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bluegrass folk 2019 allison de groot tatiana hargreave

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Uploaded On:: April 18, 2022, 12:23 a.m.
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(2019) Allison de Groot & Tatiana Hargreaves - Allison de Groot & Tatiana Hargreaves Review: Although not native to the culture or the region, both steeped in old-time American folk music, renowned clawhammer banjo player Allison de Groot joins forces with fiddler Tatiana Hargreaves for a debut album that draws on material sourced from the Mississippi, Missouri, the Arkansas Ozarks and Appalachian string band music. A predominantly traditional cocktail of songs and instrumentals, it kicks off with the latter, the two instruments battling it out on Eighth of January, a tune popularised in the early ’40s by African American Nashville street performers Nathan Frazier and Frank Patterson. Hargreaves takes the lead vocals for another sprightly stomping trad number, I Don’t Want to Get Married, the last two verses being additions by Edna Poplin from ’60s South Carolina outfit The Poplin Family, returning to instrumentals with Hargreaves showcasing on Farewell Whiskey, a traditional tune learned from the work of 30s avant-garde Mississippi fiddler John Hatcher. Indeed, the bulk of the album is instrumental. Dry is a sawing fiddle tune written but previously unrecorded by Judy Hyman, the film composer and a founding member of The Horse Flies while, conversely Lonesome Blues is an old rustic waltzing tune learned from the playing of Will Gilmer, a highly influential fiddler from 20s Mississippi. The drivingly urgent Wabash Blues comes from old-time banjo picker Hobart Smith whose recordings form part of the In Sacred Trust: The 1963 Fleming Brown Tapes collections on Smithsonian Folkways, while, another busy fiddle tune, Melinda is taken from the repertoire of acclaimed and influential Missouri fiddler Lyman Enloe. Two familiar titles will be Buffalo Gals and Cuckoo’s Nest, although the latter isn’t the bawdy ballad that forms a trad folk circuit staple, but rather a hornpipe/reel for Ireland that also figures in the English Morris repertoire. The former, taken at a rapid banjo picking lick, is again better known in a vocal incarnation, this version being a traditional Appalachian bluegrass tune the pair learnt from a 1991 live recording by Matokie Slaughter (1919-1999) and Alice Gerrard. Gerrard also contributes to the album with, Hargreaves on vocals, the duo’s recording of Beaufort County Jail, a song she wrote about Joan Little, a 20-year-old Black woman who, in 1974 in Washington, North Carolina, killed, in self-defence, a 62-year-old white male jail guard who was assaulting her. She was charged with first-degree murder but was finally acquitted, the first woman to be exonerated for self-defence against sexual assault. There are two other vocal numbers. A typically tragic tale of love cut short by death, though here it’s the woman who drowns leaving the man to die of a broken heart, featuring banjo only, Willie Moore was learnt from the 1927 recording by Dick Burnett and Leonard Rutherford. Featuring twin banjos, the other is Who Wouldn’t Be Lonely, a 1938 song of rejected affections written by William Bolick who, along with brother Earl, formed the 30s Southern country duo The Blue Sky Boys. In the liner notes they add “When the Bolick brothers sang ‘Who wouldn’t be lonely, who wouldn’t be blue, when the one you care for, don’t care for you,’ they probably weren’t thinking about queer love, but you never know. We may have played with the pronouns a little on this one.” The album ends in fine old-time form with one last fiddle and banjo instrumental, Green Valley Waltz, a tune that traces back to the 30s and Tennessee’s Fiddlin’ Arthur Smith, the girls learning it from the playing of Violet Brumley Hensley, a musician and fiddle maker known as the Stradivarius of the Ozarks, born in 1916 and, at time of writing, still going strong. The duo dedicate the album to all the musicians who came before them and especially “those who never received the credit they deserved: the Indigenous, Black, Queer and female musicians who weren’t always visible but kept, and still keep the music moving forward.” — folkradio.co.uk Track List: 1.Eighth of January 02:48 2.I Don't Want to Get Married 03:04 3.Farewell Whiskey 02:56 4.Dry 02:49 5.Beaufort County Jail 02:46 6.Cuckoo's Nest 02:14 7.Lonesome Blues 02:06 8.Willie Moore 03:02 9.Buffalo Gals 02:27 10.Wabash Blues 02:52 11.Who Wouldn't Be Lonely 02:51 12.Melinda 02:34 13.Green Valley Waltz 01:52 Media Report: Genre: bluegrass, folk Country: USA Format: FLAC Format/Info: Free Lossless Audio Codec, 16-bit PCM Bit rate mode: Variable Channel(s): 2 channels Sampling rate: 44.1 KHz Bit depth: 16 bits Note: If you like the music, support the artist

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01 - Eighth of January.flac 15.9 MB
02 - I Don't Want to Get Married.flac 16.8 MB
03 - Farewell Whiskey.flac 16.4 MB
04 - Dry.flac 15.7 MB
05 - Beaufort County Jail.flac 15.6 MB
06 - Cuckoo's Nest.flac 13.3 MB
07 - Lonesome Blues.flac 11.5 MB
08 - Willie Moore.flac 15.2 MB
09 - Buffalo Gals.flac 14.6 MB
10 - Wabash Blues.flac 15.5 MB
11 - Who Wouldn't Be Lonely.flac 14.8 MB
12 - Melinda.flac 14.5 MB
13 - Green Valley Waltz.flac 11.0 MB
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Details for: [bluegrass, folk] (2019) Allison de Groot and Tatiana Hargreave

bluegrass folk 2019 allison de groot tatiana hargreave

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