A Green Man Review

Weather like this makes me want to write ‘Death’ on all the leaves. — Marianne C. Porter

I can smell garlic, cumin, nutmeg, cardamom, and even a hint of ginger on the whole baby lamb being slowly cooked as I approach our Kitchen… All welcome smells, especially on this raw, slefty afternoon on this Scottish estate where the temperature will be hard pressed to reach freezing on this November day. Yes, everything is getting a thin coating of ice too. Nasty indeed.

It’ll be a day of naps, reading and noshing for most of the Estate staff who can avoid going out into the treacherous weather. Rebekah, our newish Kitchen staffer who’s from Haifa, uses a day like this to do a stunning array of Jewish sweets, to wit: date-filled hamantash, krembo (a chocolate-coated marshmallow treat), rugelakh, some filled with raspberry jam and some filled with chocolate, and even ma’amoul, small shortbread pastries filled with dates, pistachios or walnuts.

And that yeasty smell that is ever appreciated is freshly baked whole wheat sourdough rolls more than warm enough still as they are covered with a soft cloth to keep them warm to warrant butter and the jam of your choice on them.Me, I go for the strawberry jam or raspberry jam…  Join me in the Kitchen after you peruse this Edition of our book and music reviews.in

Christopher was pleased with Garrett Oliver’s The Brewmaster’s Table: Discovering the Pleasures of Real Beer with Real Food, a book from the early years of the microbrew movement. ‘I greatly enjoyed the introduction with its overview of beer; what beer is, the basics of brewing, a view of beer and brewing through the ages and the setting forth of Oliver’s basic premise, namely that for any meal one can find appropriate beer(s) to accompany the food. I also particularly enjoyed a number of chapters in the second section dealing with specific brewing traditions (e.g., Lambic, Wheat, British). The book is well written, informative and engaging.’

Alan Light’s The Holy or the Broken: Leonard Cohen, Jeff Buckley & the Unlikely Ascent of ‘Hallelujah’  is one of Gary’s favorite music lore books of the past 20 years. As he said in his review, Light ‘ … deftly tracks down the genealogy of this odd song that is now a staple of film and television, “reality TV” singing contests, funerals, weddings and Olympic opening ceremonies. How did this song full of biblical and sexual imagery, dark irony and wry humor come to mean all things to all people?’

Jayme reviewed a minor classic Walter Wangerin, Jr. ‘While time has somewhat dulled the revelatory impact of The Book of the Dun Cow — in some ways it feels very much a product of the 1970s and can almost be viewed as quaint by cynical contemporary readers — it is still a powerful story.’

Joseph found food metaphors handy in his review of Andersen Gabrych and Brad Rader’s graphic novel Fogtown, which he said “… has more holes than a Swiss cheese pincushion. It runs the gamut from dope dealing femme fatales and corrupt clergymen to transgender prostitution and interracial homoeroticism. It’s quite a feat for a mere 176 pages. Small pages.’

Michael enthusiastically reviewed a bit of updated fairy tale fantasy (and two of its three sequels): ‘In The Stepsister Scheme, Jim C. Hines brilliantly remixes and reimagines three of the most popular fairy tale heroines of all time, recasting them as action heroines and secret agents in a world of magic, treachery, intrigue and adventure. These aren’t damsels in distress by any means, but strong-willed, competent, self-sufficient women capable of overcoming all sorts of problems.

Gary here. In new music, I’ve been enjoying John Scofield & Dave Holland’s Memories of Home, which continues the jazz guitarist and bassist’s longtime series of collaborations. ‘The album is something of a tour through some of the icons, heroes and mentors who influenced both of these musicians, (Miles) Davis chief among them — Holland played with Davis from 1968 to 1970, Scofield in the early to mid 1980s. But the nods to jazz greats and greatness don’t end there.’

I also review an album led by another guitarist, Pierre Dørge’s Songs For Mbizo: Johnny Lives Forever, featuring the Danish avant garde guitarist and American cornetist Kirk Knuffke. ‘It’s an extraordinary record, matching Dørge’s wide ranging melodicism and powerful tonal moods with Knuffke’s equally clarion tonalities and inventiveness, and propelled by a sharp, sympathetic rhythm section.’

From the Archives, Brendan reviewed Jay Ungar and Molly Mason’s Harvest Home: Music For All Seasons. ‘The highlight of this CD is, of course, Ungar’s and Mason’s foray into orchestration with their amazing five-part composition, “The Harvest Home Suite.” With help from composer Connie Ellisor, this piece was imagined as a musical representation of the year-long cycle of farm work from harvest to harvest.’

And Cat admits he’s biased when it comes to the music of Jay and Molly, in his review of their emotional album The Quiet Room. ‘I like everything that they’ve done. They’ve been married since 1991 and there’s a joy in hearing them perform together with a competence that’s too rare in these days when even traditional music gets too often embellished when it need not be.’

David, a big Arlo Guthrie fan, reviewed a double CD of his, Arlo Guthrie’s Live in Sydney. ‘Telling tales is one of the things Arlo does best, and this new double CD set features many of his stories. Whether talking about his dad, or Cisco Houston, or singing the same songs after 40 years. His voice is sounding older, but he’s still an engaging speaker, funny and charming.’

While he was at it, David also reviewed Arthur Penn’s Alice’s Restaurant, the movie treatment of the lengthy shaggy dog tale that provided the title of Arlo’s first LP. ‘Arthur Penn took the bare bones of Arlo’s story and fleshed it out: he added characters, and motivations, and events that were far from Guthrie’s original, but he came out of it with a full bodied, honest portrayal of life in the ’60s.’

Let me set aside the ever so cute Mouse in the Pumpkin Folkmanis puppet I’ve admiring that was sitting on a shelf in my office that someone apparently left there recently. We review them and they end up in mostly appropriate places in this building — in the Kitchen in a teacup for a wee mouse, a hedgehog left near a pIke of the in-house newsletters, The Sleeping Hedgehog, and now this. So admire the creature while I select some music to end this edition…

The fiddle playing that tune had a mute on its bridge, substantially reducing the volume of the music, but it was still loud enough for the woman to lift her head and smile when she heard it. She knew that tune, if not the fiddler, and yet she had a sense of the fiddler as well. There was something — an echo of familiarity — that let her guess who it was, because she knew from whom he’d learned to play. — Charles de Lint’s Drink Down the Moon

Well, this is Gary, the music editor … I wandered into the Editor’s office and found it empty and quiet, so somehow the job of putting a bow on this edition fell to me! It’s one of the busiest times of year here at the Estate. The harvest — or rather multiple harvests — are wrapping up in the fields, forests and orchards, while others in the pantries and the winery and the brewery and of course the Kitchen itself are busy processing all that fine produce for the Winter whose breath has begun to tickle the fine hair on our necks. And to be quite honest, some are still recovering from Samhain. So this time I’ve a potpourri of book and music reviews from the Archives, as well as a few new music reviews for your perusal.

From the archives, April reviewed Jodie Forrest’s The Rhymer and the Ravens: The Book of Fate, the first of a four book series. ‘Although Forrest’s prose drags a bit in places, on the whole, The Rhymer and the Ravens is an enjoyable, easy read. There is good attention paid to historical accuracy and to the blending of divergent mythologies (Celtic and Norse, in particular).’

I reviewed some noted books about the collectors of American folk songs that are back in print: John A. Lomax and Alan Lomax’s American Ballads and Folk Songs, and Our Singing Country: Folk Songs and Ballads; and John W. Work’s American Negro Songs. To have them back in print, I noted, ‘… is an occasion for celebration. One has but to thumb through any one of these tree volumes to find the roots, trunks and branches of all manner of American music that’s still being made today.’

Grey wrote an omnibus review on a big stack of books about folk tales and fables from cultures as different as Mexico, Mongolia, and Vietnam. ‘The six collections described in this review were assembled by markedly different authors and published at unrelated times, by unrelated publishers. Yet the similarities between some of the stories in them are striking.’

Jayme could put down The Wicked Day, book four of Mary Stewart’s Arthurian saga, which deals with Mordred’s rise and fall. ‘Mordred, to my great shock, was not portrayed as the black-hearted villain legend remembers him as. Indeed, as he grows, he becomes Arthur’s most trusted knight, and staunchest supporter. Stewart approaches the story demanding logic and consistency in her characters’ actions and motivations.’

Rebecca had slightly mixed feelings about Tony Kushner and Maurice Sendak’s Brundibar. ‘Reading the book, and especially looking at Sendak’s wonderful drawings, it’s easy to see that this was originally an opera. The story is much concerned with singing, and all of the characters seem to dance on the page. Each vendor in the square has his or her song, and there’s Brundibar’s, and the children get two.’

In new music reviews, I was intrigued by a “jazz guitar” album that defies easy categorization. ‘New Age, trance, World, ambient, tone poems … Steve Tibbetts’ Close slips and slides around and through any attempt at categorization or description or genre.’

Next I listened to a bigger ensemble on the Chris Byars Sextet’s The Dark Forest. ‘Chris Byars’ sextet combines the best of two jazz worlds, the sophisticated sonic palette of the big band and the nimble nature of the smaller bop combo that leaves more room for soloists to shine. Leader and composer Byars, who here plays tenor sax, clarinet and flute, is perhaps strongest as an arranger, giving each of these tunes its own character and drawing on the many colorations possible from a mid-sized ensemble.’

Then there is an album of through composed music for a jazz quintet plus a string quartet plus a DJ and electronic music artist, built around a formula that involves the circle of fifths and constellations in our night sky. ‘The origin story, many of the technical details and some of the music on this album flummox me. But that doesn’t stop me from recognizing Patricia Brennan’s Of The Near And Far as an astonishing work of art, and indeed some of this music is among my favorite of 2025.’

In archival reviews, I noted that The Decemberists drew heavily on their love for and knowledge of progressive English folk rock in their 2016 album The Hazards of Love, which I reviewed that year. ‘This album tells, in its own winding way, the story of Margaret and her doomed love affair with a shape-shifting lover, William, whose mother is the forest queen. There’s also a subplot involving a character known only as The Rake, who does away with his children after their mother dies in childbirth.’

The songs and the musicians are all superb on one of my favorites, I note in my archival review of Bert Jansch’s Moonshine. ‘Another key factor that elevates this record to classic status is Jansch himself. He has a vocal style that is distinctive, heavily accented and very nasal. And of course his percussive guitar playing is even more distinctive and was highly influential on artists from Nick Drake to Jimmy Page to Neil Young.’

I was intrigued by Makam’s Almanach, an album of Hungarian music that also shows influences from U.K. and U.S. folk and rock. ‘This music is as different as can be from the more traditional Hungarian folk music that other groups have popularized in Western Europe and the U.S., but it springs from the same earthy roots.’

Kim reviewed the scene, the food, and especially the music at Toronto’s famous Nora Keogh Irish Pub. ‘Dora’s is usually packed on session nights, and the Sunday session (from 6:30 p.m. – my observation) often includes younger players — sometimes as young as early teens out with their parents. The Thursday session begins around 9:30 p.m., and goes to whenever the musicians get tired.’

Mike Stiles was ensorcelled by Herne’s Apprentice, an album from the Welsh musician who performs as Damh the Bard. ‘I could write pages about this album but I’ll keep things in as much focus as I can. Damh draws deeply from Cymric myth and legend as found in primary sources like the Mabinogion. This is not just a tribute to that material, it rebirths it and creates a wonderful gateway for those who should explore it.’

‘These two CDs benchmark the glorious growth of the guitar in Celtic music,’ he said of Steve Reel’s Celtic Knights and The Unfortunate Rakes’ Rakes Alive! Of the former, he notes, ‘Steve’s guitar playing draws from many sources, but to give you a rough idea, its foundation rests on the flat-picking styles pioneered in the Bluegrass tradition by Doc Watson and cohorts. You will also hear more than a passing strain of Ian Anderson of Jethro Tull.’

Mike Wilson liked Darren Black’s  Thinkers & Fools from some English folk heavyweights. ‘Everything about Thinkers & Fools is likeable. Black’s lyrics are thought provoking and reflective; the instrumental arrangements are accomplished but never intrusive.’

Naomi reviewed a nifty record of Cape Breton Island fiddling,  The Lighthouse by fiddler and lighthouse keeper Paul Cranford & Friends. ‘Should you like good Cape Breton fiddling and original compositions, then this is the disc for you. Paul Cranford is a talented fiddler with sensitive fingers and impassioned playing.’

Fortunately, for our Coda, Iain left the following note:

I’ve been reading Charles de Lint‘s ‘The Moon is Drowning While I Sleep’ story, which is collected in Dreams Underfoot which has the following lovely passage about old hag tunes: ‘She looks like the wizened old crone in that painting Jilly did for Geordie when he got into this kick of learning fiddle tunes with the word ‘hag’ in the title: ‘the Hag in the Kiln,’  ‘Old Hag You Have Killed Me,’ ‘The Hag With the Money,’ and god knows how many more. Just like in the painting, she’s wizened and small and bent over and … dry. Like kindling, like the pages of an old book. Like she’s almost all used up. Hair thin, body thinner. but then you look into her eyes and they’re so alive it makes you feel a little dizzy.’

Okay, let’s see if there’s any Old Hag tunes on the Infinite Jukebox, our digital media server. I’ve got one by the Bothy Band whose Old Hag You Have Killed Me is one of best Irish trad albums ever done, and we’ve audio of them performing ‘Old Hag You Have Killed Me’ which we’ll share with you as it’s very splendid.

No idea when it was done, though about fifty years ago is the most common guess among those who speculate about such things, or where it was recorded for that matter. But here it is for your listening pleasure.

“I really didn’t mean to steal it.”  Mr. Williams shook his head. He scratched at his chin nervously. “Why not? That’s what they’re there for. Tunes belong to everybody. So do stories.” — Robert Holdstock’s Mythago Wood

Finch ‘ere. I’m filling in as Reynard, our Barkeep, is off travelling with his wife Ingrid, our Estate Steward, this week.

Care to have a pint of our new All Hallows Eve Ale? It’s quite good. I’ve been getting stellar comments about it from those who’ve had a few pints. Bjorn, our Brewmaster, always seems to enjoy creating new Autumn libations more than those he does for the other seasons. And he’s hinting that he’ll be doing an authentic Octoberfest beer very soon but he’s kept everything a secret from even me.

Iain is running through the tunes that Red Robin will be playing later this evening in the Sanctuary as he’s the caller. Two violinists, one smallpiper plus a mountain dulcimer player — all from Ashville, North Carolina — and it should be quite tasty to dance to.

Book reviews.

Iain has a rather special treat for us as he interviews one of favorite authors: ‘We here at Green Man remember the winter afternoon that Elizabeth Bear  carefully tended a pot of turkey stock that many hours later would become one of the most tasty turkey veggie soups ever encountered by anyone ‘ere. Later that week, I got to interview her about all things culinarily that interested here ranging from her ideas picnic basket and what make a great winter hearty meal to the perfect brownie.’

Film reviews

In new releases, I review Mareld, the third album by Nordic instrumental folk trio Mojna. ‘Once again the music on Mareld treats boundaries as nonexistent, blending European classical ideas with Nordic folk, Carnatic song, Balkan rhythms and harmonies, and the spirit of jazz invention.’

I found the music on The Necks’ Disquiet to be disturbing but essential listening. ‘Artists of all stripes are busily reflecting our chaotic world back to us in their myriad ways, to be sure. But this sprawling set of three discs containing around three hours of entirely improvised music captures the zeitgeist in ways that are as magnificent as they are unsettling.’

The Wolfgang Muthspiel trio record Tokyo is more upbeat. ‘As was the case with the trio’s previous two recordings, their music weaves through the warp and woof of jazz, classical and folk music without recognizing any seams or boundaries. The thing that keeps me coming back to this disc in the end is the way it’s always moving forward, even when it’s reveling in the moment.’

From the Archives, Big Earl presented a hefty omnibus review of several CDs of Anatolian music from the Turkish label Kalan: Maras Sinemilli Deyisleri & Ulas Ozdemir’s Ummanda, Erkan Ogur & Ismail H. Demircioglu’s Gulun Kokusu Vardi, Kardes Turkuler’s Dogu, Yarkin Turk Ritm Grubu’s Ten/Skin, and Selim Sesler ve Grup Trakya’nin Sesi’s Kesan’a Giden Yollar. ‘The Kalan label concentrates on the wonderful music of this area, with a particular interest in presenting the traditional forms. This set of discs present but a few facets of Turkish music, giving us a hint at the musical diamond that exists.

He was less than enamored of two CD’s from a performer called Wah!: CD Krishna and Transformation. ‘What we have is more a disc of tepid mid-80’s college rock, mixed with elements of reggae, and some harmonium. Oh, and some truly wretched lyrics, the sort of lyrical religious drivel that drives people away with hands on their ears.’

Naomi was impressed with fiddler Alistair McCulloch’s first release. ‘Highly Strung is a showcase of Alistair’s talent, its wide range of material showing exactly how readily adaptable to any style of fiddling he is.’

Kim was not impressed with the New Age glop on David Lyndon Huff’s Worldbeat: World Music for a New Millennium. ‘Do you want to meditate to monks chanting? Check. Rain sounds? It’s there. Gaelic sounding female vocals? Yup. Indian strings? Got that too. African vocals? Absolutely. Nature sounds? In abundance!’

Rebecca reviewed a sampler of folk singer Jack Hardy’s music from the two-volume, 10-CD boxed set The Collected Works of Jack Hardy. ‘This sampler presents songs from the ten albums Hardy released before 1995. The tracks are not arranged in chronological order, however. This makes it hard to follow any development or progression is Hardy’s work, but the order of the songs is satisfying aesthetically.’

I reviewed some classic Pablo jazz reissues from Concord, starting with Dizzy’s Big 4 featuring Dizzy Gillespie, Joe Pass, Ray Brown and Mickey Roker. ‘The album opens with a tune that was new at the time but became another Diz classic, “Frelimo.” The tune is named for the Mozambique Liberation Front, part of the Africal independence movement that was part and parcel of the American Civil Rights movement by this time. It has elements of African jazz, American funk and a melody and rhythm that to me sound Brazilian, and is mostly quiet with occasional spurts of volume. And some of Gillespie’s signature bop technique of lightning-fast runs played with jaw-dropping precision.’

Another Concord reissue of Duke Ellington & His Orchestra’s The Ellington Suites, a compilation of suites recorded at different times in Ellington’s career. One of them is from 1959, “The Queen’s Suite,” dedicated to Elizabeth II. ‘This whole suite is absolutely lovely, but if I had to choose one piece to preserve forever it would be the sublime “The Single Petal Of A Rose,” which is Ellington solo on piano accompanied only by a lightly bowed bass.

Finally, I revisited another compilation disc, Latin Noir. ‘This is the fifth edition of the Noir Series by Berlin’s excellent world music label Piranha, subtitled “Everything Happens on the Beach.” I can overlook a little marketing gimmick if it brings us such excellent music. This compilation features 13 selections, what the label refers to as “happy sad musical treasures” from Cuba, Argentina, Colombia and New York, with influences from the New World as well as “both sides of the Mediterranean,” which I take as a reference to Iberia and Africa.’

Our What Not this time is an authors’ look at his work, a work deeply infused with Arthurian, Celtic and English folklore, to wit Robert Holdstock on his Mythago Cycle. Richard reviewed for us the entire Mythago Cycle as the author calls it here  but it’s illuminating to hear what the author has to say: ‘It came as a shock to realise that 2009 is the 25th anniversary of Mythago Wood, the novel I wrote from my dreams, and under the influence of my grandfather’s eerie tales, told to me when I was a child. I loved his stories: frightening and vivid. They shaped me.’  (Holdstock would die in November of the year at the age of 61, having been in intensive care since his collapse with an E. coli infection not long before.) You can read his article here.

Summer is over, at least in the Northern Hemisphere. In fact, autumn started about three weeks ago. It’s the season when the earth readies itself for its winter sleep, but it’s also a time for festivals celebrating the harvest and summer’s bounty. So, to honor the season, here’s “Aumumn” from Antonion Vivaldi’s The Four Seasons:

She hadn’t meant to fall asleep, but she was a bit like a cat herself, forever wandering in the woods, chasing after squirrels and rabbits as fast as her skinny legs could take her when the fancy struck, climbing trees like a possum, able to doze in the sun at a moment’s notice. And sometimes with no notice at all. — Lillian in Charles de Lint’s The Cats of Tanglewood Forest

This night, as all nights are on this Scottish Estate far from the light pollution of any city, is a good night for star gazing if weather permits. I’ve got my gaggle of Several Annies, my always all female Library Apprentices (and yes I do know their names but I usually use this appellation) are getting a stars-related mythology lesson from Tamsin, our resident hedgewitch, on this crisp evening. And her owls are helping her out.

I listened for awhile but realized being warm was a far better option so I decided that I’d stitch together this edition in the Pub while ensconced  in a chair near the fireplace with a generous pour, neat of course, of Talisker Storm whisky as the Neverending session backs a sweet sounding red-headed freckled coleen singing ‘Run Sister Sister’,  a Red Clay Ramblers song with deep Appalachian roots.

Everything this addition is of an Appalachian nature, be it books, the graphic novel, the music is as always alive cut that I or Gary selected. Gary of course selected Music as he always does and I think he does a splendid job of it, don’t you?

Andrea looks at an Appalachian set tale for you: ‘Ghost Rider is a novel in Sharyn McCrumb’s “Ballad Series.” Ghost Riders is different from the others in the series in that there is no mystery (in the “mystery novel” sense of the word) to be solved. In the other books, the storyline goes back and forth between past and present, the stories linked sometimes obviously and sometimes tenuously. Usually in the “modern” story there is a mystery which the story in the past fleshes out or provides with a new insight. In Ghost Riders there are two separate tales from the past and a storyline set in the present. The narratives set in the past are linked by a chance meeting but still remain separate tales. One of these stories has a direct influence on the present. There are various characters, past and present, whose lives intertwine briefly in interesting and occasionally surprising ways.’

Andrea looked at another in that series: ‘Ghost Riders is the latest novel in Sharyn McCrumb’s “Ballad Series.” Ghost Riders is different from the others in the series in that there is no mystery (in the “mystery novel” sense of the word) to be solved. In the other books, the storyline goes back and forth between past and present, the stories linked sometimes obviously and sometimes tenuously. Usually in the “modern” story there is a mystery which the story in the past fleshes out or provides with a new insight. In Ghost Riders there are two separate tales from the past and a storyline set in the present. The narratives set in the past are linked by a chance meeting but still remain separate tales. One of these stories has a direct influence on the present. There are various characters, past and present, whose lives intertwine briefly in interesting and occasionally surprising ways.’

Cat had high hopes for Philip DePoy’s The Devil’s Hearth, as he has ‘a special fondness for mystery series set in the Appalachian Mountains, even though there aren’t a lot of good ones and a lot of not so great ones. Sharyn McCrumb’s Ballads series had some memorable outings, particularly among the later novels, and one which was outstanding, Ghost Riders.’ Read his review to see if DePoy lived up to his expectations.

The Ballad Book of John Jacob Niles, says Kim, answers a question you might’ve had: ‘Ever wonder what happened to the Child ballads that came across the water? Have you been curious about the lives of the folks whose wavery voices emerge from Lomax’s home recordings? This book contains the answers, plus over one hundred New World cousins to those ballads collected by Child, transcribed by balladeer John Jacob Niles in his trips through the southern Appalachians during the 1920s and 1930s.’  You can here Niles singing ‘The Carrion Crow’ here. It’s better known as Child 26, ‘Twa Corbies’ which is here performed by the Old Blind Dogs.

She also has a review of Ralph Lee Smith’s Ralph Lee Smith’s Appalachian Dulcimer Traditions: ‘If you play the Appalachian dulcimer and want to know more about its history, or want to preserve the memory of an instrument played by elderlies in you family, this is the book for you. It is meticulously researched, and contains pictures of early instruments, makers and players, as well as references for home recordings by the Lomaxes, and other resources — all the information a musician treasures and often misses in books aimed at the general public. However, casual fans may find the history too detailed, and technically oriented.’

Robert starts off a review I think is perfect for Summer reading this way: ‘I’ve long followed Charles de Lint’s writing, starting with, if I remember correctly, Moonheart way back when, and I’ve been as close as I ever come to being a fan for years. (I even got my hands on some early stories, somehow.) So when I was asked to do a review of The Cats of Tanglewood Forest, I said, “Yes. I haven’t had a chance to read de Lint in a while.”’

Of course Robert also reviewed the sequel: ‘I’ve long followed Charles de Lint’s writing, starting with, if I remember correctly, Moonheart way back when, and I’ve been as close as I ever come to being a fan for years. (I even got my hands on some early stories, somehow.) So when I was asked to do a review of The Cats of Tanglewood Forest, I said, “Yes. I haven’t had a chance to read de Lint in a while.”’

Debbie took a thorough look at Charles Vess’ The Book Of Ballads And Sagas #1 – 4. ‘Vess, who has a solid reputation for illustrating such works as Neil Gaiman’s Sandman stories (also published in graphic novel form) also loves the ballads and sagas that have been entertaining people for hundreds of years, and in this series of books he has collaborated with some of the best-known writers in fantasy literature, including Gaiman, Jane Yolen, Charles de Lint, Sharyn McCrumb (not a fantasy writer but an author of mysteries with an Appalachian folkloric theme), Midori Snyder, Robert Walton and Delia Sherman (whew!) — I hope I’ve not left anyone out!’

Gary here with a bunch of Appalachian music reviews from the Archives.

Big Earl was pleased with a three-disc set Doc Watson and David Holt’s Legacy, which consisted of two discs of the two in verbal and musical conversation, and a third with a live concert recording. ‘The set is loosely parallel to the interview discs, with the artists performing songs from Watson’s past, utilizing uncommon instruments (such as a diddley-wah and a guitjo). But get Doc back to his guitar for his wonderful takes of “The Telephone Girl” and “Just To Ease My Worried Mind,” and you understand why Watson has influenced so many players.’

Brendan had high praise for Deep River of Song: Black Appalachia, one of a series of releases containing field recordings made by John and Alan Lomax in the 1930s and ’40s. ‘The sheer variety of songs here is daunting; there are fiddle reels, work chants, square-dancing numbers, hoedowns, blues, as well just straightforward folk songs. What makes this CD so interesting is that the Lomaxes (travelling with famed bluesman Leadbelly) recorded these songs at a time of great transition for the American folk song.’

Chris wrote up a collection of field recordings from the 1950s, Mrs. Etta Baker, Family and Friends’ Instrumental Music of the Southern Appalachians. ‘The most surprising thing about the music is how modern it all sounds. The recording quality is exceptionally good considering how roughly and how long ago the tunes were taped, and it is worth reflecting on how the trend in much of today’s folk music has reverted back to the raw, driving style found in these recordings. The standard of performance is very high, the tunes a good selection of dances and song melodies.’

David reviewed Charlie Louvin’s Sings Murder Ballads and Disaster Songs, a late career recording from a pioneer of Appalachian music. ‘Somehow having an 80-year-old man sing songs about life and death (“Darling Corey”), about the Titanic (“Down With the Old Canoe”), about “The Little Grave In Georgia” adds new resonance to the lyric. Combine Charlie’s clearly aged but true voice with the solid picking support from the younger band, and you have a real recipe for success.’

David also reviewed Hobart Smith’s Blue Ridge Legacy, field and other recordings from a long life. ‘Smith’s early recordings (circa ’40s-’50s) inspired musicians like Mike Seeger and John Cohen to play early American music. He had played in minstrel shows in 1915 and dance parties throughout the Appalachians. He played at auctions, for society events and even in dance halls.’

A few years back I reviewed a recording of home rehearsals by bluegass pioneers Hazel Dickens & Alice Gerrard called Sing Me Back Home: The DC Tapes, 1965-1969. They don’t confine themselves to bluegrass and oldtime music, I noted. ‘That’s evident in the collection’s title Sing Me Back Home taken from the 1967 Merle Haggard song (and his 1968 No. 1 album of the same title). They give it a beautiful old-time vocal arrangement, and accompany themselves on autoharp (Alice) and guitar.’

I also reviewed the debut self-titled recording by Allison de Groot & Tatiana Hargreaves. ‘Above all else, this is a highly entertaining album of old-time music drawn from a wide variety of sources, played by two very talented young people who sound like they’re having a great time. These two really are in the vanguard of a new generation of musicians playing old-time music but not strictly hewing to the standard form.’

Unadorned Appalachian folk songs are at the heart of Texas Gladden’s Ballad Legacy, another Alan Lomax project I reviewed. ‘The songs include many Child ballads like “Farmer’s Wife,” and a virtual library of traditional American folksongs, largely from the Anglo-Celtic tradition: “Barbara Allen,” “The Three Babes,” “Lord Thomas,” “I’m Never to Marry,” “Gypsy Davy.” There are also some early country songs like “The Wreck of the Old 97.” ‘

Kelly Hunt sings and plays banjo on her debut album Even The Sparrow. I noted, ‘These songs and the lives they illuminate feel lived-in, inhabited by real folks.’

Dori Freeman’s debut self-titled recording impressed me. ‘This talented young woman from Galax, Virginia, has a gift for songwriting that runs as deep as the veins of coal in her native Appalachia, and a voice that can sing pretty much any style of country music.’

No rundown of modern Appalachian music is complete without something from Anna & Elizabeth. I reviewed their reissued debut, Sun to Sun. ‘Anna & Elizabeth make music in the old-time Appalachian tradition, singing close harmonies in the style they’ve learned from recordings and musical mentors. Anna sings in a craggy and powerful alto and plays fiddle, guitar and banjo, while Elizabeth’s vocals are a bit lighter and sweeter, and she plays banjo. It’s an arresting and lovely experience, listening to this music.’

Kim was enthusiastic about an early solo effort from mandolinist Chris Thile, Not All Who Wander Are Lost. ‘I was a bit surprised that the album is entirely instrumental, as Thile does the vocal honors for Nickel Creek on occasion. During his performance last summer at the Winnipeg Folk Festival, a friend commented that he definitely fancies himself as a ballad singer, and I suspect his singing, which is fine, will mature to match his instrumentals, which are superlative.’

One of our diverse voices, Peter Hund, wrote up the first live disc released by Alison Krauss and Union Station, lo these many years ago now. ‘Over the course of the 25 songs here, there are more than a few non-Krauss-vocal numbers, so fans of her singing be warned. But the instrumentals and the songs with Tyminski singing lead break things up nicely, reiterating that this is a group — not just an angelic singer and her crack backup band.’

In new music, I bring you a new release from banjo picker Wes Corbett. ‘As I was giving Wes Corbett’s Drift a listen on my headphones — at the gym, as it happens — I thought the fiddler sounded familiar on one decidedly Celtic sounding track. Was that Brittany Haas?’ Read my review to find out.

Next up is The Ghost of Sis Draper, the tale of an Arkansas fiddler, so not Appalachian but close: ‘Fans of the late Guy Clark, and of top-notch acoustic Americana, rejoice! Shawn Camp, one of Guy’s long-time songwriting partners, has released a concept album of songs they wrote together over many years about the legendary Arkansas fiddler known as Sis Draper.’

In 2010 a Russian pianist recorded an album ‘with two of the top rhythm section players in the jazz world, bassist Christian McBride and drummer Jack DeJohnette. I’ve not seen any explanation as to why it’s only being released now, 15 years later, but I’m glad SteepleChase put out Ivan Farmakovskiy’s Epic Power. All fans of modern hard bop piano trio jazz should rejoice, as well.’

I also reviewed the vinyl re-release of Niels-Henning Ørsted Pedersen’s 1976 album Jaywalkin‘. ‘The nine tracks include six Pedersen originals plus three covers that cover the bases from fleet bebop to bossa nova to romantic standard. Throughout, Niels-Henning Ørsted Pedersen’s playing is transfixing, melodic and rhythmic, a commanding presence that’s always front and center in this ensemble.’

Robert talks about growing up in the Appalachian Mountains: ‘That’s my mountains, or a little bit of them. You’d call them “southern Appalachia.” It’s where I spent a chunk of my growing up time — learned to pitch in, to do for myself, climb the side of a road cut, handle a gun (rifle and handgun, and I’m a very good shot), split firewood without cutting my foot off, avoid packs of feral dogs. And I spent a lot of time just rambling, with the cousins and alone, just looking at what was there. That was the best part.’

So for our music this time, let’s go with something from the late Robert Hunter as I rather like ‘Brown-Eyed Women’ quite a bit as it has a distinct Appalachian feel to it. Now my favorite version isn’t the one with Garcia singing that the Dead did, but rather is one someone here found some years back. Hunter who wrote much of what they played including this,  and my favourite version is done by him during a show at Biddy Mulligan’s in Chicago some forty years ago. So let’s now listen to him doing that song.