough, I don’t think I would have survived my childhood if I hadn’t had the escape of literature. Being able to go into other worlds and other imaginings and literally inside of someone else’s mind and take refuge and find inspiration and comfort and strength. Disappearing into books was the first kind of way that I learned how to try to be brave. It was reading about brave protagonists and people in situations worse than I could imagine. I got very obsessed in my tweens with reading first person accounts of survival of the Holocaust. It put into context what was happening to me, that if people could survive that, then I could survive what I was experiencing.

Being in a community with people that uplift you and see you and value you and you do the same for them, that is life-changing. I have that with my partner J.T. I have that with my sisters in Our Native Daughters. We wrote a whole record together, uplifting each other and bringing forward the perspective of Black women within the diaspora and within the historical record. Our particular demographic is so often left out of any kind of historical record in any kind of first-person way, with agency and lived experience. That has been a source of great strength and resilience.

And then to connect with my ancestors. To delve into all of the history. With all of the intergenerational trauma and abuse, there is also incredible intergenerational strength and resilience and transcendence. The ability to overcome circumstances I cannot even dream of. My many-times-great-great-grandmother Quasheba survived being enslaved. She survived being ripped away from everything she knew, her family and language and home. She survived the horrible Middle Passage. She survived multiple plantations and having her children taken. If she can survive all that, I can get through this.

Do you remember what prompted you to pick up a banjo for the first time?

I was in a band called Po Girl, that was my first baby band and the woman I started the band with, Trish Klein, played the banjo. She taught me my first few chords and I just kept playing from there. I met Rhiannon Giddens in 2006 at the Vancouver Folk Music Festival and I was so excited to meet another Black woman that played banjo, because I was the only one that I knew. She told me about the Black Banjo Gathering, which I never got to attend. I’ve met so many dear friends who were a part of that, like Valerie June. All of us in Our Native Daughters play banjo and that has been a deep communion for us.

I think Rhiannon’s minstrel banjo is one of the most beautiful sounds I’ve ever heard. I’ve adapted my little Americana Goodtime banjo to sound as much like that as I can by adding gut strings and a fiber skin head. I’ve modified the bridge a bit to give it that deeper resonance. For me the banjo has allowed me to access my songwriting in a different way. I’ve noticed this over time as I’ve picked up more instruments. Different songs come through on different instruments and now for me, the banjo has become my primary songwriting instrument.

This album is coming out hopefully at the tail end of the pandemic so I’m guessing some of the songs have not been performed in front of an audience yet. Are there songs you are particularly excited about presenting on stage and on the flip side are there songs you are nervous or trepidatious about presenting to an audience?

Basically none of them. Of course I’ve done some virtual performances here and there of a couple of them. But they have not been played live. I am always nervous about everything. I’m just a very anxious person most of the time. But where that stops, usually, is on stage, when I get to be in communion with my fellow artists and with the people who have come to listen. That is very much a two-way exchange. The answer is, I’ll be nervous about all of it right up until the moment we are playing and then I will be in the happiest place I know.

(Editor’s note: Read part one of our Artist of the Month interview with Allison Russell here.)

Photo credit: Marc Baptiste (top); Laura E. Partain (in story)

LISTEN: Graber Gryass, “Your Body’s Border”

Posted on by Editor

Artist: Graber Gryass
Hometown: Memphis, Tennessee
Song: “Your Body’s Border”
Album: Spaceman’s Wonderbox
Release Date: May 21, 2021
Label: Outer Orbits

In Their Words: “‘Your Body’s Border’ is a meditation on boundaries in song. From the pensive bouzouki that opens the tune to the first couplet, ‘you’re as old as the crow, fresh as an embryo,’ one can tell this song isn’t supposed to make linear sense and acts more like poetry than storytelling. The voyage is one of discovery — and the discovery is about the joys of being in love, working through stereotypes and clichés (‘if you get sweet and sour with me’), the lengths we go to find love, the transitory nature of national identity, and the repurposing of influence (notice the John Donne homage, ‘my love, my new found land’). Fiddle, banjo, mandolin, two guitars, bouzouki, and upright all play it cool, rather than hot as expected, letting the song take center stage.” — Graber Gryass

Photo credit: Eric Brice Swartz

BGS 5+5: Graham Sharp

Posted on by Editor

Artist: Graham Sharp
Hometown: Asheville, North Carolina
Latest Album: Truer Picture

Which artist has influenced you the most … and how?

I think Steve Martin has influenced me more than any other artist. The level of attention and devotion he brings to every project (music, film, books, etc.) is inspiring. I don’t think I know any other artist quite so single-minded as Steve. When we began working together I had no expectations, but could easily picture him resting on his past success and coasting; nothing could be further from the truth. Over and over again he’s shown that to be successful you have to put in the daily work, keep pushing yourself and not be afraid to take chances.

How often do you hide behind a character in a song or use “you” when it’s actually “me”?

I try to keep a few approaches in my toolkit, so if A isn’t happening one day maybe B, C, or D will. Sometimes I’ll try to remove myself completely from a song and let the story unfold. More often I can’t quite get away from myself and a lyric is my way of processing a situation. Likewise, I like to place myself in a more unfamiliar setting and try on a different voice or perspective. I think my songs, in general, have become more personal over the years and they’ve helped me be more empathetic. Often a song can encourage me to say what is otherwise scary or difficult to express.

What’s the toughest time you ever had writing a song?

The toughest time I had writing a song was probably “Honey on My Tongue” from the newest Steep Canyon Rangers album. We were holed up in a hotel in Vancouver for several days with no shows. I wanted to use the time to write a song for my daughter but sat there with paper and pen for hours on end with little or nothing to show for it. At some point I bought a ticket and visited a little Japanese garden nearby. But when we left town I still had nothing to show for it. It was familiar frustration of having something in sight but just out of reach. I try not to let that bother me too much, but it’s often in the background. When we got to the next tour stop, maybe Calgary, I got out my guitar backstage and the first thing that I played was a little melody. After that the whole tune just fell into place. Those are good moments.

Which elements of nature do you spend the most time with and how do those impact your work?

I write directly about nature a lot. The song “Deeper Family” is a good example. I was spending time in the woods hiking and had just read The Overstory by Richard Powers. The book talks about the interconnectedness of the forest and a vast life taking place underground. Other times, the woods is simply a great place to let the mind wander and find itself. The forests feel have the great effect of calming the brain while firing up the senses. After a bike ride I can usually count on a new line or perspective or melody.

What other art forms — literature, film, dance, painting, etc. — inform your music?

I tend to write best and most when I’m reading books, stories, or poems that I love. Short stories especially mirror what a song sets out to do. The scene is set and characters come to life so completely and economically. I think the same about the best songs, where no word is wasted and every line has a purpose.

Terry Allen – “The Beautiful Waitress”

The way he paints a scene, you find yourself sitting there in the booth with your bowl of chili and you can’t help but fall in love with the beautiful waitress. I admire writers who can set you down in a world so completely that you start filling in all the gaps from your own imagination. And the spoken word outro is the maybe the best ever.

Don Williams – “Some Broken Hearts Never Mend”

A perfect country song, outlaw with a soft touch. If I could trade my voice for anyone’s it would be Don Williams.

Nina Simone – “The Assignment Sequence”

The way this song starts in easy and builds to a monumentally intense groove never fails to get my heart pounding. Nina Simone is one of the absolute giants of American music, and she has long held my fascination and admiration.

Steep Canyon Rangers – “Honey on My Tongue”

A little song I wrote for my daughter. It’s hard to encapsulate everything that is the love of a parent but I’m proud of how this one turned out. I love the band’s take on it, from Barrett’s Astral Weeks-style bass to Ashworth (normally our drummer) playing a fantastical bubbly banjo line.

Graham Sharp – “Generation Blues”

When chaos seemed like it would swallow the world back last year, I wrote this while thinking about what we’ve inherited and what we can choose to bring with us or leave behind. Seth Kauffman, who produced the record, must have intuited how much I like The Kinks because the feel on this landed just where I didn’t know I wanted it; it seemed like he did that for every track on the record!

Photo credit: Sandlin Gaither

LISTEN: Full Cord, “Right in Step”

Posted on by Editor

Artist: Full Cord
Hometown: Grand Haven, Michigan
Song: “Right in Step”
Album: Hindsight
Release Date: May 15, 2021

In Their Words: “‘Right in Step’ is lovingly referred to as a perfectly lovely bluegrass song. This song is the debut collaborative song by fiddler Grant Flick and mandolinist Brian Oberlin. The lyric content is love of music & hopefulness, gratification, and that unified feeling that music can deliver. Written in the late summer of 2020, it offers a respite amongst the uncertainty of a pandemic and a place where a musician can always feel at home in the music. Grant came to rehearsal one afternoon with his tenor guitar and a lick that immediately caught the attention of Brian. The one fallback for musicians is to continue doing what we love and that is making great music that makes everyone feel good — by the following afternoon ‘Right in Step’ was a complete song that we are immensely proud of.” — Full Cord

Photo credit: Derek Ketchum, Local Spins

When Springtime Comes Again: 12 Bluegrass Songs for Spring

Posted on by Justin Hiltner

We hope, wherever you’re reading this from, that snow, frost, and the cold are truly retreating, giving way to longer days, warmer weather, and the gorgeous, humid, cicada-soundtracked days of summer. But, before we get to full-blown bluegrass season – and, hopefully, our first live music forays since COVID-19 shut the industry down in early 2020 – let’s take a moment to intentionally enjoy spring with these 12 bluegrass songs perfect for collecting a wildflower bouquet, romping and frolicking in the meadow, and pickin’ on the back porch while the evenings are still cool. 

“Wild Mountain Flowers for Mary” – Lost & Found

A classic via Lost & Found, bluegrass certainly does not lack metaphors and analogies for love built around spring and the flowers re-emerging – see “Your Love is Like a Flower” below – but this somewhat melancholy track is an exceptional example of the form. And that banjo solo by Lost & Found founding member Gene Parker will stop you dead in your tracks.

“There Is a Time” – The Dillards

Famous for the rendition sung by Charlene Darling of the ever-popular Darling family on The Andy Griffith Show, this haunting, seemingly timeless folky melody from The Dillards – who also played members of the Darling clan – cautions, “…Do your roaming in the springtime/ And you’ll find your love in the summer sun.” The suspensions in the banjo roll linger on the minor chord, echoing this sentiment and categorizing spring not by its own, shining qualities, but by the darkness in winter and fall. A true classic.

“Little Annie” – Molly Tuttle, Alison Brown, Kimber Ludiker, Missy Raines

A staple of impromptu pickin’ parties and jam circles, “Little Annie” is properly ensconced within the bluegrass canon, but is infused with new life in this application by Tuttle’s lead vocal, a slight queering of the lyric that’s perfectly at home in the hands of this veritable supergroup, assembled by D’Addario at Folk Alliance International’s conference in 2018. 

“Texas Bluebonnets” – Laurie Lewis 

Laurie Lewis is effortlessly, archetypically bluegrass even, if not especially, in applications that infuse other genres into the music, like this Tex-Mex flavored, twin fiddle arrangement of “Texas Bluebonnets” that truly never gets old. Yes, that’s Peter Rowan and Sally Van Meter guesting, and Tom Rozum jumping onto lead during the choruses so Lewis can utter the tastiest tenor harmony vocal. Stick around for the Texas double-fiddle break and do yourself a favor and bookmark the track for easy reference. You’ll be returning to it often, as this writer does. 

“The First Whippoorwill” – Bill Monroe 

The birds returning in spring are a sure sign of the seasons changing and the warm weather returning, though the whippoorwill’s role in folk music has always been as a bittersweet harbinger, never quite viewed without at least some semblance of suspicion, perhaps an acknowledgement of the whippoorwill’s mournful tendency of singing long into the dead of night. This recording of “The First Whippoorwill” is a tasty example of Monroe’s iconic high lonesome sound, with acrobatic breaks into entrancing falsetto woven into the harmonies. 

“Sitting on Top of the World” – Carolina Chocolate Drops

Whether you know this common blues, old-time, and bluegrass number from the Mississippi Sheiks, Doc Watson, John Oates, the Carolina Chocolate Drops, or any other of its many, many sources the fact still stands: Don’t like peaches? Don’t shake the tree. Demonstrably a song for spring, summer, and beyond.

“Roses in the Snow” – Emmylou Harris

Though BGS calls sunny southern California home – and BGS South is relatively temperate and mild in Nashville, TN – we know there are climes across this continent where spring promises snow as reliably as thaw. Emmylou Harris released her iconic bluegrass album in 1980 and its title track is another homage to love bringing warmth, newness, and growth even in the cold: “Our love was like a burning ember/ It warmed us as a golden glow/ We had sunshine in December/ And grew our roses in the snow…”

“Each Season Changes You” – The Osborne Brothers

Love is as fickle as the breeze! There’s a small irony in the song’s central conflict, that the singer’s love changes their mind as often as the seasons change – which, when taken whole, seems like a much more stable, predictable love than most? Even so, and done in so many different iterations, the central metaphor still holds, forever baked into the vernacular of these folk musics.

“One Morning in May” – Jeff Scroggins & Colorado

If you’ve been a bluegrass fan over the past five to ten years and you don’t immediately hear Greg Blake’s voice singing “One Morning in May” whenever it pops into your head, something must be awry. During Blake’s stint with Jeff Scroggins & Colorado, this spring-centered track was a highlight of their live show, a clean, modern rendering of what’s a properly ancient folk lyric. Lost love, war, nightingales, and yes, springtime – it has everything! 

“Your Love is Like a Flower” – Flatt & Scruggs

Perhaps the song that defines the form. Flatt’s languid, lazy phrasing seems to underline the leisure of spring that grows into the laziness of summer. The rhythm of love, tied to the seasons and the budding blooms. Another timeless sentiment, distilled into a favorite, stand-by bluegrass number.

“Springtime in the Rockies” – Lead Belly

You know the film and the country hit, but have you heard Lead Belly himself tell the story of hearing the tune from “Gene” coming by and playing him some music? Worth a listen and worth inclusion on this list, which would suffer if it didn’t include “When It’s Springtime in the Rockies” in one form or another!

“Spring Will Bring Flowers” – Balsam Range

Processing grief and loss through the ever- and unchanging seasons is a common thread through rootsy songs about spring. This more recent recording from powerful North Carolina bluegrass vocal group Balsam Range hearkens back to springy, ‘grassy numbers from across the ages – its intermittent banjo licks a call back to Jimmy Martin’s “world filled with flowers” in “Ocean of Diamonds.” 

Background photo by velodenz on Foter.com

STREAM: Christopher Jones, ‘Bach: The Goldberg Variations’

Posted on by Editor

Artist: Christopher Jones
Hometown: Morgantown, West Virginia
Album: Bach: The Goldberg Variations
Release Date: May 7, 2021

Editor’s Note: Christopher Jones is director of the Appalachian Music Ensemble, a performing group at West Virginia Wesleyan College. He got his start, however, in the classical world. He holds a bachelor’s degree in cello performance, and a master’s and doctorate degree in music composition from West Virginia University. For his newest project, he has reworked Bach’s iconic Goldberg Variations for mandolin, banjo, and guitar.

In Their Words: “This project is something that I had thought about for a long time. Not necessarily that I wanted to record it myself, but that it was something that I really wanted to hear. When everything shut down last year and the world was upended, I made a split-screen video of the ninth variation, and then the second, and realized I might as well do a studio recording of the entire thing. I think I turned to this piece as something that had that satisfying and comforting sense of order and normalcy, even though the scope of the whole thing can feel chaotic. Each variation is an exercise in perspective, begging the question of ‘How many different ways can I look at the same problem?’ It was a lens to try and make sense of things.” — Christopher Jones

Photo credit: Lauren Smith