Carolina Calling, Asheville: A Retreat for the Creative Spirit

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Asheville, North Carolina’s history as a music center goes back to the 1920s and string-band troubadours like Lesley Riddle and Bascom Lamar Lunsford, and country-music pioneer Jimmie Rodgers. But there’s always been a lot more to this town than acoustic music and scenic mountain views. From the experimental Black Mountain College that drew a range of minds as diverse as German artist Josef Albers, composer John Cage, and Albert Einstein, Asheville was also the spiritual home for electronic-music pioneer Bob Moog, who invented the Moog synthesizer first popularized by experimental bands like Kraftwerk to giant disco hits like Donna Summer’s “I Feel Love.”

It’s also a town where busking culture ensures that music flows from every street corner, and it’s the adopted hometown of many modern musicians in a multitude of genres, including Pokey LaFarge, who spent his early career busking in Asheville, and Moses Sumney, a musician who’s sonic palette is so broad, it’s all but unclassifiable.

In this premiere episode of Carolina Calling, we wonder and explore what elements of this place of creative retreat have drawn individualist artists for over a century? Perhaps it’s the fact that whatever your style, Asheville is a place that allows creativity to grow and thrive.

Subscribe to Carolina Calling on any and all podcast platforms to follow along as we journey across the Old North State, visiting towns like Shelby, Greensboro, Durham, Wilmington, and more.


Music featured in this episode:

Bascom Lamar Lunsford – “Dry Bones”

Jimmie Rodgers – “My Carolina Sunshine Girl”

Kraftwerk – “Autobahn”

Donna Summer – “I Feel Love”

Pokey LaFarge – “End Of My Rope”

Moses Sumney – “Virile”

Andrew Marlin – “Erie Fiddler (Carolina Calling Theme)”

Moses Sumney – “Me In 20 Years”

Steep Canyon Rangers – “Honey on My Tongue”

Béla Bartók – “Romanian Folk Dances”

New Order – “Blue Monday”

Quindar – “Twin-Pole Sunshade for Rusty Schweickart”

Pokey LaFarge – “Fine To Me”

Bobby Hicks Feat. Del McCoury – “We’re Steppin’ Out”

Squirrel Nut Zippers – “Put A Lid On It”

Jimmie Rodgers – “Daddy and Home”

Lesley Riddle – “John Henry”

Steep Canyon Rangers – “Graveyard Fields”


BGS is proud to produce Carolina Calling in partnership with Come Hear NC, a campaign from the North Carolina Department of Natural & Cultural Resources designed to celebrate North Carolinians’ contribution to the canon of American music.

BGS & Come Hear NC Explore the Musical History of North Carolina in New Podcast ‘Carolina Calling’

The Bluegrass Situation is excited to announce a partnership with Come Hear North Carolina, and the latest addition to the BGS Podcast Network, in Carolina Calling: a podcast exploring the history of North Carolina through its music and the musicians who made it. The state’s rich musical history has influenced the musical styles of the U.S. and beyond, and Carolina Calling aims to connect the roots of these progressions and uncover the spark in these artistic communities. From Asheville to Wilmington, we’ll be diving into the cities and regions that have cultivated decades of talent as diverse as Blind Boy Fuller to the Steep Canyon Rangers, from Robert Moog to James Taylor and Rhiannon Giddens.

The series’ first episode, focusing on the creative spirit of retreat in Asheville, premieres Monday, January 31 and features the likes of Pokey LaFarge, Woody Platt of the Steep Canyon Rangers, Gar Ragland of Citizen Vinyl, and more. Subscribe to the show wherever you listen to podcasts, and be on the lookout for brand new episodes coming soon.

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Bluegrass is Trance (And Old-Time, Too)

Bluegrass is trance. Old-time, too. 

With a slightly more zoomed out perspective, this fact comes into focus pretty quickly. American roots music and its precursors, especially their string band forms, have been interwoven with dance for eons. Before the advent of recorded music, when the popular musics of the day could often only be consumed by upper classes, dancing and other social group activities were the center places music inhabited. Before radio shaved popular music down into bite-sized, three-minute chunks, the tunes would last as long as necessary to provide a backdrop for a reel, a hornpipe, or a square dance, extending fiddle tunes into ten- to twenty-minute, cyclical, musical meditations. “Turkey in the Straw” as mantra, “Chicken Reel” as a slightly wonky, onomatopoeic sound bed.

Detached from dance, it’s easy to forget that string band music has been designed with trance embedded within its structures. Chris Pandolfi is a banjo player who’s explored quite a bit in trance and trance-adjacent music with the Infamous Stringdusters, a seminal jamgrass band with a level of bluegrass’s technical virtuosity that’s unmatched in all but a select few ensembles in a similar vein. Pandolfi’s new record, Trance Banjo, which was released under his solo stage name, Trad Plus, moves further and further beyond American roots aesthetics, cementing the banjo and its musical vernacular within trance – the electronica variety as well as the age-old, human kind.

Trance Banjo, and tracks such as “Wallfacer” — whose trippy visualizer music video almost cements this article’s central argument — recalls albums by Scott Vestal, or live shows by post-metal shredders like Billy Strings, or experimental, avant garde compositions by cattywompus flattop mashers like Stash Wyslouch. It’s not just a simple coincidence that so many players from bluegrass and old-time backgrounds find themselves dabbling with trance.

John Mailander, a fiddler who’s toured with Molly Tuttle and Bruce Hornsby and has been hired as a side-musician with many a jamgrass-leaning band, is comfortably uncomfortable in a very similar musical realm as Trance Banjo. On an EP of sketches and improvisations released last summer (from the same sessions and experimentations that became his upcoming album, Forecast) Mailander and his bluegrass-veteran backing band play with trance centered on sparseness, vacancy, and negative space in a way that’s engaging and baffling, both. Mailander’s rubric of vulnerable, emotive, and transparent expression as a foundation for improv is key here.

That personal touch, the personality endemic in these trance experimentations, is certainly what makes them most compelling and it must be, at least in part, what ties these songs to the centuries-old tradition of music as meditation. Rhiannon Giddens and Francesco Turrisi make more than just a musical brand of showcasing their personalities and identities in the music they create, it’s more like a mission statement. Giddens has an incredible aptitude for writing and composing music based on empathy and human connection and Turrisi holds expansive knowledge of world folk music and percussion.

Their compositions and collaborations illustrate that, when we connect our music to dance, percussion, and trance, we’re connecting it to thousands and thousands of years of history — of humans of all ethnicities, cultures, backgrounds, and identities, gathering, connecting, sharing, and loving through music, dance, and trance. On stage, Turrisi and Giddens deliberately connect these dots as well, utilizing stage banter to educate their audiences about these exact connections.

While old-time has held onto its penchant for movement and choreography through the generations, bluegrass continues to grow distant from this and many of the other cultural phenomena that gave rise to it. Trance Banjo, and projects like it, while they seem to gleefully run away from what we perceive as “traditional” aspects of these genres, are in many ways guiding us right back to the very folkways that birthed them. 


Photo credit: Chris Pandolfi by Chris Pandolfi

2020: The Year of Dolly Parton

Dolly Parton kept her promise to bring good into the world in 2020 and beyond. For so many reasons, this is absolutely the Year of Dolly Parton.

Marking her 50th anniversary as an Opry member in October 2019, she told reporters, “This world is just so dark, ugly and awful. I just can’t believe how we just can’t have a little more light and a little more love. So, I’m going to make it my business to try to do songs that are more uplifting — not just all Christian-based songs but songs that are just about better things. Do better and just have a little more love, a little more light and just don’t be so dark and dirty!”

Gosh, where to begin? How about…

 

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A post shared by Dolly Parton (@dollyparton)

Although it seems like a million years ago now, Dolly launched a viral craze on January 21 with a meme that went around the world. Gotta love the acoustic guitar for Instagram!

Also in January, she notched a Top 10 track on Billboard’s Hot Dance/Electronic Songs chart with “Faith,” which basically transformed the John Hiatt classic into an international EDM hit. Co-starring in the video with her musical collaborators, Galantis, Parton camps things up as the world’s best-dressed bus driver.

Later in the month, Parton collected her ninth career Grammy Award, this time in the category of Best Contemporary Christian Music Performance/Song, sharing the honor with For King and Country with “God Only Knows.” Although Parton wasn’t in attendance, the duo’s Joel Smallbone remarked from the podium, “To dear Dolly Parton, who is an incredible human being. It’s one of the great moments of our career to collaborate with her and her team.”

He continued, “I taught two of her managers in Sunday school growing up, so they were kind enough to reach out and play her the song. But she said something on a call. She said, ‘I love this song because it’s reaching to the marginalized, to the depressed, to the suicidal,’ which is all of us at some point. And then she said this, in her Dolly accent: ‘I’m going to take this song from Dollywood to Bollywood to Hollywood.’ And we did it, Dolly, we took it all the way.”

 

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A post shared by Dolly Parton (@dollyparton)

A few months into the pandemic, Parton told Instagram followers, “I think God is in this, I really do. I think he’s trying to hold us up to the light so we can see ourselves and see each other through the eyes of love. I think that when this passes, we’re all gonna be better people.”

She also revealed on social media that she’d donated a million dollars to Vanderbilt University help find a cure for the coronavirus. She wrote, “My longtime friend Dr. Naji Abumrad, who’s been involved in research at Vanderbilt for many years, informed me that they were making some exciting advancements towards research of the coronavirus for a cure. I am making a donation of $1 million to Vanderbilt towards that research and to encourage people that can afford it to make donations.”

Incredibly, when news of the Moderna vaccine emerged in November, Parton’s contribution was duly noted. “Without a doubt in my mind, her funding made the research toward the vaccine go 10 times faster than it would be without it,” Abumrad told the Washington Post.

In April, she kicked off a series of bedtime stories, told online, in order to bring comfort to children who were scared about sheltering in place. “This is something I have been wanting to do for quite a while, but the timing never felt quite right,” she said. “I think it is pretty clear that now is the time to share a story and to share some love. It is an honor for me to share the incredible talent of these authors and illustrators. They make us smile, they make us laugh and they make us think.” Two of the chosen books she wrote herself: Coat of Many Colors and I Am a Rainbow.

In addition, a new line of uplifting greeting cards inspired by Parton appeared in Walmart stores over the summer. Meanwhile, musically, she responded to the pandemic with a beacon of optimism, titled “When Life Is Good Again.” She shared the song in tandem with an interview (while sitting on her porch in her first-ever Zoom call) with the series Time100 Talks: Finding Hope.

Bluegrass fans rejoiced in August as she made a surprise announcement that six of her albums from the early 2000s were finally available on streaming services, so how about adding title tracks of Little Sparrow and Halos & Horns to your Dolly playlists? Overall, 93 once-missing tracks are now available to stream.

Although she’s rarely controversial, Parton’s commentary about Black Lives Matter caused a commotion among its supporters and detractors — and even inspired a mural in East Nashville. She told Billboard in August, “I think that everybody needs to express themselves however they feel they have to. I’m not out here to tell you what to do. I don’t want you to tell me what to do. But I just do what my heart tells me to do, I ask God to direct me and lead me, and if I’ve got his direction, I don’t have to worry too much about anything else. But I do understand people having to make themselves known and felt and seen. And of course Black lives matter. Do we think our little white asses are the only ones that matter? No! Everybody matters.”

In November, she commemorated the 25th anniversary of the Imagination Library – an incredible program she launched in 1995 in order to provide free books every month to preschool children — with a new documentary titled The Library That Dolly Built. Parton stated, “I am so excited that we can finally tell the whole story of the Imagination Library. It is certainly not just about me. Our story is the story of children, of families and communities who all share the dream to inspire kids to love to read and to love to learn. My hope is this documentary will encourage more towns, more states and even more countries to jump onboard. One thing is for sure, I think this is the best investment I have ever made.”

Those who have been fans of Dolly Parton for their whole lives were treated to two magnificent overviews in 2020. The first is a Time Life box set of her career on camera, available in two different configurations. One option for Dolly: The Ultimate Collection clocks in at 11 DVDs, and the other at 19 DVDs. Some of the most interesting footage comes from her variety shows, such as this clip of the superstar singing “Amazing Grace” with Glen Campbell (who, for some reason, has brought along his bagpipes).

The other retrospective is Songteller, a book of lyrics that doubles as a memoir. Compiled by Parton and noted journalist Robert K. Oermann, it portrays Parton as a composer whose catalog goes way deeper (and darker) than “Jolene,” “9 to 5,” and “I Will Always Love You.” Dorian Lynskey, a contributor to the L.A. Times, wrote, “Her shows are carnivals of good-natured inclusivity that unite everyone from LGBTQ millennials to MAGA-hat boomers under one roof. There is room for heartbreak but not deep cuts about suicide and arson. Still, she would not have included so many of these dramas of cruelty and suffering in Songteller if she did not believe that this harsher strain in her life and work was worth remembering. Her optimism stands on the shoulders of pain.”

And if all that isn’t enough, she gifted us with a holiday album and a network special (both titled A Holly Dolly Christmas), a Netflix movie (Christmas on the Square), and even a baking kit at Williams-Sonoma. It may be the only time in history that she’s been affiliated with the words “cookie cutter.”

Right before Thanksgiving, the iconic musician logged her 50th Grammy nomination, this time for “There Was Jesus,” a collaboration with Zach Williams in the Best Contemporary Christian Music Performance/Song category. A week later, former President Barack Obama lamented that he hadn’t given Parton the Presidential Medal of Freedom. Perhaps that will happen in 2021?

Not that she’s short on awards. She picked up the new Hitmaker award from Billboard in December, and told viewers, “Of course, I’m proud of all the wonderful women in show business that write all these wonderful songs. I’d like to acknowledge a few — some of them older, kind of back in my day. Cindy Walker, who wrote some of the greatest songs ever, and of course Loretta Lynn, a wonderful, wonderful songwriter. And this day in time, of course, Taylor Swift, she’s just right up there, probably number one. And of course, Brandi Carlile, there’s just so many that write so many good songs. I think it’s so important that we acknowledge the women that write and sing in country music. And I think it’s also very important that they take control of their own business. I know I’ve had my own publishing company for years. Same with a lot of these women that I mentioned. But anyhow, I’ve just wanted to always say, ‘You go, girls!’ We can do it!” (Like hundreds of others, the trophy will be housed in her museum in Dollywood.)

This year, and in all years, we commend Dolly Parton for her work ethic and for making herself available to her fans. Yes, she knows how to market herself through visibility and personality, but in 2020, when so many of us have stayed in, she’s gone the extra mile to put herself out there, safely.

On November 30, she wound up in New York Times‘ Style magazine in its “Diva” series, alongside Patti LaBelle and Barbra Streisand. One of the most accurate depictions of what it’s like to be around Dolly (and to always wish you had more time to spend together), the article’s author Emily Lordi quotes Dolly talking about her ambition: “I just wanted to do really good work, and I wanted it to make a really big difference in the world … to uplift mankind and glorify God.”


Photo courtesy of Dolly Parton

WATCH: TRAD PLUS, ‘Blind’

Artist: TRAD PLUS (Chris Pandolfi of the Infamous Stringdusters)
Hometown: Denver, CO
Song: "Blind"
Album: Interference

In Their Words: "'Blind' is one of my favorite tracks from the record. Like a lot of TRAD PLUS music, I used some samples and live vocals to create a deep bed of sound for the melodies to sit atop. Those melodies evolve as the tune moves along, as do the sounds underneath, to create a musical journey from one place to another, as opposed to the more repetitive forms that are so common in acoustic music. And, at the heart of it all, is the natural tone of the banjo.

I shot the video last Winter in some beautiful places in Puerto Rico, and then laid on some editing effects to create a more psychedelic imagery that fits the vibe of the music." — Chris Pandolfi