When The Stringdusters were in Nashville around 2006 or 2007, our dobro player lived next door to Jon Weisberger in Madison, right on the Cumberland River. There were two houses on the property; Andy lived in one, Jon lived in the other. I was sleeping in Andy’s guest room and there were regular picking parties at The Compound, as we now refer to it. A few years ago I suggested Jon move to Brevard, he looked into it, and I’m happy to say I’m now neighbors with my favorite co-writing partner. Jon’s written with just about everybody in bluegrass, but recently his most notable songs have been with Billy Strings. In fact, Jon helped write “California Sober,” a song Billy recently recorded with Willie Nelson. A music historian, writer, bassist, and king of the charcoal grill, I was thrilled to get to know more about one of the most-liked people in bluegrass.
This podcast is an edited distillation of the full-length happy hour which aired live February of 2021. Huge thanks to Jon Weisberger and Tommy Maher.
Timestamps:
0:09 – Soundbyte 0:52 – Introduction 2:18 – Bill’s live introduction 2:47 – “Wasted on the Way” 5:30 – Interview 41:19 – “Pearl of Carolina” 45:00 – “Windy In Nashville” 49:24 – “Blowin’ On A Lonesome Breeze” 53:05 – Outro
Editor’s note: The Travis Book Happy Hour is hosted by Travis Book of the GRAMMY Award-winning band, The Infamous Stringdusters. The show’s focus is musical collaboration and conversation around matters of being. The podcast is the best of the interview and music from the live show recorded in Asheville, North Carolina.
The Travis Book Happy Hour Podcast is brought to you by Thompson Guitars and is presented by Americana Vibes and The Bluegrass Situation as part of the BGS Podcast Network. You can find the Travis Book Happy Hour on Instagram and Facebook and online at thetravisbookhappyhour.com.
If you were to try to typify bluegrass as being about any one singular thing, that one thing might be family. Not just biological family, but musical family, chosen family, and the way the music survives generation to generation, passed down as a folkway and aural tradition. Often, though not always, this music is a family tradition, passed along family trees like an heirloom or like more typical family businesses.
John Cloyd Miller and Natalya Zoe Weinstein, bluegrass duo and band leaders of Zoe & Cloyd, have made a brand new album that, on the surface, might just seem like a standard bluegrass album paying homage to the folks who came before them, their forefathers. But Songs of Our Grandfathers is so much more complicated and nuanced, wrinkling a format that’s as old as these genres themselves: the tribute album.
On the new record, released in May on Organic Records, John and Natalya pull songs from the catalogs of their musician grandfathers. Miller’s grandpa, Jim Shumate, was a renowned Western North Carolina fiddler who played a stint in Bill Monroe’s Blue Grass Boys and can be accurately credited with helping get Earl Scruggs the banjo gig that made him famous. Natalya’s grandfather, David Weinstein, was a working klezmer musician who fled unrest in Russia, moving to the U.S.
The artful way this pair of musicians and life partners combine the styles of their families, of their youths, and of their present lives together, as touring, professional musicians, feels expansive, rich, and bold, like newgrass that’s never been newgrassed before. But, there’s a timelessness here, a patina, that speaks to the greater tradition this record can lay claim to perpetuating. (Thank goodness.)
Songs of Our Grandfathers isn’t just nostalgia, heritage, lineage, legacy- and canon-building. It’s not just carrying on tradition for tradition’s sake. It’s effortlessly and wholly bluegrass because it innovates, it complicates, and it challenges its listeners to think outside of preconceived notions of what bluegrass, string band, and old-time music are. Because that’s exactly what bluegrass’s grandfathers, grandmothers, and grandparents were doing as they invented this music.
We began our phone chat about the new album discussing each of their grandparents and their musical idiosyncrasies.
Can we start by talking about Jim Shumate? His presence is throughout the record and he’s influenced you both, can you tell us a bit about him and his music making?
John Cloyd Miller: He was born in 1921 in Wilkes County, North Carolina, on a mountain called Chestnut Mountain. He started playing fiddle as a young boy, as a teenager. His older brother Mac, who was 10 years older – the same age as Bill Monroe – got him his first fiddle, which is a fiddle he kept his entire life and we actually have, now. It’s an old Sears & Roebuck Strad copy, but he played some tone into it! His Uncle Erby played fiddle so he heard him a lot growing up and then he got into Arthur Smith and all that kind of stuff. He moved to Hickory when he got older, when he was a young man, and was playing on the radio down there when Bill Monroe heard him and asked him to be in the Blue Grass Boys. That was the time that Stringbean was in the band and Sally Ann Forrester, too.
When Stringbean decided to leave the band and go off with Lew Childre, Bill needed a banjo player and it’s now a pretty well known story that Jim knew a banjo player – he knew Earl Scruggs – and really pushed, begged him really, to audition for Bill. Earl was pretty reluctant to do it, but he did, and the rest is history. Later on, when Flatt & Scruggs broke off [from the Blue Grass Boys], Jim was their first fiddler, as you know. He recorded on their Mercury sessions. But he didn’t like touring, he wasn’t a touring kinda guy at all. He had four kids at home – three at the time, when he was younger, and one later.
Natalya Zoe Weinstein: He liked Mama’s cookin’.
[both laugh]
Jim Shumate, L (John Cloyd Miller’s grandfather); David Weinstein, R (Natalya Zoe Weinstein’s grandfather)
JCM: He did! He liked his own bed and grandma’s cooking, for sure. He liked to go up on the mountain. He worked in the furniture industry pretty much his whole life, but he also had his hand in the music. He ran a place called “Cat Square,” kind of a small town sort of Hickory Opry, a music show. He was always playing. I have photos of him through the late ‘40s and through the ‘50s with all sorts of people, Don Reno – all those guys. He made records and he had his own band called Sons of the Carolinas, which had George Shuffler in it and some other guys. He was always playing. He played with Dwight Barker and the Melody Boys; he did some sides with Don Walker, who he played with before he met Bill Monroe. He was always making music.
After Flatt & Scruggs it was largely regionally, because he wasn’t out touring, but he said people would always come by. Any time guys like Lester and them were in town they would always drive the bus and park it right in the yard. He was always in the music, but his influence was not felt as widely later on, I think because he wasn’t out [touring]. He did come back to recording in the ‘90s and made five cassettes for Heritage Records and those got disseminated kind of regionally. Michael Cleveland cut one of the songs that was on one of those tapes a year or so ago. People know his music, but we enjoy getting his legacy out there a bit more. He’s got such a unique style and certainly was influential.
He was a great songwriter, too! He was my main musical influence. I heard him play a ton growing up. He was so bluesy and slidey, he was a real master of syncopation, which is something that got ingrained in me. People always forget about his songwriting, but the way I grew up, I always thought that being a musician meant that you sing stuff, you write songs. You pick, too, but you do all of it. It was just part of being musical and I think that came from him as well.
It makes me think of, well, I talk a lot about how the most “bluegrass” someone can be is being innovative and being themselves, whether that comes across as “traditional bluegrass,” genre-wise or not.
JCM: That’s really insightful and it’s so true, when you look at those early players – everybody always looks at the first generation and, that’s good, that can be very grounding, but those guys were all unique! They were all unique artists, they had their own styles – sure, they were listening to one another, but Lester Flatt doesn’t sound like Bill Monroe who doesn’t sound like Carter Stanley. They don’t sound like each other!
Natalya, I wanted to ask you about your grandfather, too. If you could tell us a bit about the musical influences that represent him on this record, as well.
NZW: He passed away when I was fairly young, my dad had me when he was fifty-one, so my grandfather was quite older than me – I think I was eleven when he passed away. [My father and he] had an interesting relationship; he wasn’t always a well-liked man. He escaped a lot of violence and poverty in Russia, so he wasn’t a very kind man and my dad didn’t have a very close relationship with him. I don’t have any audio recordings of his music, I have a couple of audio interviews that my dad and uncle did with him, but I don’t have any recordings of his music.
My dad was moving a few years back and found all these old music notebooks from my grandfather. He asked me, “Do you want these old, handwritten, junky notebooks?” And I was like, “Yes!! Please give those to me!” [Laughs] That was the source, for me, for my grandfather’s music. I didn’t have one-on-one experiences with him, I didn’t have recordings of him, so these notebooks are really the only link to his music that I have. We have about five or six notebooks that have songs in them – they’re pretty hard to decipher, they’re forty or fifty years old. They have all different kinds of material in them, from klezmer to mambos and tangos even to “Tennessee Waltz,” which shows up in one of them as a jazz standard. He also played some classical music, he didn’t do just one singular thing. Klezmer players were like the wedding band musician of their time, where they had to play a bunch of different styles based on who their audience was.
JCM: We definitely got a little bit of a sense of who he was from these audio interviews that her uncle and dad had made with him. We got to hear his voice, you know he didn’t speak English very well so it’s mostly in Russian and Yiddish. You get a sense of some of the stuff he saw, in these interviews. You can tell it hardened him.
NZW: He had a tough life for sure, he struggled a lot and music was really the only thing [he did]. He wasn’t really educated. He talked about how when he came here [to the U.S.] he tried to be a plumber and he tried to be an electrician, but he kept making mistakes. He said, “I couldn’t do anything except play music.” He felt almost like he was stuck with it. He loved it and he was passionate about it, but I got the sense that it was his only option.
There’s a similar energy from both grandfathers around being musicians, but not just in a traditional touring, “road dog,” sort of lifestyle.
NZW: You’re right, and they were both kind of skeptical of the past.
JCM: They both came from very humble beginnings. My grandfather didn’t have any education, either. Natalya’s grandfather, apparently, escaped the Bolshevik revolution on a hay wagon. He was a teenager and they were trying to conscript him into the army to fight – it’s crazy stuff!
Bluegrass is always considering lineage and tradition and how those things are passed along. One of the things that I think is really interesting about it is there aren’t a lot of marginalized identities represented in the historical record of bluegrass, but there are Jewish identities represented. There’s not a whole lot of representation as you go back through the years, but it’s there. How do you connect the music you’re making, that’s infused with Jewish influences and has that cultural identity, to past Jewish music makers in bluegrass and string bands? You’re clearly thinking about lineage and family with this record, and that’s so bluegrass, but through a different lens with your Jewish identity and the other cultural music styles on the album, too.
NZW: David Grisman was one of my biggest musical influences early on, he was a big bridge, for me, between my dad – who plays jazz – and the bluegrass connection as well as the Jewish connection. We talk about how this album was inspired by Songs of Our Fathers, the 1995 album by David Grisman and Andy Statman. Andy Statman, who played on the record, is another one – one of the first shows that John and I went to see when we met in Asheville in 2005 or 2006 was to see Andy Statman at the Black Mountain Center for the Arts, which is this tiny little listening room. It was an incredible show, I remember just being blown away. I remember thinking, “Wow! What a cool fusion.”
JCM: That was the first time we heard that fusion with klezmer music. He was also playing clarinet, he was playing mandolin. He is the bridge between these kinds of music. David doesn’t do as much klezmer, but those two guys together for sure.
NZW: John and I both came into bluegrass through the Grisman/Garcia connection then I kind of worked my way back from there. Someone gave me a burned CD of Bill Monroe and I was like, “Oh my God, what is this!?” [Laughs]
JCM: So many people have stories like that. That Old & In The Way album was such an influential record, it was like the number one selling bluegrass record for a long time.
NZW: Yeah, the way I got into bluegrass, I was out in Tacoma, Washington, for an anthropology conference in college and somebody at my hotel was like, “I’ve got an extra ticket for Wintergrass, which is happening right next door.” I said, “Okay, cool!” So we go and I saw Old & In The Gray there [Peter Rowan, Vassar Clements, Grisman], it was an incredible experience. I didn’t really know what I was seeing at the time, because I was so new to bluegrass, but that was my “Ah ha!” moment. Someone handed me a fiddle and I dunno, I played “Angeline the Baker” and that was it! [Laughs]
JCM: When I first heard Grisman play mandolin, his tone and everything, that was like sinking a hook into me. That’s why I even wanted to play mandolin. I wanted to work on getting tone like that! He was a huge influence on so many of us.
Going back home one time, when I had been living out West or whatever, I was listening to Old & In the Way or something and I asked, “Grandpa, do you know this stuff, like ‘Pig in a Pen,’ and all this?” And he was like, “Oh yeah! I know everything on this record!” And he would play them, and that was so cool to me. I hadn’t quite made the connection before. He asked me, “Who’s playing fiddle on that record?” And I said, “Vassar Clements!” He says, “Oh yeah, that’s a good friend of mine!” I was like, “WHAT!?”
[both laugh]
JCM: I was just this stupid, deadhead college kid – I mean, I’m still a deadhead – but it really clicked. This is a bridge between grandpa’s world, which had always seemed like something in the past, to my world as a young, coming-of-age musician, realizing, “Oh, it’s all the same stuff!”
To an uninitiated listener, they might hear your record and they might hear the influences that aren’t “traditional bluegrass” as modern cross-pollinations, as something that’s coming from you both and your generation and your own creativity. But, I really wanted to unpack the lineage of the music, because I can sense even in the playing on this album that colors “outside the lines,” it’s clearly part of this bigger tradition in bluegrass of being a bridge between these kinds of disparate parts. Even this “nontraditional” album you’ve made is based on so much tradition – familial tradition, cultural tradition, musical tradition.
NZW: I think we wanted to honor those traditions and where these songs came from, but we also wanted to put our own spin on it. We hope our grandfathers would have liked that!
JCM: [Jim Shumate] was very much a traditional musician, but he was always innovative at the same time. Some of the things he did in the ‘50s were very jazzy, with electric guitars playing with him. And he always loved Natalya’s playing. You know, Natalya came from a classical background and anytime she would play something classical for him–
NZW: Or a waltz.
JCM: He just loved to hear her play. They didn’t sound like each other, they had very different styles, but he was always very open and he loved everything.
NZW: I think he would like [the album]. John’s mom texted us yesterday as she was listening to it and said, “I think grandpa would’ve enjoyed that!” So hopefully our grandparents aren’t rolling over in their graves.
I know Jeremy Garrett about as well as anyone else, excepting his wife Connie, of course. We’ve traveled together for 17 years as founding members of The Infamous Stringdusters and spent about a decade sharing a room when we traveled. We affectionately referred to each other as our “road wives.” Beyond being a great songwriter, brilliant fiddle player, and vocalist of the highest order, he has a cutting wit and a steadfast dedication to his art and his craft. I’m grateful to call him a friend and look forward to many more years creating music and traveling with this bluegrass titan.
This podcast is an edited distillation of the full-length happy hour which aired live on April 27, 2021. Huge thanks to Jeremy Garrett and Jon Stickley.
Timestamps:
0:05 – Soundbyte 0:43 – Introduction 1:52 – Live introduction by Bill 2:54 – “Rise Sun” 5:32 – “That’s Someone’s Mother” 8:10 – “Home From the Forest” 12:52 – Introducing Jeremy Garrett 13:50 – Interview 1 19:10 – “I’m Not the Enemy” 23:43 – “I Am Who I Am” 27:15 – Interview 2 45:42 – “Wishing Well” 53:10 – “Windy in Nashville” 56:24 – “A Hard Life Makes a Good Song” 1:00:52 – Outro
Editor’s note: The Travis Book Happy Hour is hosted by Travis Book of the GRAMMY Award-winning band, The Infamous Stringdusters. The show’s focus is musical collaboration and conversation around matters of being. The podcast is the best of the interview and music from the live show recorded in Asheville, NC.
The Travis Book Happy Hour Podcast is brought to you by Thompson Guitars and is presented by Americana Vibes and The Bluegrass Situation as part of the BGS Podcast Network. You can find the Travis Book Happy Hour on Instagram and Facebook and online at thetravisbookhappyhour.com.
Photo Credit: George Trent Grogan, Mountain Trout Photography
Artist:Joseph Terrell Hometown: Durham, NC Song: “Tallest House of Cards” (featuring Charly Lowry) Album:Good For Nothing Howl Release Date: May 5, 2023 Label: Sleepy Cat Records
In Their Words: “Charly Lowry is one of my favorite singers in North Carolina. I love her voice and her presence and I really admire how rooted she is in her community in Eastern North Carolina (AKA “down east” AKA the most interesting part of the state with the most swamps and collard greens per capita). We met up in Pembroke, NC at Charly’s bar, Credentials Social Club, and she helped me record a beautiful version of this song from my album … thanks to Charly for bringing it to life. Directed by my great buddies Sandra Davidson and Cameron Laws, we made a day trip out of it, got Mexican at Charly’s favorite spot beforehand, and then Cook Out milkshakes afterward (banana pudding). It was a pleasure all around.
“‘Tallest House of Cards’ is about some great duos who burned hot and bright for a little while. You know Bonnie & Clyde, Fred Astaire & Ginger Rogers. Y’all maybe don’t know the story of Charles Mason & Jeremiah Dixon, the surveyors who drew the famous line, but they were a wild pairing, too. I’ve got some other verses (Bert & Ernie, Siegfried & Roy) that I might bust out live.” – Joseph Terrell
Video directed by Sandra Katharine Davidson and Cameron Elizabeth Laws
Graham Sharp has had the kind of career any banjo player dreams of. He started the Steep Canyon Rangers in college with a group of friends, immediately discovered he had a knack for songwriting, and the rest is history in the making. Twenty-three years, nine albums and a Grammy Award later, the Steep Canyon Rangers (behind the strength of Graham’s songwriting), have established themselves as one of the best bluegrass and Americana bands of their era. I was grateful for the chance to talk with this insightful artist, play some really beautiful music, and reminisce about our shared history. I hope you enjoy this episode of The Happy Hour.
This podcast is an edited distillation of the full-length happy hour which aired live on June 8th of 2022. Huge thanks to Graham Sharp and Julian Pinelli.
Timestamps:
0:05 – Soundbyte 0:34 – Introduction 2:56 – On the Carolina Guitar Celebration & Tony Rice 4:26 – “Home From the Forest” 8:46 – Introducing Graham Sharp 10:00 – Interview 1 25:54 – “Can’t Get Home” 30:06 – Interview 2 43:50 – “Coming Back to Life” 49:28 – Fiddle music! 54:35 – “Generation Blues” 58:17 – Outro
Editor’s note: The Travis Book Happy Hour is hosted by Travis Book of the GRAMMY Award-winning band, The Infamous Stringdusters. The show’s focus is musical collaboration and conversation around matters of being. The podcast is the best of the interview and music from the live show recorded in Asheville, NC.
The Travis Book Happy Hour Podcast is brought to you by Thompson Guitars and is presented by Americana Vibes and The Bluegrass Situation as part of the BGS Podcast Network. You can find the Travis Book Happy Hour on Instagram and Facebook and online at thetravisbookhappyhour.com.
Artist:Keturah Allgood Hometown: Brevard, NC Song: “Rosary Beads” Album:Shine Release Date: May 29, 2023 (single); August 25, 2023 (album) Label: Charlotte Avenue Entertainment
In Their Words: “This song was written in my cabin on my farm where I was living at the time. It was a snowy day and everything outside was beautiful and peaceful. I closed my eyes and this song unfolded like a movie. I could see a young man driving down a Southwestern highway with rosary beads hanging on his rearview mirror. He was grappling with his childhood memories which were beautiful and his current reality which was formed from trauma, from war, from pain. The movie in my head was beautiful and tragic all at the same time. My partner is a combat vet and as the person who loves him and is close to him I watch him struggle with his past and how to live a happy and fulfilled life while still being faced with the trauma of war. No matter where we come from all of us have darkness that we have to confront and deal with in order to heal and move forward. I don’t want anyone to ever feel alone with that struggle and that is why it was so important to add a message at the end of the video for this song to remind everyone that they are not alone and that there are resources out there if you find yourself struggling. You don’t have to be afraid to ask for help.” — Keturah Allgood
“As a Director, working on a song as beautiful as ‘Rosary Beads’ and an artist as gifted as Keturah, leaves you a wide open pallet to work with. Keturah and I discussed some issues that were near and dear to her when coming up with this powerful story and I couldn’t be more proud of this video and Keturah. The cast was amazing and our production crew and DP were all stellar.” – Michelle Robertson (producer, Charlotte Avenue Pictures)
Artist:Unspoken Tradition Hometown: Cherryville, North Carolina Song: “Moments” Release Date: May 19, 2023 Label: Mountain Home Music Company
In Their Words: “I’m so happy to be giving ‘Moments’ a second life. I originally recorded this song, written by our producer Jon Weisberger and Andy Hall of the Infamous Stringdusters, on my solo album, and in the intervening years it has grown to be one of my favorites. I think my own journey reflects the subject material — with more than a decade of hindsight, it takes on a different meaning in thinking about how fleeting time can seem, how the moments of our lives can ‘turn us all around, lift us up or knock us down.’ I’m excited for Unspoken Tradition to put our own spin on this poignant song!” — Sav Sankaran, Unspoken Tradition
Artist:Kevin Daniel Hometown: Born in Tarboro, North Carolina; currently in Nashville, Tennessee Latest Album:The Life & Adventures of Kevin Daniel Personal nicknames (or rejected band names): Lol, Kevin Daniel & The Danielettes is one I force on my band sometimes (we go by Kevin Daniel & The Bottom Line when I play full band)
Which artist has influenced you the most … and how?
Historically I would have to say Elvis Presley due to his general stage presence and vocal abilities, but lately I’ve been way more interested in songwriting, which Elvis notoriously did not do a lot of. Currently Jason Isbell and Tyler Childers are my biggest lyrical influences, as well as Langhorne Slim who is honestly as much a poet as he is a singer. They all put truth to words in a way that seems genuine and can touch a wide variety of people and personalities.
What rituals do you have, either in the studio or before a show?
This might seem silly, but at the end of every show I play with a full band (The Bottom Line) I make sure to go up to each of them before we leave the stage to thank them. I don’t have a set band, it’s always a different setup, and I know these guys could be playing with someone else, so I just make sure to let them know I enjoyed and appreciated them before we start breaking down for the night.
What has been the best advice you’ve received in your career so far?
I don’t know if I can say this, but I once saw Margo Price on a panel and her big piece of advice was “don’t be an asshole.” I’ve taken that to heart and I try not to take anything too personally when it comes to my career. It’s easy to get bitter and jaded in the music industry, so not being a jerk can really go a long way with people.
Which elements of nature do you spend the most time with and how do those impact your work?
Anyone who knows me knows that I am obsessed with surfing. Real surfers know how passionate you can get about the sport and how it can really consume you. I spend about six weeks every year taking a break from touring to surf in Costa Rica, write music, and generally not drive more than a mile in any direction. Surfing helps me recollect my thoughts and really just be in the moment, whereas the rest of the year I’m always thinking at least three months ahead.
How often do you hide behind a character in a song or use “you” when it’s actually “me”?
I try to be as authentic as possible when I’m performing and writing music. At some point though, you are not as interesting as you think you are, and you need to write about stuff that has nothing to do with you. I think there’s a way to do that authentically but you are in essence writing a piece of fiction. The Kevin Daniel you see on stage is basically me, but generally more nice. In real life, I can be a bit of a grump. I’m working on it.
Cris Jacobs is an enigma. The question is always “why is this guy not more famous?” Searing guitar, incredible heartfelt songwriting, genre-defying vocals, and an incredibly positive vibe and outlook; there’s really none better than Cris Jacobs. I asked him to come to Western North Carolina to do a couple shows and it just-so-happened we shared the stage the weekend prior at the Telluride Bluegrass Festival, so I was lucky to get to spend a lot of time with Cris over the course of a week. I really enjoyed the music and the interview and I’m looking forward to more music with him in the future.
This podcast is an edited distillation of the full-length happy hour which aired live on June 22nd of 2022. Huge thanks to Cris Jacobs and Devin Neel.
Timestamps:
0:08 – Soundbyte 1:01 – Introduction 2:46 – Welcome from Travis 3:44 – Monologue: gun predicament 5:19 – “Rise Sun” 8:11 – On Devin Neel 8:41 – On Telluride Bluegrass Festival 11:40 – “I’m Not Alone” 17:07 – Interview w/ Cris Jacobs 28:00 – “Delivery Man” 34:44 – “Talkin’ NRA Blues” 43:20 – “Under the Big Top” 47:47 – Interview w/ Cris Jacobs 59:24 – “Mama Was a Redbone” 1:05:10 – “The Devil or Jesse James” 1:13:17 – Reprise 1:14:27 – Outro
Editor’s note: The Travis Book Happy Hour is hosted by Travis Book of the GRAMMY Award-winning band, The Infamous Stringdusters. The show’s focus is musical collaboration and conversation around matters of being. The podcast is the best of the interview and music from the live show recorded in Asheville, NC.
The Travis Book Happy Hour Podcast is brought to you by Thompson Guitars and is presented by Americana Vibes and The Bluegrass Situation as part of the BGS Podcast Network. You can find the Travis Book Happy Hour on Instagram and Facebook and online at thetravisbookhappyhour.com.
Artist:Carley Arrowood Hometown: Newton, North Carolina Song: “Tsali’s Run” Release Date: May 12, 2023 Label: Mountain Home Music Company
In Their Words: “I wrote this tune last summer as a fun attempt at something with a Celtic/bluegrass feel. Little did we know it would come to have a Cherokee title! Last June Daniel and I went on our first anniversary trip to Cherokee, North Carolina, and saw Unto These Hills as a part of it. I have a little Cherokee in my veins, and it was so moving to learn more about Tsali, a Cherokee hero who gave up his life to save the rest of his people before the Trail of Tears took place. He and his two oldest sons willingly surrendered to a firing squad after running ‘unto the hills’ to hide. Go see the play if you haven’t! This tune found its name when we got home from our trip, as we both could just picture Tsali and his boys running through the woods. The studio band was incredible, and Tony Creasman made the song feel extra chilling with his hand drum. If you listen closely, you’ll hear three subtle crash cymbals as the song closes, and they mimic the sound of the gunshots that marked the bitter but courageous end of Tsali and his boys. ‘Tsali’s Run’ is so energetic and thrilling to play, and I hope that listeners will love and be moved by it as we are.” — Carley Arrowood
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