Sean McConnell: Just One Song That Came the Quickest

Editor’s Note: Sean McConnell will take part in the Bluegrass Situation Takeover at The Long Road festival, to be held September 6-8 in Stanford Hall, Leicestershire, England.

“The quickest song I’ve ever written is the title track off of my newest record, Secondhand Smoke. For me, my favorite songs, and the ones I feel are my best, happen very quickly. They tend to be the ones that come out of nowhere, like they are already finished and are just trying to birth themselves into this world.

“‘Secondhand Smoke’ came to me while I was driving. I had just had an intense reunion with my father who I hadn’t seen in many years. I was thinking about our time together that day as well as our time together when I was a kid. The lyrics just started coming and coming and coming. I heard the chords that belonged underneath them and everything.

“By the time the idea entered my brain and I had arrived at my hotel, pulled out my guitar, and recorded a voice memo of it I think maybe 45 minutes had passed. Structure-wise and lyrically speaking, that voice memo sounds pretty much exactly like what you hear on the record. I’m grateful for it. It’s a song I know I’ll play for the rest of my life.” — Sean McConnell


Photo credit: Joshua Black Wilkins

Jessica Mitchell: Just One Song That Closed a Chapter

Editor’s Note: Jessica Mitchell will take part in the Bluegrass Situation Takeover at The Long Road festival, to be held September 6-8 in Stanford Hall, Leicestershire, England.

I was on my first writing trip to Los Angeles to try and write the last couple of songs for my first record. It was an array of different songs written over the course of five years so it was all over the place emotionally and storywise, but I liked that about it.

I got into a session on one of my last few days with an amazing writer named Matthew Puckett. He did everything from Broadway to film and TV writing and was definitely a new and exciting kind of writing partner for me. We talked about a lot of things, but mostly talked about a very tough and difficult relationship that had just ended, and that I had made a decision to stop putting myself in situations that weren’t healthy or that didn’t benefit my overall well-being as a woman.

“Rain for the River” was born, and very quickly. It flowed out of us. A beautiful piano backdrop with some of my favorite lyrics I’ve ever written with anyone.

We recorded a demo in the moment that turned out so raw and had this crack in my voice trying not to cry the entire time.

I remember listening back to it and thinking, This is it, this is the last song on the record. Not only just for the record, it felt complete and true for that chapter of my life.

I’ll never forget that.

Punch Brothers Explain What Hasn’t Changed

The Bluegrass Situation interviewed all five members of Punch Brothers upon the release of their compelling new album, All Ashore. At the end of the individual interviews, we asked each member just one question that overlapped: “So much has changed in the music world – and even in your band’s musical evolution – over the last ten years. But what would you say has stayed the same between that first record and now?”

As one would expect from Punch Brothers – who are nominated for IBMA Instrumental Group of the Year – every member offered an interesting perspective. (Read the other interviews here.)

Gabe Witcher: “The thing that’s stayed the same is, I think, the level of excitement we all have, still, just to play music with each other. And the shared wish to keep exploring what this ensemble can do, and to keep reaching for new things. Making new discoveries. Finding new sounds. Everyone is so super committed to that on their own, but also, once we get together, it’s kind of a miracle in a way. This kind of spontaneous and natural thing that happens when new, exciting things keep popping up. Like, ‘Oh my God, that’s awesome! What is that? Remember that, save that. Let’s use that. Let’s figure out what that is.’ That has never gone away. And I think that as long as that thing’s there, we’ll continue to make music.”

Chris Eldridge: “To me, in a way it’s all the same and it’s all different. I feel like we’re doing now what we were doing then, and in a way, it doesn’t feel so different to me in terms of how we want to work on our music. … I feel like consistently from then until now, there has been a real sense of wanting to be a band. I think that’s kind of the thing. Whatever is cool about the Three Musketeers – all for one, one for all – that from the get-go was the thing and still very much is a thing.

“Everybody is playing pretty selflessly in Punch Brothers and everybody really just wants the music to be good. At the end of the day, that’s the overriding thing that’s what brought us together as people, that’s what keeps us together as people, as musicians. We all just really love music and we share a common vision about how it should be and what it can be.

“Even as people have different ideas to move things forward, most notably Thile, there’s always been a real shared sense of purpose in this band. It should be that way for any band, but somehow, sometimes, I don’t think it is. And I think that’s been one of the things that has really contributed to us still wanting to make music together and working hard on it when we do. We just love music and we always have.”

Paul Kowert: “So, we live in the most politically tumultuous time of our lifetimes. We’re in our mid-30s, that’s a big change. Among the bandmates, three of us are married and two of them have kids, so that’s a huge change. I mean, that influences the tour schedule a little bit. Besides that, I don’t know what’s really different, you know? I mean we’re just making more music.”

Noam Pikelny: “I think everyone in the band genuinely likes each other. That’s like a rare thing. Paul is in the corner, shaking his head. (laughs). But we genuinely like each other as human beings and I think we really respect each other musically. So there’s this real sense of responsibility to each other to keep this as part of our musical lives. To me that’s a beautiful thing, that this is something that we can keep coming back to over the years. It doesn’t always have to be the main project. It could go dark for a couple of years while people are doing other things, it could come back. And it feels like not that much time has passed.

“The reason we decided to transition from just an album [Thile’s 2006 project, How to Grow a Woman From the Ground] into a band is probably the same reason why we’re still making music together right now. It’s artistically rewarding and I think we decided to keep doing this beyond the first album because we felt we were just scratching the surface of what was possible. … And 12 years later, I still have this sense of, ‘Well, we’re just scratching the surface, so we’re gonna keep doing it.’ There’s still more we want to uncover.”

Chris Thile: “We love making music with each other. We crave making music with each other. When we are in the midst of other projects, no matter how much we are enjoying those other projects, there is always this feeling, like, ‘I can’t wait to get back with my boys and see what they think about this….’ I think that a mutual love and respect has resulted in a partnership that will last until one of us dies.”


Photo credit: Josh Goleman

Just One: Michael Cleveland Picks His Desert Isle Fiddler

If you could only listen to one fiddler for the rest of your days, who would it be? We had to ask 10-time IBMA Fiddle Player of the Year Michael Cleveland whose fiddle playing would be his desert island soundtrack. Sometimes, you only need Just One.

If you had to spend the rest of your life on a deserted island with just one fiddler’s music, who would it be and why?

If I had to spend the rest my life on a desert island with one fiddler’s music, it would be Benny Martin’s fiddle playing from 1947 to 1965. He was so far ahead of what anybody else was playing at this time, in my opinion, and he was able to pull off things that I’ve yet to hear anyone else equal. Really difficult and complicated stuff that he was just able to play like it was nothing.

Why this specific era of Benny Martin?

I feel that this time in his career was his most creative. I hear in his music from ’47 to around ’56 or so that he was constantly trying new things that hadn’t been done before. For example, he was the first fiddle player that I know of to ever play fifths in double stops, which created a very unique sound. You can hear this on the Flatt and Scruggs version of “Someone Took My Place With You.” Sometime in the ’50s, he also invented the eight string fiddle, which was set up sort of like a mandolin with pairs of strings really close together. But unlike the mandolin where each pair of strings are tuned in unison or to the same pitch, the pairs on Benny’s eight string were tuned in harmony to each other, which allowed him to play four notes simultaneously. What a big sound! I heard Benny say in an interview that he came up with the idea after he heard Bill Monroe tune his mandolin in an alternate tuning for the song “Get Up John.”

What’s something about Benny Martin that you wish more people knew about?

I think a lot of people know of Benny as a great fiddler, which he most definitely was, but a lot of people don’t realize that he also was an incredible singer and songwriter. In the mid ’50s, after playing with Flatt and Scruggs and the country duo Johnnie & Jack, Benny was signed to Mercury records and started recording and touring as a country artist and later on, he was even managed by Colonel Tom Parker, the same guy who managed Elvis Presley for most of his career.

Do you have a favorite way of paying homage to Benny in your own playing?

One of the many things that I really like about Benny’s playing was the sense of fun and excitement he could create in the music. That’s what I tried to duplicate. Also his timing was impeccable! I have listened to many live recordings where the band was all over the place, or not playing together well at all, but when Benny came out and started playing with them, it sounded like a whole different band! His timing and groove were such that he could change and elevate whoever he played with and make the band play with him. Now that’s easier to do if you are a guitar or mandolin player, because those are rhythm instruments, but to do it with a fiddle? Now that’s awesome!

Now, what if you had to choose just one of Benny’s tunes to listen to while you eat coconuts on that desert isle?

If I had to choose one of Benny’s songs to listen to, it would have to be “Me and My Fiddle.” It has it all! The awesome and oh-so-complicated double stops, the incredible timing and syncopation, and everything else that is Benny Martin!


Photo courtesy of the artist.