Smithsonian Folkways
Sons of Membertou - Kepmitetmnej (Mikmaq Honour song) (Official Audio)
updated
Featuring:
Wu Man - pipa
Basel Rajoub - saxophone
Sirojiddin Juraev - tanbur
Jasser Haj Youssef - viola d'amore
Abbos Kosimov - doira
Feras Charestan - qanun
Purchase/Stream:
Smithsonian Folkways: https://folkways.si.edu/aga-khan-master-musicians/nowruz
Bandcamp: agakhanmastermusicians.bandcamp.com/album/nowruz
All other platforms: orcd.co/aga-khan-master-musicians-nowruz
In Nowruz, their accomplished debut album, the Aga Khan Master Musicians (AKMM) draw on music from Central Asia, China, the Middle East, and North Africa to create a strikingly original body of work where living musical traditions meet and meld. Acclaimed virtuosos on their respective instruments, the six members of AKMM deftly blend pipa, qanun, dutar, viola d’amore, saxophone, and a panoply of percussion into a soulful new musical language that comes alive in these eloquent performances.
Smithsonian Folkways: https://folkways.si.edu
Facebook: facebook.com/smithsonianfolkwaysrecordings
Twitter: twitter.com/Folkways
Instagram: instagram.com/smithsonianfolkways
The content and comments posted here are subject to the Smithsonian Institution copyright and privacy policy (www.si.edu/copyright). Smithsonian reserves the right in its sole discretion to remove any content at any time.
Directed by Julian Saporiti, Emilia Halvorsen Saporiti, and Little Monk Panda Scout
Julian Saporiti: lead vocal, instruments, programming
Emilia Halvorsen Saporiti: harmony vocal, lap steel
P.T. Banks: harmony vocal
Kristin Weber: violin
Purchase/Stream:
Smithsonian Folkways: https://folkways.si.edu/no-no-boy/empire-electric
Bandcamp: nonoboy.bandcamp.com/album/empire-electric
All other platforms: orcd.co/no-no-boy-empire-electric
There are seemingly infinite layers of meaning to be found in No-No Boy’s third album, Empire Electric. You can listen closely to singer-songwriter Julian Saporiti’s lyrics, which juxtapose true stories of struggle from throughout Asia and its diaspora with Saporiti’s own reckoning with intergenerational trauma. You could also let the majesty of Saporiti’s songcraft wash over you, his captivating melodies cloaking those themes in a veneer of hope and ecstasy. But the deepest storytelling happens at the sonic level, as sounds drawn from across the Eastern hemisphere mingle freely with distinctly American instrumentation – banjo and koto, lap-steel and guzheng – while electronically manipulated field recordings of rushing water, chirping birds and other natural sounds ground us in the now. Adventurous and affecting, Empire Electric offers a vision for a new kind of folk music, one that tells unorthodox stories through unorthodox means and finds new pathways through our tangled roots.
No-No Boy: nonoboyproject.com
Facebook: facebook.com/nonoboyalbum
Twitter: twitter.com/NoNoBoyMusic
Instagram: instagram.com/nonoboysongwriter
Smithsonian Folkways: https://folkways.si.edu
Facebook: facebook.com/smithsonianfolkwaysrecordings
Twitter: twitter.com/Folkways
Instagram: instagram.com/smithsonianfolkways
The content and comments posted here are subject to the Smithsonian Institution copyright and privacy policy (www.si.edu/copyright). Smithsonian reserves the right in its sole discretion to remove any content at any time.
Purchase/Stream:
Smithsonian Folkways: https://folkways.si.edu/matmos/return-to-archive
Bandcamp: matmos.bandcamp.com/album/return-to-archive
All other platforms: orcd.co/matmos-return-to-archive
In 1948, Moses Asch founded Folkways Records with a self-proclaimed mandate to record the sounds of the entire world. From the Sounds of North American Frogs to Speech After the Removal of the Larynx, Folkways documented the audible nooks and crannies of existence on hundreds of LPs produced by field recordists, scientists, and experimentalists probing the margins of the human soundscape. Seventy-five years later, electronic music duo Matmos have diced, looped, stretched, and recontextualized these recordings on their new album Return to Archive, which was assembled entirely from the so-called non-musical sounds released on Folkways. On just the album’s first track, dolphins, beetles, telephones, humans stretching the limits of their vocal cords, a shortwave radio, and metal balers co-mingle in a fantasia of sound both everyday and extraordinary. Each track on Return to Archive morphs its source material into something completely unexpected, honoring and expanding on Folkways’ legacy of sonic exploration. Featuring Evicshen and Aaron Dilloway.
Matmos: http://vague-terrain.com
Facebook: facebook.com/matmosband
Twitter:
Drew Daniel: twitter.com/DREWDANIEL.BLUESKY.SOCIAL
M.C. Schmidt: twitter.com/lordmcess
Instagram: instagram.com/xmatmosx
Smithsonian Folkways: https://folkways.si.edu
Facebook: facebook.com/smithsonianfolkwaysrecordings
Twitter: twitter.com/Folkways
Instagram: instagram.com/smithsonianfolkways
The content and comments posted here are subject to the Smithsonian Institution copyright and privacy policy (www.si.edu/copyright). Smithsonian reserves the right in its sole discretion to remove any content at any time.
Directed by Julian Saporiti and Emilia Halvorsen Saporiti.
Featuring Julian Saporiti: lead vocal, instruments, programming,
Emilia Halvorsen Saporiti: harmony vocal.
Purchase/Stream: orcd.co/no-no-boy-empire-electric.
#NoNoBoy #smithsonian
“The studio became a space of belonging,” he reflects. You can hear “Mekong Baby” on all streaming platforms now 🎧
Video credits: Nadya Ellerhorst, Albert Tong, Charlie Weber, and Jacob Weber
#NoNoBoy #Folkways75 #2023Folklife
Featuring:
Wu Man - pipa
Basel Rajoub - saxophone
Sirojiddin Juraev - dutar
Jasser Haj Youssef - viola d'amore
Abbos Kosimov - doira
Feras Charestan - qanun
Purchase/Stream:
Smithsonian Folkways: https://folkways.si.edu/aga-khan-master-musicians/nowruz
Bandcamp: agakhanmastermusicians.bandcamp.com/album/nowruz
All other platforms: orcd.co/aga-khan-master-musicians-nowruz
In Nowruz, their accomplished debut album, the Aga Khan Master Musicians (AKMM) draw on music from Central Asia, China, the Middle East, and North Africa to create a strikingly original body of work where living musical traditions meet and meld. Acclaimed virtuosos on their respective instruments, the six members of AKMM deftly blend pipa, qanun, dutar, viola d’amore, saxophone, and a panoply of percussion into a soulful new musical language that comes alive in these eloquent performances.
Smithsonian Folkways: https://folkways.si.edu
Facebook: facebook.com/smithsonianfolkwaysrecordings
Twitter: twitter.com/Folkways
Instagram: instagram.com/smithsonianfolkways
The content and comments posted here are subject to the Smithsonian Institution copyright and privacy policy (www.si.edu/copyright). Smithsonian reserves the right in its sole discretion to remove any content at any time.
Directed by Julian Saporiti and Emilia Halvorsen Saporiti. Featuring Julian Saporiti: lead vocal, instruments, programming, and Thai Hien: vocal.
Purchase/Stream: orcd.co/no-no-boy-empire-electric.
#NoNoBoy #smithsonian
Directed by Julian Saporiti and Emilia Halvorsen Saporiti
Julian Saporiti: lead vocal, instruments, programming
Emilia Halvorsen Saporiti: harmony vocal
Purchase/Stream:
Smithsonian Folkways: https://folkways.si.edu/no-no-boy/empire-electric
Bandcamp: nonoboy.bandcamp.com/album/empire-electric
All other platforms: orcd.co/no-no-boy-empire-electric
There are seemingly infinite layers of meaning to be found in No-No Boy’s third album, Empire Electric. You can listen closely to singer-songwriter Julian Saporiti’s lyrics, which juxtapose true stories of struggle from throughout Asia and its diaspora with Saporiti’s own reckoning with intergenerational trauma. You could also let the majesty of Saporiti’s songcraft wash over you, his captivating melodies cloaking those themes in a veneer of hope and ecstasy. But the deepest storytelling happens at the sonic level, as sounds drawn from across the Eastern hemisphere mingle freely with distinctly American instrumentation – banjo and koto, lap-steel and guzheng – while electronically manipulated field recordings of rushing water, chirping birds and other natural sounds ground us in the now. Adventurous and affecting, Empire Electric offers a vision for a new kind of folk music, one that tells unorthodox stories through unorthodox means and finds new pathways through our tangled roots.
No-No Boy: nonoboyproject.com
Facebook: facebook.com/nonoboyalbum
Twitter: twitter.com/NoNoBoyMusic
Instagram: instagram.com/nonoboysongwriter
Smithsonian Folkways: https://folkways.si.edu
Facebook: facebook.com/smithsonianfolkwaysrecordings
Twitter: twitter.com/Folkways
Instagram: instagram.com/smithsonianfolkways
The content and comments posted here are subject to the Smithsonian Institution copyright and privacy policy (www.si.edu/copyright). Smithsonian reserves the right in its sole discretion to remove any content at any time.
Featuring:
Greg Gardner: vocal
Cass McCombs: vocal, guitar
Jeremy Brown: guitar, vocal, conga drum
Vale Slapak-Brown: vocal, speaking
Abe Gardner: speaking
Oona Gardner: speaking
Dotty Kitty: meow
Gloria Argueta: speaking
Michael Hurley: speaking
Ngoc Phung Tran: speaking
Saidah Said: speaking
The Miraculous Love Kids: vocal
Illustration by Mr. Greg (Greg Gardner)
‘Mr. Greg & Cass McCombs - Sing and Play New Folk Songs for Children’ is available August 18, 2023, on streaming/digital, CD, and Vinyl LP.
Pre-order/stream:
Smithsonian Folkways: https://folkways.si.edu/mr-greg-and-cass-mccombs/sing-and-play-new-folk-songs-for-children
Bandcamp: smithsonianfolkways.bandcamp.com/album/mr-greg-cass-mccombs-sing-and-play-new-folk-songs-for-children
All other platforms: orcd.co/mrgregcassmccombs
The tender and curious songs on ‘Mr. Greg & Cass McCombs - Sing and Play New Folk Songs for Children’, the first album by songwriter and pre-school teacher Mr. Greg and acclaimed indie chameleon Cass McCombs, celebrate the joys of learning and discovery. The pair of longtime friends make connections for young children just beginning to find their own way in the world and for parents regaining their own childlike sensibilities. Set to tunes straight from the mold of Ella Jenkins and Woody Guthrie, the duo sings about the importance of friendship, understanding those different from yourself, and taking care of your body. They also pay musical tribute to heroic figures of bravery and justice like Ruth Bader Ginsberg and Harvey Milk. These songs are bridges to many adventures in the making and include suggested activities for youngsters to supplement their listening and exploration.
Cass McCombs: cassmccombs.com
Facebook: facebook.com/CassMcCombs
Twitter: twitter.com/cassmccombs
Instagram: instagram.com/cassmccombs
Mr. Greg:
Instagram: @gregory_gardner
Smithsonian Folkways: https://folkways.si.edu/
Facebook: facebook.com/smithsonianfolkwaysrecordings
Twitter: twitter.com/Folkways
Instagram: instagram.com/smithsonianfolkways
The content and comments posted here are subject to the Smithsonian Institution copyright and privacy policy (www.si.edu/copyright). Smithsonian reserves the right in its sole discretion to remove any content at any time.
Directed by Julian Saporiti and Emilia Halvorsen Saporiti
Julian Saporiti: lead vocal, instruments, programming
Thai Hien: vocal
Purchase/Stream:
Smithsonian Folkways: https://folkways.si.edu/no-no-boy/empire-electric
Bandcamp: nonoboy.bandcamp.com/album/empire-electric
All other platforms: orcd.co/no-no-boy-empire-electric
There are seemingly infinite layers of meaning to be found in No-No Boy’s third album, Empire Electric. You can listen closely to singer-songwriter Julian Saporiti’s lyrics, which juxtapose true stories of struggle from throughout Asia and its diaspora with Saporiti’s own reckoning with intergenerational trauma. You could also let the majesty of Saporiti’s songcraft wash over you, his captivating melodies cloaking those themes in a veneer of hope and ecstasy. But the deepest storytelling happens at the sonic level, as sounds drawn from across the Eastern hemisphere mingle freely with distinctly American instrumentation – banjo and koto, lap-steel and guzheng – while electronically manipulated field recordings of rushing water, chirping birds and other natural sounds ground us in the now. Adventurous and affecting, Empire Electric offers a vision for a new kind of folk music, one that tells unorthodox stories through unorthodox means and finds new pathways through our tangled roots.
No-No Boy: nonoboyproject.com
Facebook: facebook.com/nonoboyalbum
Twitter: twitter.com/NoNoBoyMusic
Instagram: instagram.com/nonoboysongwriter
Smithsonian Folkways: https://folkways.si.edu
Facebook: facebook.com/smithsonianfolkwaysrecordings
Twitter: twitter.com/Folkways
Instagram: instagram.com/smithsonianfolkways
The content and comments posted here are subject to the Smithsonian Institution copyright and privacy policy (www.si.edu/copyright). Smithsonian reserves the right in its sole discretion to remove any content at any time.
Illustrations by Mr. Greg (Greg Gardner)
Animation by Cameron Burr
Cameron Burr Animation: doctorradical.com
‘Mr. Greg & Cass McCombs - Sing and Play New Folk Songs for Children’ is available August 18, 2023, on streaming/digital, CD, and Vinyl LP.
Pre-order/stream:
Smithsonian Folkways: https://folkways.si.edu/mr-greg-and-cass-mccombs/sing-and-play-new-folk-songs-for-children
Bandcamp: smithsonianfolkways.bandcamp.com/album/mr-greg-cass-mccombs-sing-and-play-new-folk-songs-for-children
All other platforms: orcd.co/mrgregcassmccombs
The tender and curious songs on ‘Mr. Greg & Cass McCombs - Sing and Play New Folk Songs for Children’, the first album by songwriter and pre-school teacher Mr. Greg and acclaimed indie chameleon Cass McCombs, celebrate the joys of learning and discovery. The pair of longtime friends make connections for young children just beginning to find their own way in the world and for parents regaining their own childlike sensibilities. Set to tunes straight from the mold of Ella Jenkins and Woody Guthrie, the duo sings about the importance of friendship, understanding those different from yourself, and taking care of your body. They also pay musical tribute to heroic figures of bravery and justice like Ruth Bader Ginsberg and Harvey Milk. These songs are bridges to many adventures in the making and include suggested activities for youngsters to supplement their listening and exploration.
Cass McCombs: cassmccombs.com
Facebook: facebook.com/CassMcCombs
Twitter: twitter.com/cassmccombs
Instagram: instagram.com/cassmccombs
Mr. Greg:
Instagram: @gregory_gardner
Smithsonian Folkways: https://folkways.si.edu/
Facebook: facebook.com/smithsonianfolkwaysrecordings
Twitter: twitter.com/Folkways
Instagram: instagram.com/smithsonianfolkways
The content and comments posted here are subject to the Smithsonian Institution copyright and privacy policy (www.si.edu/copyright). Smithsonian reserves the right in its sole discretion to remove any content at any time.
Illustrations by Mr. Greg (Greg Gardner)
Animation by Cameron Burr
Cameron Burr Animation: doctorradical.com
‘Mr. Greg & Cass McCombs - Sing and Play New Folk Songs for Children’ is available August 18, 2023, on streaming/digital, CD, and Vinyl LP.
Pre-order/stream:
Smithsonian Folkways: https://folkways.si.edu/mr-greg-and-cass-mccombs/sing-and-play-new-folk-songs-for-children
Bandcamp: smithsonianfolkways.bandcamp.com/album/mr-greg-cass-mccombs-sing-and-play-new-folk-songs-for-children
All other platforms: orcd.co/mrgregcassmccombs
The tender and curious songs on ‘Mr. Greg & Cass McCombs - Sing and Play New Folk Songs for Children’, the first album by songwriter and pre-school teacher Mr. Greg and acclaimed indie chameleon Cass McCombs, celebrate the joys of learning and discovery. The pair of longtime friends make connections for young children just beginning to find their own way in the world and for parents regaining their own childlike sensibilities. Set to tunes straight from the mold of Ella Jenkins and Woody Guthrie, the duo sings about the importance of friendship, understanding those different from yourself, and taking care of your body. They also pay musical tribute to heroic figures of bravery and justice like Ruth Bader Ginsberg and Harvey Milk. These songs are bridges to many adventures in the making and include suggested activities for youngsters to supplement their listening and exploration.
Cass McCombs: cassmccombs.com
Facebook: facebook.com/CassMcCombs
Twitter: twitter.com/cassmccombs
Instagram: instagram.com/cassmccombs
Mr. Greg:
Instagram: @gregory_gardner
Smithsonian Folkways: https://folkways.si.edu/mr-greg-and-cass-mccombs/sing-and-play-new-folk-songs-for-children
Facebook: facebook.com/smithsonianfolkwaysrecordings
Twitter: twitter.com/Folkways
Instagram: instagram.com/smithsonianfolkways
The content and comments posted here are subject to the Smithsonian Institution copyright and privacy policy (www.si.edu/copyright). Smithsonian reserves the right in its sole discretion to remove any content at any time.
Tracklist:
00:00 Mance Lipscomb - “God Moves on the Water”
02:36 James Tisdom - “Salty Dog Rag”
05:55 Dudley Alexander and Washboard Band - “St. James Infirmary”
10:15 The Spiritual Light Gospel Group - “My Work Will Be Done”
13:16 George “Bongo Joe” Coleman - “George Coleman for President, Nobody for Vice President”
'Playing for the Man at the Door' is available August 4, 2023, on streaming/digital, CD, and LP.
Pre-order/stream:
Smithsonian Folkways: https://folkways.si.edu/playing-for-the-man-at-the-door
Bandcamp: smithsonianfolkways.bandcamp.com/album/playing-for-the-man-at-the-door-field-recordings-from-the-collection-of-mack-mccormick-1958-1971
All other platforms: orcd.co/mccormick
'Playing for the Man at the Door: Field Recordings from the Collection of Mack McCormick, 1958–1971' is the first compilation of music drawn from McCormick’s fabled vernacular recording collection, which indelibly documents a pivotal moment in African American history. Our five-song sampler draws from that massive release to feature never-before-heard performances not only from musicians like Mance Lipscomb who became icons in their own right, but also, crucially, from performers like James Tisdom and George “Bongo Joe” Coleman, whose names may be unfamiliar to even the most devoted blues fans and scholars. This newly mastered collection brings to life these undercelebrated, genre-defying craftsmen of Black gospel, country blues, zydeco, and more: offering insight into their lives and illuminating in new, enlightening ways their joys and anguish, deep social connections, distinctive voices, and cultural networks.
Smithsonian Folkways: https://folkways.si.edu/
Facebook: facebook.com/smithsonianfolkwaysrecordings
Twitter: twitter.com/Folkways
Instagram: instagram.com/smithsonianfolkways
The content and comments posted here are subject to the Smithsonian Institution copyright and privacy policy (www.si.edu/copyright). Smithsonian reserves the right in its sole discretion to remove any content at any time.
Purchase/Stream:
Smithsonian Folkways: https://folkways.si.edu/no-no-boy/la-banda-mas-chingon-en-wyoming
Bandcamp: nonoboy.bandcamp.com/album/la-banda-m-s-ching-n-en-wyoming-b-w-nitro-66-cannonball-blues
All other platforms: orcd.co/no-no-boy-mariachi
The cultural and geographic lineage of No-No Boy’s newest single “La Banda Más Chingón en Wyoming” is layered and deeply American: a mariachi rendition of a folk-country song about a 1940s Asian American swing band composed in Wyoming by the son of a Vietnamese refugee from Nashville performed in Southern California. The song is a bilingual reimagination of “The Best Goddamn Band In Wyoming” from the 2021 No-No Boy album 1975. Julian Saporiti and Emilia Halvorsen Saporiti are joined by Mariachi Los Broncos, whose bandleader Jessie Vallejo drew thematic connections between the Japanese internment camps that Saporiti so vividly sings about and the detention centers set up at the US Southern border overfilled with Latin American migrants. The mariachi’s bold exuberance underscores the song’s triumphant perseverance in the face of bigotry and life-shattering oppression by the state.
The single’s B-side “Nitro ‘66 Cannonball Blues” is a brand-new No-No Boy song featuring The New Celestial String Band. As understated as the A-side is boisterous, it takes inspiration from the traditional “Cannonball Blues,” approaching the tune from the perspective of a Chinese American immigrant railroad worker who, after building the transcontinental train lines that laid the groundwork for massive cultural and economic expansion, was deported back to China in 1885. The song is heartbreaking and full of life, highlighting Saporiti’s masterful storytelling and creative production techniques.
No-No Boy: nonoboyproject.com
Facebook: facebook.com/nonoboyalbum
Twitter: twitter.com/NoNoBoyMusic
Instagram: instagram.com/nonoboysongwriter
Smithsonian Folkways: https://folkways.si.edu
Facebook: facebook.com/smithsonianfolkwaysrecordings
Twitter: twitter.com/Folkways
Instagram: instagram.com/smithsonianfolkways
The content and comments posted here are subject to the Smithsonian Institution copyright and privacy policy (www.si.edu/copyright). Smithsonian reserves the right in its sole discretion to remove any content at any time.
Purchase/Stream:
Smithsonian Folkways: https://folkways.si.edu/no-no-boy/la-banda-mas-chingon-en-wyoming
Bandcamp: nonoboy.bandcamp.com/album/la-banda-m-s-ching-n-en-wyoming-b-w-nitro-66-cannonball-blues
All other platforms: orcd.co/no-no-boy-mariachi
The cultural and geographic lineage of No-No Boy’s newest single “La Banda Más Chingón en Wyoming” is layered and deeply American: a mariachi rendition of a folk-country song about a 1940s Asian American swing band composed in Wyoming by the son of a Vietnamese refugee from Nashville performed in Southern California. The song is a bilingual reimagination of “The Best Goddamn Band In Wyoming” from the 2021 No-No Boy album 1975. Julian Saporiti and Emilia Halvorsen Saporiti are joined by Mariachi Los Broncos, whose bandleader Jessie Vallejo drew thematic connections between the Japanese internment camps that Saporiti so vividly sings about and the detention centers set up at the US Southern border overfilled with Latin American migrants. The mariachi’s bold exuberance underscores the song’s triumphant perseverance in the face of bigotry and life-shattering oppression by the state.
The single’s B-side “Nitro ‘66 Cannonball Blues” is a brand-new No-No Boy song featuring The New Celestial String Band. As understated as the A-side is boisterous, it takes inspiration from the traditional “Cannonball Blues,” approaching the tune from the perspective of a Chinese American immigrant railroad worker who, after building the transcontinental train lines that laid the groundwork for massive cultural and economic expansion, was deported back to China in 1885. The song is heartbreaking and full of life, highlighting Saporiti’s masterful storytelling and creative production techniques.
No-No Boy: nonoboyproject.com
Facebook: facebook.com/nonoboyalbum
Twitter: twitter.com/NoNoBoyMusic
Instagram: instagram.com/nonoboysongwriter
Mariachi Los Broncos: https://www.cpp.edu/class/music/ensembles/mariachi-los-broncos.shtml
Facebook: facebook.com/CPPMariachi
Twitter: twitter.com/MariachiCPP
Instagram: instagram.com/cppmariachi
Smithsonian Folkways: https://folkways.si.edu
Facebook: facebook.com/smithsonianfolkwaysrecordings
Twitter: twitter.com/Folkways
Instagram: instagram.com/smithsonianfolkways
The content and comments posted here are subject to the Smithsonian Institution copyright and privacy policy (www.si.edu/copyright). Smithsonian reserves the right in its sole discretion to remove any content at any time.
Pre-order/stream:
Smithsonian Folkways: https://folkways.si.edu/damir-imamovic/the-world-and-all-that-it-holds
Bandcamp: damirimamovic.bandcamp.com/album/the-world-and-all-that-it-holds
All platforms: orcd.co/damirimamovic
Bosnian singer, songwriter and sevdah tradition-bearer Damir Imamović is a firm believer in the power of song to connect and transport. On this new album The World and All That It Holds he performs original compositions and traditional songs in Bosnian and Sephardic Ladino with breathtaking emotion and conviction. Created as a musical companion to Bosnian-American author Aleksandar Hemon's epic novel of the same name, the songs tell stories of love and loss, hardship and perseverance. Imamović's music invokes the spirit of the cultural melting pot that is Sarajevo, his lifelong home, reflecting sevdah’s rich historical influences while invigorating its future.
Damir Imamović: http://damirimamovic.com
Facebook: facebook.com/damirimamovic
Twitter: twitter.com/damirimamovic
Instagram: instagram.com/damirimamovich
Smithsonian Folkways: https://folkways.si.edu
Facebook: facebook.com/smithsonianfolkwaysrecordings
Twitter: twitter.com/Folkways
Instagram: instagram.com/smithsonianfolkways
The content and comments posted here are subject to the Smithsonian Institution copyright and privacy policy (www.si.edu/copyright). Smithsonian reserves the right in its sole discretion to remove any content at any time.
Pre-order/stream:
Smithsonian Folkways: https://folkways.si.edu/damir-imamovic/the-world-and-all-that-it-holds
Bandcamp: damirimamovic.bandcamp.com/album/the-world-and-all-that-it-holds
All platforms: orcd.co/damirimamovic
Bosnian singer, songwriter and sevdah tradition-bearer Damir Imamović is a firm believer in the power of song to connect and transport. On this new album The World and All That It Holds he performs original compositions and traditional songs in Bosnian and Sephardic Ladino with breathtaking emotion and conviction. Created as a musical companion to Bosnian-American author Aleksandar Hemon's epic novel of the same name, the songs tell stories of love and loss, hardship and perseverance. Imamović's music invokes the spirit of the cultural melting pot that is Sarajevo, his lifelong home, reflecting sevdah’s rich historical influences while invigorating its future.
Damir Imamović: http://damirimamovic.com
Facebook: facebook.com/damirimamovic
Twitter: twitter.com/damirimamovic
Instagram: instagram.com/damirimamovich
Smithsonian Folkways: https://folkways.si.edu
Facebook: facebook.com/smithsonianfolkwaysrecordings
Twitter: twitter.com/Folkways
Instagram: instagram.com/smithsonianfolkways
The content and comments posted here are subject to the Smithsonian Institution copyright and privacy policy (www.si.edu/copyright). Smithsonian reserves the right in its sole discretion to remove any content at any time.
Pre-order/stream:
Smithsonian Folkways: https://folkways.si.edu/playing-for-the-man-at-the-door
Bandcamp: smithsonianfolkways.bandcamp.com/album/playing-for-the-man-at-the-door-field-recordings-from-the-collection-of-mack-mccormick-1958-1971
All other platforms: orcd.co/mccormick
In the 1950s and 60s, the blues was the dominant form of Black vernacular music throughout Texas and the surrounding areas. In segregated neighborhoods, community members gathered in saloons, dancehalls, and each other’s homes to hear their neighbors sing their stories of sorrow, heartbreak, jubilation, and triumph. Robert “Mack” McCormick, an academically untrained but fanatical devotee of the blues, stepped into this world and became one of its most devout advocates and documentarians. By photographing Black and Latino Texans and their neighborhoods, as well as recording and interviewing musicians—many of whom never stepped foot into a proper recording studio—McCormick endeared and eventually embedded himself into these communities. By the time he died in 2015, McCormick had amassed a collection of 590 reels of sound recordings and 165 boxes of manuscripts, original interviews and research notes, thousands of photographs and negatives, playbills, and posters. Because McCormick never published or released most of these materials, his collection became a thing of legend and intense speculation among scholars, blues aficionados, and musicians alike.
Playing for the Man at the Door: Field Recordings from the Collection of Mack McCormick, 1958–1971 is the first compilation of music drawn from this fabled collection, which indelibly documents a pivotal moment in African American history. It features never-before-heard performances not only from musicians who became icons in their own right—including Lightnin’ Hopkins and Mance Lipscomb—but also, crucially, performers whose names may be unfamiliar to even the most devoted blues fans and scholars. Newly mastered recordings and accompanying photographs bring to life many of these forgotten figures: offering insight into their lives and illuminating in new, enlightening ways their joys and anguish, deep social connections, distinctive voices, and cultural networks. The collection spans gospels, ragtime, country blues dirges, the unclassifiable music of George “Bongo Joe” Coleman, and more, showing that no community, no matter how tight-knit, is monolithic.
Accompanying the music is a 128-page book, which contains breathtaking photographs by McCormick and his associates, as well as contextual essays by producers Jeff Place and John Troutman on McCormick’s life, and by musicians Mark Puryear and Dom Flemons on some of the marginalized communities throughout “Greater Texas” to which McCormick devoted his life’s work. This release is a partnership with the Smithsonian’s National Museum of American History.
Smithsonian Folkways: https://folkways.si.edu
Facebook: facebook.com/smithsonianfolkwaysrecordings
Twitter: twitter.com/Folkways
Instagram: instagram.com/smithsonianfolkways
The content and comments posted here are subject to the Smithsonian Institution copyright and privacy policy (www.si.edu/copyright). Smithsonian reserves the right in its sole discretion to remove any content at any time.
Pre-order/stream:
Smithsonian Folkways: https://folkways.si.edu/damir-imamovic/the-world-and-all-that-it-holds
Bandcamp: damirimamovic.bandcamp.com/album/the-world-and-all-that-it-holds
All platforms: orcd.co/damirimamovic
Bosnian singer, songwriter and sevdah tradition-bearer Damir Imamović is a firm believer in the power of song to connect and transport. On this new album The World and All That It Holds he performs original compositions and traditional songs in Bosnian and Sephardic Ladino with breathtaking emotion and conviction. Created as a musical companion to Bosnian-American author Aleksandar Hemon's epic novel of the same name, the songs tell stories of love and loss, hardship and perseverance. Imamović's music invokes the spirit of the cultural melting pot that is Sarajevo, his lifelong home, reflecting sevdah’s rich historical influences while invigorating its future.
Damir Imamović: http://damirimamovic.com
Facebook: facebook.com/damirimamovic
Twitter: twitter.com/damirimamovic
Instagram: instagram.com/damirimamovich
Smithsonian Folkways: https://folkways.si.edu
Facebook: facebook.com/smithsonianfolkwaysrecordings
Twitter: twitter.com/Folkways
Instagram: instagram.com/smithsonianfolkways
The content and comments posted here are subject to the Smithsonian Institution copyright and privacy policy (www.si.edu/copyright). Smithsonian reserves the right in its sole discretion to remove any content at any time.
Adama Sambou, ekonting
Bouki Diatta, contraption
Issa Ba, bidong jug
Louise Sagna, vocals
Elario Biougue, sekere
Octavie, Gilbert, and Pascal Diatta, dancers
Video by Scott Linford
'Ears of the People' is out now on CD and digital.
Purchase/stream:
Smithsonian Folkways: https://folkways.si.edu/ears-of-the-people/ekonting-songs-from-senegal-and-the-gambia
Bandcamp: smithsonianfolkways.bandcamp.com/album/ears-of-the-people-ekonting-songs-from-senegal-and-the-gambia
All other platforms: orcd.co/earsofthepeople
'Ears of the People' is a collection of sublime contemporary recordings of the ekonting, a three-stringed gourd lute played by Jola people in Gambia and the Casamance region of Senegal. The nine tradition-bearers featured on the album share stories of love, heartache, conflict, spirituality, and all that is unique and beautiful in Jola culture over the rolling lilt of the instrument. An important forebear of the American banjo, the ekonting drives lively dancing and brings these stories to life. These songs, rarely heard outside Senegambia, are a living tapestry of the Jola people and a unique interweaving of human voices and stringed instruments.
Smithsonian Folkways: https://folkways.si.edu
Facebook: facebook.com/smithsonianfolkwaysrecordings
Twitter: twitter.com/Folkways
Instagram: instagram.com/smithsonianfolkways
The content and comments posted here are subject to the Smithsonian Institution copyright and privacy policy (www.si.edu/copyright). Smithsonian reserves the right in its sole discretion to remove any content at any time.
Pre-order/stream:
Smithsonian Folkways: https://folkways.si.edu/la-marisoul-and-los-texmaniacs/corazones-and-canciones
Bandcamp: lamarisoullostexmaniacs.bandcamp.com/album/corazones-and-canciones
All other platforms: orcd.co/lamarisoullostexmaniacs
In Corazones and Canciones, two Mexican American musical powerhouses join forces to create an album overflowing with heart and imagination. L.A.’s Marisol Hernández—La Marisoul—and San Antonio-based Tejano conjunto Los Texmaniacs draw from a repertoire of cherished canciones rancheras and boleros. "Everything is done with heart and soul, because of the passion and love we have for this music," asserts Texmaniacs leader Max Baca. Adds Marisol, "It’s just as American as it is Mexican; that’s one of the special things about living in the United States." Special guest Little Joe Hernández adds his trademark vocals to the melody of "Las nubes," the song he propelled to the forefront of the Chicano Movement.
La Marisoul: http://lamarisoul.com
Facebook: facebook.com/LaMarisoulMusica
Twitter: twitter.com/LaMarisoul
Instagram: instagram.com/la_marisoul
Los Texmaniacs: http://lostexmaniacs.com
Facebook: facebook.com/texmaniacs
Twitter: twitter.com/texmaniacs74
Instagram: instagram.com/texmaniacs
Smithsonian Folkways: https://folkways.si.edu
Facebook: facebook.com/smithsonianfolkwaysrecordings
Twitter: twitter.com/Folkways
Instagram: instagram.com/smithsonianfolkways
The content and comments posted here are subject to the Smithsonian Institution copyright and privacy policy (www.si.edu/copyright). Smithsonian reserves the right in its sole discretion to remove any content at any time.
Directed, Produced & Edited by Weird Life Films
Steadicam Operator: Taras Nebesnyy
Special thanks to Will & team at Fitzgerald’s
Locations pictured:
Fitzgerald’s, Berwyn
Pullman National Monument, Chicago
South Shore Cultural Center, Chicago
North Avenue Beach, Chicago
Marquette Park, Gary, IN
WeirdLifeFilms.com
Pre-order/stream:
Smithsonian Folkways: https://folkways.si.edu/dom-flemons/traveling-wildfire
Bandcamp: domflemons.bandcamp.com/album/traveling-wildfire
All other platforms: orcd.co/dom-flemons-traveling-wildfire
Dom Flemons has built a reputation on presenting 100 years of American roots music, but now, with 'Traveling Wildfire,' his own songwriting prowess comes into the spotlight. Carefully selected from his personal repertoire, these original songs reveal his love of country, western, blues, Americana, bluegrass and folk music as they tell of true love, family legacy, survival, time travel, and the juxtaposition between light and dark. 'Traveling Wildfire' weaves through the themes of hope and humor as it rises above the hard times with strength and lightheartedness.
Dom Flemons: theamericansongster.com
Facebook: facebook.com/DomFlemonsMusic
Instagram: instagram.com/domflemons
Twitter: twitter.com/domflemons
Smithsonian Folkways: https://folkways.si.edu
Facebook: facebook.com/smithsonianfolkwaysrecordings
Twitter: twitter.com/Folkways
Instagram: instagram.com/smithsonianfolkways
The content and comments posted here are subject to the Smithsonian Institution copyright and privacy policy (www.si.edu/copyright). Smithsonian reserves the right in its sole discretion to remove any content at any time.
Pre-order/stream:
Smithsonian Folkways: https://folkways.si.edu/dom-flemons/traveling-wildfire
Bandcamp: domflemons.bandcamp.com/album/traveling-wildfire
All other platforms: orcd.co/dom-flemons-traveling-wildfire
Dom Flemons has built a reputation on presenting 100 years of American roots music, but now, with 'Traveling Wildfire,' his own songwriting prowess comes into the spotlight. Carefully selected from his personal repertoire, these original songs reveal his love of country, western, blues, Americana, bluegrass and folk music as they tell of true love, family legacy, survival, time travel, and the juxtaposition between light and dark. 'Traveling Wildfire' weaves through the themes of hope and humor as it rises above the hard times with strength and lightheartedness.
Dom Flemons: theamericansongster.com
Facebook: facebook.com/DomFlemonsMusic
Instagram: instagram.com/domflemons
Twitter: twitter.com/domflemons
Smithsonian Folkways: https://folkways.si.edu
Facebook: facebook.com/smithsonianfolkwaysrecordings
Twitter: twitter.com/Folkways
Instagram: instagram.com/smithsonianfolkways
The content and comments posted here are subject to the Smithsonian Institution copyright and privacy policy (www.si.edu/copyright). Smithsonian reserves the right in its sole discretion to remove any content at any time.
'Ears of the People' is available February 3, 2023, on CD and digital.
Pre-order/stream:
Smithsonian Folkways: https://folkways.si.edu/ears-of-the-people/ekonting-songs-from-senegal-and-the-gambia
Bandcamp: smithsonianfolkways.bandcamp.com/album/ears-of-the-people-ekonting-songs-from-senegal-and-the-gambia
All other platforms: orcd.co/earsofthepeople
'Ears of the People' is a collection of sublime contemporary recordings of the ekonting, a three-stringed gourd lute played by Jola people in Gambia and the Casamance region of Senegal. The nine tradition-bearers featured on the album share stories of love, heartache, conflict, spirituality, and all that is unique and beautiful in Jola culture over the rolling lilt of the instrument. An important forebear of the American banjo, the ekonting drives lively dancing and brings these stories to life. These songs, rarely heard outside Senegambia, are a living tapestry of the Jola people and a unique interweaving of human voices and stringed instruments.
Smithsonian Folkways: https://folkways.si.edu
Facebook: facebook.com/smithsonianfolkwaysrecordings
Twitter: twitter.com/Folkways
Instagram: instagram.com/smithsonianfolkways
The content and comments posted here are subject to the Smithsonian Institution copyright and privacy policy (www.si.edu/copyright). Smithsonian reserves the right in its sole discretion to remove any content at any time.
Pre-order/stream:
Smithsonian Folkways: https://folkways.si.edu/playing-for-the-man-at-the-door
Bandcamp: smithsonianfolkways.bandcamp.com/album/playing-for-the-man-at-the-door-field-recordings-from-the-collection-of-mack-mccormick-1958-1971
All other platforms: orcd.co/mccormick
In the 1950s and 60s, the blues was the dominant form of Black vernacular music throughout Texas and the surrounding areas. In segregated neighborhoods, community members gathered in saloons, dancehalls, and each other’s homes to hear their neighbors sing their stories of sorrow, heartbreak, jubilation, and triumph. Robert “Mack” McCormick, an academically untrained but fanatical devotee of the blues, stepped into this world and became one of its most devout advocates and documentarians. By photographing Black and Latino Texans and their neighborhoods, as well as recording and interviewing musicians—many of whom never stepped foot into a proper recording studio—McCormick endeared and eventually embedded himself into these communities. By the time he died in 2015, McCormick had amassed a collection of 590 reels of sound recordings and 165 boxes of manuscripts, original interviews and research notes, thousands of photographs and negatives, playbills, and posters. Because McCormick never published or released most of these materials, his collection became a thing of legend and intense speculation among scholars, blues aficionados, and musicians alike.
Playing for the Man at the Door: Field Recordings from the Collection of Mack McCormick, 1958–1971 is the first compilation of music drawn from this fabled collection, which indelibly documents a pivotal moment in African American history. It features never-before-heard performances not only from musicians who became icons in their own right—including Lightnin’ Hopkins and Mance Lipscomb—but also, crucially, performers whose names may be unfamiliar to even the most devoted blues fans and scholars. Newly mastered recordings and accompanying photographs bring to life many of these forgotten figures: offering insight into their lives and illuminating in new, enlightening ways their joys and anguish, deep social connections, distinctive voices, and cultural networks. The collection spans gospels, ragtime, country blues dirges, the unclassifiable music of George “Bongo Joe” Coleman, and more, showing that no community, no matter how tight-knit, is monolithic.
Accompanying the music is a 128-page book, which contains breathtaking photographs by McCormick and his associates, as well as contextual essays by producers Jeff Place and John Troutman on McCormick’s life, and by musicians Mark Puryear and Dom Flemons on some of the marginalized communities throughout “Greater Texas” to which McCormick devoted his life’s work. This release is a partnership with the Smithsonian’s National Museum of American History.
Smithsonian Folkways: https://folkways.si.edu
Facebook: facebook.com/smithsonianfolkwaysrecordings
Twitter: twitter.com/Folkways
Instagram: instagram.com/smithsonianfolkways
The content and comments posted here are subject to the Smithsonian Institution copyright and privacy policy (www.si.edu/copyright). Smithsonian reserves the right in its sole discretion to remove any content at any time.
Pre-order/stream:
Smithsonian Folkways: https://folkways.si.edu/dom-flemons/traveling-wildfire
Bandcamp: domflemons.bandcamp.com/album/traveling-wildfire
All other platforms: orcd.co/dom-flemons-traveling-wildfire
Dom Flemons has built a reputation on presenting 100 years of American roots music, but now, with 'Traveling Wildfire,' his own songwriting prowess comes into the spotlight. Carefully selected from his personal repertoire, these original songs reveal his love of country, western, blues, Americana, bluegrass and folk music as they tell of true love, family legacy, survival, time travel, and the juxtaposition between light and dark. 'Traveling Wildfire' weaves through the themes of hope and humor as it rises above the hard times with strength and lightheartedness.
Dom Flemons: theamericansongster.com
Facebook: facebook.com/DomFlemonsMusic
Instagram: instagram.com/domflemons
Twitter: twitter.com/domflemons
Sam Bush: sambush.com
Facebook: facebook.com/sambushband
Instagram: instagram.com/sambushband
Twitter: twitter.com/sam_bush
Smithsonian Folkways: https://folkways.si.edu
Facebook: facebook.com/smithsonianfolkwaysrecordings
Twitter: twitter.com/Folkways
Instagram: instagram.com/smithsonianfolkways
The content and comments posted here are subject to the Smithsonian Institution copyright and privacy policy (www.si.edu/copyright). Smithsonian reserves the right in its sole discretion to remove any content at any time.
Pre-order/stream:
Smithsonian Folkways: https://folkways.si.edu/la-marisoul-and-los-texmaniacs/corazones-and-canciones
Bandcamp: lamarisoullostexmaniacs.bandcamp.com/album/corazones-and-canciones
All other platforms: orcd.co/lamarisoullostexmaniacs
In Corazones and Canciones, two Mexican American musical powerhouses join forces to create an album overflowing with heart and imagination. L.A.’s Marisol Hernández—La Marisoul—and San Antonio-based Tejano conjunto Los Texmaniacs draw from a repertoire of cherished canciones rancheras and boleros. "Everything is done with heart and soul, because of the passion and love we have for this music," asserts Texmaniacs leader Max Baca. Adds Marisol, "It’s just as American as it is Mexican; that’s one of the special things about living in the United States." Special guest Little Joe Hernández adds his trademark vocals to the melody of "Las nubes," the song he propelled to the forefront of the Chicano Movement.
Los Texmaniacs: http://lostexmaniacs.com
Facebook: facebook.com/texmaniacs
Twitter: twitter.com/texmaniacs74
Instagram: instagram.com/texmaniacs
La Marisoul: http://lamarisoul.com
Facebook: facebook.com/LaMarisoulMusica
Twitter: twitter.com/LaMarisoul
Instagram: instagram.com/la_marisoul
Smithsonian Folkways: https://folkways.si.edu
Facebook: facebook.com/smithsonianfolkwaysrecordings
Twitter: twitter.com/Folkways
Instagram: instagram.com/smithsonianfolkways
The content and comments posted here are subject to the Smithsonian Institution copyright and privacy policy (www.si.edu/copyright). Smithsonian reserves the right in its sole discretion to remove any content at any time.
Pre-order/stream:
Smithsonian Folkways: https://folkways.si.edu/ears-of-the-people/ekonting-songs-from-senegal-and-the-gambia
Bandcamp: smithsonianfolkways.bandcamp.com/album/ears-of-the-people-ekonting-songs-from-senegal-and-the-gambia
All other platforms: orcd.co/earsofthepeople
'Ears of the People' is a collection of sublime contemporary recordings of the ekonting, a three-stringed gourd lute played by Jola people in The Gambia and the Casamance region of Senegal. The nine tradition-bearers featured on the album share stories of love, heartache, conflict, spirituality, and all that is unique and beautiful in Jola culture over the rolling lilt of the instrument. An important forebear of the American banjo, the ekonting drives lively dancing and brings these stories to life. These songs, rarely heard outside Senegambia, are a living tapestry of the Jola people and a unique interweaving of human voices and stringed instruments.
Smithsonian Folkways: https://folkways.si.edu
Facebook: facebook.com/smithsonianfolkwaysrecordings
Twitter: twitter.com/Folkways
Instagram: instagram.com/smithsonianfolkways
The content and comments posted here are subject to the Smithsonian Institution copyright and privacy policy (www.si.edu/copyright). Smithsonian reserves the right in its sole discretion to remove any content at any time.
Pre-order/stream:
Smithsonian Folkways: https://folkways.si.edu/ears-of-the-people/ekonting-songs-from-senegal-and-the-gambia
Bandcamp: smithsonianfolkways.bandcamp.com/album/ears-of-the-people-ekonting-songs-from-senegal-and-the-gambia
All other platforms: orcd.co/earsofthepeople
'Ears of the People' is a collection of sublime contemporary recordings of the ekonting, a three-stringed gourd lute played by Jola people in The Gambia and the Casamance region of Senegal. The nine tradition-bearers featured on the album share stories of love, heartache, conflict, spirituality, and all that is unique and beautiful in Jola culture over the rolling lilt of the instrument. An important forebear of the American banjo, the ekonting drives lively dancing and brings these stories to life. These songs, rarely heard outside Senegambia, are a living tapestry of the Jola people and a unique interweaving of human voices and stringed instruments.
Smithsonian Folkways: https://folkways.si.edu
Facebook: facebook.com/smithsonianfolkwaysrecordings
Twitter: twitter.com/Folkways
Instagram: instagram.com/smithsonianfolkways
The content and comments posted here are subject to the Smithsonian Institution copyright and privacy policy (www.si.edu/copyright). Smithsonian reserves the right in its sole discretion to remove any content at any time.
Directed by Jonathan McHugh
Produced by Jonathan McHugh & Jeff DeLia
Cinematography by Jordan Rennet
Edited by Stephen Giordano & Jonathan McHugh
'Traveling Wildfire' is available March 24 on CD and digital and this spring on vinyl LP.
Pre-order/stream:
Smithsonian Folkways: https://folkways.si.edu/dom-flemons/traveling-wildfire
Bandcamp: domflemons.bandcamp.com/album/traveling-wildfire
All other platforms: orcd.co/dom-flemons-traveling-wildfire
Dom Flemons has built a reputation on presenting 100 years of American roots music, but now, with 'Traveling Wildfire,' his own songwriting prowess comes into the spotlight. Carefully selected from his personal repertoire, these original songs reveal his love of country, western, blues, Americana, bluegrass and folk music as they tell of true love, family legacy, survival, time travel, and the juxtaposition between light and dark. 'Traveling Wildfire' weaves through the themes of hope and humor as it rises above the hard times with strength and lightheartedness.
Dom Flemons: theamericansongster.com
Facebook: facebook.com/DomFlemonsMusic
Instagram: instagram.com/domflemons
Twitter: twitter.com/domflemons
Smithsonian Folkways: https://folkways.si.edu
Facebook: facebook.com/smithsonianfolkwaysrecordings
Twitter: twitter.com/Folkways
Instagram: instagram.com/smithsonianfolkways
The content and comments posted here are subject to the Smithsonian Institution copyright and privacy policy (www.si.edu/copyright). Smithsonian reserves the right in its sole discretion to remove any content at any time.
Pre-order/stream:
Smithsonian Folkways: https://folkways.si.edu/dom-flemons/traveling-wildfire
Bandcamp: domflemons.bandcamp.com/album/traveling-wildfire
All other platforms: orcd.co/dom-flemons-traveling-wildfire
Dom Flemons has built a reputation on presenting 100 years of American roots music, but now, with 'Traveling Wildfire,' his own songwriting prowess comes into the spotlight. Carefully selected from his personal repertoire, these original songs reveal his love of country, western, blues, Americana, bluegrass and folk music as they tell of true love, family legacy, survival, time travel, and the juxtaposition between light and dark. 'Traveling Wildfire' weaves through the themes of hope and humor as it rises above the hard times with strength and lightheartedness.
Dom Flemons: theamericansongster.com
Facebook: facebook.com/DomFlemonsMusic
Instagram: instagram.com/domflemons
Twitter: twitter.com/domflemons
Smithsonian Folkways: https://folkways.si.edu
Facebook: facebook.com/smithsonianfolkwaysrecordings
Twitter: twitter.com/Folkways
Instagram: instagram.com/smithsonianfolkways
The content and comments posted here are subject to the Smithsonian Institution copyright and privacy policy (www.si.edu/copyright). Smithsonian reserves the right in its sole discretion to remove any content at any time.
Jules “Ekona” Diatta, ekonting
David Manga, toumba
Prosper Diatta, pot and spoons
Marie-Claude Sarr, wuleaw and vocals
Diankelle Senghor, wuleaw and vocals
Gilbert Sambou, dance coordinator
Video by Scott Linford
Coordination by Joël Bassene
Pre-order/stream:
Smithsonian Folkways: https://folkways.si.edu/ears-of-the-people/ekonting-songs-from-senegal-and-the-gambia
Bandcamp: smithsonianfolkways.bandcamp.com/album/ears-of-the-people-ekonting-songs-from-senegal-and-the-gambia
All other platforms: orcd.co/earsofthepeople
'Ears of the People' is a collection of sublime contemporary recordings of the ekonting, a three-stringed gourd lute played by Jola people in The Gambia and the Casamance region of Senegal. The nine tradition-bearers featured on the album share stories of love, heartache, conflict, spirituality, and all that is unique and beautiful in Jola culture over the rolling lilt of the instrument. An important forebear of the American banjo, the ekonting drives lively dancing and brings these stories to life. These songs, rarely heard outside Senegambia, are a living tapestry of the Jola people and a unique interweaving of human voices and stringed instruments.
Smithsonian Folkways: https://folkways.si.edu
Facebook: facebook.com/smithsonianfolkwaysrecordings
Twitter: twitter.com/Folkways
Instagram: instagram.com/smithsonianfolkways
The content and comments posted here are subject to the Smithsonian Institution copyright and privacy policy (www.si.edu/copyright). Smithsonian reserves the right in its sole discretion to remove any content at any time.
Pre-order/stream:
Smithsonian Folkways: https://folkways.si.edu/ears-of-the-people/ekonting-songs-from-senegal-and-the-gambia
Bandcamp: smithsonianfolkways.bandcamp.com/album/ears-of-the-people-ekonting-songs-from-senegal-and-the-gambia
All other platforms: orcd.co/earsofthepeople
'Ears of the People' is a collection of sublime contemporary recordings of the ekonting, a three-stringed gourd lute played by Jola people in The Gambia and the Casamance region of Senegal. The nine tradition-bearers featured on the album share stories of love, heartache, conflict, spirituality, and all that is unique and beautiful in Jola culture over the rolling lilt of the instrument. An important forebear of the American banjo, the ekonting drives lively dancing and brings these stories to life. These songs, rarely heard outside Senegambia, are a living tapestry of the Jola people and a unique interweaving of human voices and stringed instruments.
Smithsonian Folkways: https://folkways.si.edu
Facebook: facebook.com/smithsonianfolkwaysrecordings
Twitter: twitter.com/Folkways
Instagram: instagram.com/smithsonianfolkways
The content and comments posted here are subject to the Smithsonian Institution copyright and privacy policy (www.si.edu/copyright). Smithsonian reserves the right in its sole discretion to remove any content at any time.
Directed by Drew Christie
Illustrations by Gabe Adams
Animation & Type Design by Dane Herforth
Kalakala Animation: kalakala.co
Interview by Jonathan Williger, Charlie Weber, and Laura Shanahan
Pioneering Women of Bluegrass: The Definitive Edition is available now on CD and digital, and is an expanded reissue of the 1996 compilation Pioneering Women of Bluegrass. Hazel Dickens & Alice Gerrard's two Folkways LPs Won't You Come and Sing for Me? and Who's That Knocking? are also available now on vinyl and digital.
Purchase/stream:
Smithsonian Folkways: https://folkways.si.edu/hazel-dickens-and-alice-gerrard/pioneering-women-of-bluegrass
Bandcamp: hazeldickensandalicegerrard.bandcamp.com/album/pioneering-women-of-bluegrass-the-definitive-edition
All other platforms: orcd.co/hazel-dickens-alice-gerrard
The soaring harmonies and driving string-band sound of Hazel Dickens and Alice Gerrard shattered the glass ceiling of male-dominated bluegrass in the 1960s. Hazel and Alice’s influence on music – and not just roots music – is hard to overstate. They’ve been acknowledged by artists as diverse as country superstars Naomi and Wynonna Judd, champion flat-picker Molly Tuttle, and proto-feminist punk rocker Kathleen Hanna. Their steadfast devotion to their own hard-hitting style inspired generations of women in bluegrass.
Pioneering Women of Bluegrass: The Definitive Edition collects all the songs from Hazel and Alice’s two groundbreaking Folkways albums, and a previously unreleased bonus track, all remastered by their original producer Peter Siegel. They are joined on these recordings by such bluegrass legends as Chubby Wise and David Grisman. The CD booklet includes an expanded set of essays by Hazel, Alice, Laurie Lewis, and Peter Siegel, as well as iconic photographs by John Cohen and Carl Fleischhauer.
Smithsonian Folkways: https://folkways.si.edu
Facebook: facebook.com/smithsonianfolkwaysrecordings
Twitter: twitter.com/Folkways
Instagram: instagram.com/smithsonianfolkways
The content and comments posted here are subject to the Smithsonian Institution copyright and privacy policy (www.si.edu/copyright). Smithsonian reserves the right in its sole discretion to remove any content at any time.
Producer: Rob Laughter
Tracking Engineer/Mixing: Kate Haldrup
Filmed on location at Sound Emporium Studios, Studio B, Nashville, TN.
September 21, 2022.
'Radio John: Songs of John Hartford' is available November 11, 2022, on CD and digital. The LP version will be available in Spring 2023.
Pre-order/stream:
Smithsonian Folkways: https://folkways.si.edu/sam-bush/radio-john-songs-of-john-hartford
Bandcamp: sambush.bandcamp.com/album/radio-john-songs-of-john-hartford
All other platforms: orcd.co/sam-bush-john-hartford
'Radio John: Songs of John Hartford' is Sam Bush’s heartfelt tribute to his hero and mentor, John Hartford. With dedication, admiration, and love, Bush takes on personal favorites from Hartford’s vast catalog, including songs he played with Hartford on stage and in the studio in the 1970s. Bush plays every instrument on nearly every cut, pouring himself into the performances. 'Radio John' is a testament to the impact Hartford had on American traditional music as a songwriter, an instrumentalist, and, most importantly, someone who fostered the careers of musicians like Bush and countless others reinventing roots music in the last half of the 20th century.
Sam Bush: sambush.com
Facebook: facebook.com/sambushband
Instagram: instagram.com/sambushband
Twitter: twitter.com/sam_bush
Smithsonian Folkways: https://folkways.si.edu
Facebook: facebook.com/smithsonianfolkwaysrecordings
Twitter: twitter.com/Folkways
Instagram: instagram.com/smithsonianfolkways
The content and comments posted here are subject to the Smithsonian Institution copyright and privacy policy (www.si.edu/copyright). Smithsonian reserves the right in its sole discretion to remove any content at any time.
Producer: Rob Laughter
Tracking Engineer/Mixing: Kate Haldrup
Filmed on location at Sound Emporium Studios, Studio B, Nashville, TN.
September 21, 2022.
'Radio John: Songs of John Hartford' is available November 11, 2022, on CD and digital. The LP version will be available in Spring 2023.
Pre-order/stream:
Smithsonian Folkways: https://folkways.si.edu/sam-bush/radio-john-songs-of-john-hartford
Bandcamp: sambush.bandcamp.com/album/radio-john-songs-of-john-hartford
All other platforms: orcd.co/sam-bush-john-hartford
'Radio John: Songs of John Hartford' is Sam Bush’s heartfelt tribute to his hero and mentor, John Hartford. With dedication, admiration, and love, Bush takes on personal favorites from Hartford’s vast catalog, including songs he played with Hartford on stage and in the studio in the 1970s. Bush plays every instrument on nearly every cut, pouring himself into the performances. 'Radio John' is a testament to the impact Hartford had on American traditional music as a songwriter, an instrumentalist, and, most importantly, someone who fostered the careers of musicians like Bush and countless others reinventing roots music in the last half of the 20th century.
Sam Bush: sambush.com
Facebook: facebook.com/sambushband
Instagram: instagram.com/sambushband
Twitter: twitter.com/sam_bush
Smithsonian Folkways: https://folkways.si.edu
Facebook: facebook.com/smithsonianfolkwaysrecordings
Twitter: twitter.com/Folkways
Instagram: instagram.com/smithsonianfolkways
The content and comments posted here are subject to the Smithsonian Institution copyright and privacy policy (www.si.edu/copyright). Smithsonian reserves the right in its sole discretion to remove any content at any time.
Producer: Rob Laughter
Tracking Engineer/Mixing: Kate Haldrup
Filmed on location at Sound Emporium Studios, Studio B, Nashville, TN.
September 2022.
'Radio John: Songs of John Hartford' is available November 11, 2022, on CD and digital. The LP version will be available in Spring 2023.
Pre-order/stream:
Smithsonian Folkways: https://folkways.si.edu/sam-bush/radio-john-songs-of-john-hartford
Bandcamp: sambush.bandcamp.com/album/radio-john-songs-of-john-hartford
All other platforms: orcd.co/sam-bush-john-hartford
'Radio John: Songs of John Hartford' is Sam Bush’s heartfelt tribute to his hero and mentor, John Hartford. With dedication, admiration, and love, Bush takes on personal favorites from Hartford’s vast catalog, including songs he played with Hartford on stage and in the studio in the 1970s. Bush plays every instrument on nearly every cut, pouring himself into the performances. 'Radio John' is a testament to the impact Hartford had on American traditional music as a songwriter, an instrumentalist, and, most importantly, someone who fostered the careers of musicians like Bush and countless others reinventing roots music in the last half of the 20th century.
Sam Bush: sambush.com
Facebook: facebook.com/sambushband
Instagram: instagram.com/sambushband
Twitter: twitter.com/sam_bush
Smithsonian Folkways: https://folkways.si.edu
Facebook: facebook.com/smithsonianfolkwaysrecordings
Twitter: twitter.com/Folkways
Instagram: instagram.com/smithsonianfolkways
The content and comments posted here are subject to the Smithsonian Institution copyright and privacy policy (www.si.edu/copyright). Smithsonian reserves the right in its sole discretion to remove any content at any time.
'Radio John: Songs of John Hartford' is available November 11, 2022, on CD and digital. The LP version will be available in Spring 2023.
Pre-order/stream:
Smithsonian Folkways: https://folkways.si.edu/sam-bush/radio-john-songs-of-john-hartford
Bandcamp: sambush.bandcamp.com/album/radio-john-songs-of-john-hartford
All other platforms: orcd.co/sam-bush-john-hartford
'Radio John: Songs of John Hartford' is Sam Bush’s heartfelt tribute to his hero and mentor, John Hartford. With dedication, admiration, and love, Bush takes on personal favorites from Hartford’s vast catalog, including songs he played with Hartford on stage and in the studio in the 1970s. Bush plays every instrument on nearly every cut, pouring himself into the performances. 'Radio John' is a testament to the impact Hartford had on American traditional music as a songwriter, an instrumentalist, and, most importantly, someone who fostered the careers of musicians like Bush and countless others reinventing roots music in the last half of the 20th century.
Lyrics:
Stated out workin’ in the summertime
On the docks of the Mississippi Valley Barge Line
Stokin’ towboats on those long hot days
Getting’ half days off, sometimes with pay
Became a steamboat captain, wrote the songs to Mark Twang
Rollin’ down the river to New Orleans
Oh I can hear somethin’ comin’ up around the bend
It’s the Julia Belle Swain boys gleamin’ and steamin’on in
And it’s Radio John standing at the helm
With a wave and a smile and some yarns to tell
He loved life on the river and the fiddle tunes
Of blind Ed Haley and Benny Martin too
He always played them songs with a Vamp in the Middle
With a hustle and a shuffle and a skittle wah diddle
He wrote songs every day, lord he’d scratch and scribble
So the tunes that he wrote, he could play on his fiddle
Well I went up the river come away last Sunday night
With my fiddle and my banjer and my baby there to hold me tight
A banjo man, he rolled while he sang
With rhythm like a piston on a railroad train
Gotta see Radio John, with his two-toned shoes
A slippin’ and a sliding while he danced for you
He knew every crooked turn up n-down the Mississippi
He was a Huckleberry Finn, an airwaves hippie
Radio John, a steamboat troubador
A Mississippi Sawyer, like we’d never seen before
He spun those tunes in St. Louie and Illinois they say
He played Bill, Earl and Lester and some boys named Bray
You could hear his voice every night til’ dawn
So cut yer television off and turn yer radio on
It’s Radio John…
He danced and he played in the bars and the halls
While he was tappin’ his shous, we was havin’ a ball!
Yeah Radio John had us all sing along
Justa clappin’ anda stompin’ to every one of his songs
He could make us happy and sometimes make us cry
And lookin’ back now I wish we never had to say goodbye
It was 6-9-0 KSTL
Where he played those songs we all knew so well
RADIO JOHN
Sam Bush: sambush.com
Facebook: facebook.com/sambushband
Instagram: instagram.com/sambushband
Twitter: twitter.com/sam_bush
Smithsonian Folkways: https://folkways.si.edu
Facebook: facebook.com/smithsonianfolkwaysrecordings
Twitter: twitter.com/Folkways
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The content and comments posted here are subject to the Smithsonian Institution copyright and privacy policy (www.si.edu/copyright). Smithsonian reserves the right in its sole discretion to remove any content at any time.
'Radio John: Songs of John Hartford' is available November 11, 2022, on CD and digital. The LP version will be available in Spring 2023.
Pre-order/stream:
Smithsonian Folkways: https://folkways.si.edu/sam-bush/radio-john-songs-of-john-hartford
Bandcamp: sambush.bandcamp.com/album/radio-john-songs-of-john-hartford
All other platforms: orcd.co/sam-bush-john-hartford
'Radio John: Songs of John Hartford' is Sam Bush’s heartfelt tribute to his hero and mentor, John Hartford. With dedication, admiration, and love, Bush takes on personal favorites from Hartford’s vast catalog, including songs he played with Hartford on stage and in the studio in the 1970s. Bush plays every instrument on nearly every cut, pouring himself into the performances. 'Radio John' is a testament to the impact Hartford had on American traditional music as a songwriter, an instrumentalist, and, most importantly, someone who fostered the careers of musicians like Bush and countless others reinventing roots music in the last half of the 20th century.
Lyrics:
Someday, my baby, when I am a man
And others have taught me the best that they can
They'll sell me a suit then cut off my hair
And send me to work in tall buildings
So it's goodbye to the sunshine
Goodbye to the dew
Goodbye to the flowers
And goodbye to you
I'm off to the subway
I must not be late
I'm going to work in tall buildings
Oh when I retire
My life is my own
I made all the payments
It's time to go home
And wonder what happened
Betwixt and between
When I went to work in tall buildings
So it's goodbye to the sunshine
Goodbye to the dew
Goodbye to the flowers
And goodbye to you
I'm off to the subway
I must not be late
Going to work in tall buildings
So it's goodbye to the sunshine
Goodbye to the dew
Goodbye to the flowers
And goodbye to you
I'm off to the subway
I must not be late
I'm going to work in tall buildings
Sam Bush: sambush.com
Facebook: facebook.com/sambushband
Instagram: instagram.com/sambushband
Twitter: twitter.com/sam_bush
Smithsonian Folkways: https://folkways.si.edu
Facebook: facebook.com/smithsonianfolkwaysrecordings
Twitter: twitter.com/Folkways
Instagram: instagram.com/smithsonianfolkways
The content and comments posted here are subject to the Smithsonian Institution copyright and privacy policy (www.si.edu/copyright). Smithsonian reserves the right in its sole discretion to remove any content at any time.
Stream/purchase:
Smithsonian Folkways: https://folkways.si.edu/jake-blount/the-new-faith
Bandcamp: jakeblountmusic.bandcamp.com
All other platforms: orcd.co/jake-blount-the-new-faith
Video Produced by Blacklodge
Cinematographer & Editor - Tadin Brego
Jake Blount: jakeblount.com
Facebook: facebook.com/notjacobnotblunt
Twitter: twitter.com/forked_queer
Instagram: instagram.com/jake.m.blount
TikTok: tiktok.com/@jake.m.blount?lang=en
Smithsonian Folkways: https://folkways.si.edu
Facebook: facebook.com/smithsonianfolkwaysrecordings
Twitter: twitter.com/Folkways
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The content and comments posted here are subject to the Smithsonian Institution copyright and privacy policy (www.si.edu/copyright). Smithsonian reserves the right in its sole discretion to remove any content at any time.
Shot on May 2, 2022 in Washington, D.C.
Produced by Jonathan Williger
Directed by Charlie Weber
Camera by Yijo Shen and Charlie Weber
Story and editing by Sujay Khona
'The New Faith' is available September 23, 2022, on CD and digital. The LP version, which features bonus tracks, will be available in late 2022/early 2023.
Pre-order/stream:
Smithsonian Folkways: https://folkways.si.edu/jake-blount/the-new-faith
Bandcamp: jakeblountmusic.bandcamp.com/album/the-new-faith
All other platforms: orcd.co/jake-blount-the-new-faith
'The New Faith' tells an Afrofuturist story set in a far-future world devastated by climate change. Jake Blount and his collaborators embody a group of Black climate refugees as they perform a religious service, invoking spirituals that are age-old even now, familiar in their content but extraordinary in their presentation. These songs, which have seen Black Americans through countless struggles, bind this future community together and their shared past; beauty and power held in song through centuries of devastation, heartbreak, and loss.
Jake Blount: jakeblount.com
Facebook: facebook.com/notjacobnotblunt
Instagram: instagram.com/jake.m.blount
Twitter: twitter.com/forked_queer
TikTok: tiktok.com/@jake.m.blount?lang=en
Smithsonian Folkways: https://folkways.si.edu
Facebook: facebook.com/smithsonianfolkwaysrecordings
Twitter: twitter.com/Folkways
Instagram: instagram.com/smithsonianfolkways
The content and comments posted here are subject to the Smithsonian Institution copyright and privacy policy (www.si.edu/copyright). Smithsonian reserves the right in its sole discretion to remove any content at any time.
"'The Downward Road' was the proving ground for much of the sonic experimentation on 'The New Faith.' I think these were the first vocal harmonies I ever recorded - and definitely the first fiddle solo. My co-producer, Brian Slattery, used this track to show me how to put percussion loops together. We wound up re-recording harmonies, fiddles and percussion as we learned to perform the parts better and get better sounds with our home recording rigs. Demeanor threw some incredible verses on it. 'The Downward Road' was the first song we began to work on for this release, and the last one we finished - and it does a better job than any other track at encapsulating the backstory behind The New Faith." - Jake Blount
'The New Faith' is available September 23, 2022, on CD and digital. The LP version will be available in late 2022/early 2023.
Pre-order/stream:
Smithsonian Folkways: https://folkways.si.edu/jake-blount/the-new-faith
Bandcamp: jakeblountmusic.bandcamp.com/album/the-new-faith
All other platforms: orcd.co/jake-blount-the-new-faith
'The New Faith' tells an Afrofuturist story set in a far-future world devastated by climate change. Jake Blount and his collaborators embody a group of Black climate refugees as they perform a religious service, invoking spirituals that are age-old even now, familiar in their content but extraordinary in their presentation. These songs, which have seen Black Americans through countless struggles, bind this future community together and their shared past; beauty and power held in song through centuries of devastation, heartbreak, and loss.
Lyrics:
Now look at our old wicked fathers,
Thought they were doin' mighty well
But when they come to find out
They done made up a bed in hell
Now the downward road is
Crowded, crowded, crowded
Crowded, Lord, believe it's so
Crowded, crowded, crowded
Crowded, Lord, believe it's so
Gather round, gather round,
Lo, I've seen what the trickster hid!
Hear the sound of a king tryna get it
The water rising, surrounding everybody that's in it
And little Silas wanna come home
All he got is a cot that he drum on
Whole family poor, he was taught not to run from it
When you come from it
And the king ain't never alone,
A feeling Silas thought that he never would know
The king mean, said he homegrown
That his upbringing showed him it all, it's nothing he don't know
The water rose, but he a old soul
He feel like he seen everything
He been outside like a evergreen
As for Silas, he just want a chance
The king got the means to, but he don't wanna ask
Silas got over and took over, the same king in the story
Still running from his past
Now look at my old grasping ruler,
Thought he was doin' mighty well
But when he come to find out
He done made up a bed in hell
Well the downward road is
Crowded, crowded, crowded
Crowded, Lord, believe it's so
Crowded, crowded, crowded
Crowded, Lord, believe it's so
Gather round, gather round,
Lo, I've seen what the trickster hid
In a town where a means to a end would amount to a piece of the pie
Joe and Louie like peas in a pod, they wanna even the odds
They heard about the water rising
Made a plan to take advantage, had to enterprise it
Saw an opportunity, Louie was set, as soon as Joey said it's a bet.
We can sell a boat, and can sell a boatload more for sure
If we never settle the debt, lo and behold and nevertheless,
The water rose
Probably shoulda known the quickest thing that would sink
The irony is, is probably a pot of gold
By the end the means made the man, the sin, the pain,
When it's too late to do what you can
Ain't no making amends, the king know
He bought one of them boats, too, the king though
Now look at us, my wicked brothers
We think we're doing mighty well,
But when we come to find out
We done made up a bed in
Children, the downward road is
Crowded, crowded, crowded
Crowded, Lord, believe it's so
Crowded, crowded, crowded
Crowded, Lord, believe it's so
Crowded, crowded, crowded
Crowded, Lord, believe it's so
Crowded, crowded, crowded
Crowded, Lord, believe it's so
Jake Blount: jakeblount.com
Facebook: facebook.com/notjacobnotblunt
Instagram: instagram.com/jake.m.blount
Twitter: twitter.com/forked_queer
TikTok: tiktok.com/@jake.m.blount?lang=en
Smithsonian Folkways: https://folkways.si.edu
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The content and comments posted here are subject to the Smithsonian Institution copyright and privacy policy (www.si.edu/copyright). Smithsonian reserves the right in its sole discretion to remove any content at any time.
'Pioneering Women of Bluegrass: The Definitive Edition' is available October 21, 2022, on CD and digital, and is an expanded reissue of the 1996 compilation 'Pioneering Women of Bluegrass'. Smithsonian Folkways will also be reissuing both Hazel Dickens and Alice Gerrard Folkways LPs 'Won't You Come and Sing for Me?' and 'Who's That Knocking?', also available on October 21, 2022.
Pre-order/stream:
Smithsonian Folkways: https://folkways.si.edu/hazel-dickens-and-alice-gerrard/pioneering-women-of-bluegrass
Bandcamp: hazeldickensandalicegerrard.bandcamp.com/album/pioneering-women-of-bluegrass-the-definitive-edition
All other platforms: orcd.co/hazel-dickens-alice-gerrard
The soaring harmonies and driving string-band sound of Hazel Dickens and Alice Gerrard shattered the glass ceiling of male-dominated bluegrass in the 1960s. Hazel and Alice’s influence on music – and not just roots music – is hard to overstate. They’ve been acknowledged by artists as diverse as country superstars Naomi and Wynonna Judd, champion flat-picker Molly Tuttle, and proto-feminist punk rocker Kathleen Hanna. Their steadfast devotion to their own hard-hitting style inspired generations of women in bluegrass.
'Pioneering Women of Bluegrass: The Definitive Edition' collects all the songs from Hazel and Alice’s two groundbreaking Folkways albums, and a previously unreleased bonus track, all remastered by their original producer Peter Siegel. They are joined on these recordings by such bluegrass legends as Chubby Wise and David Grisman. The CD booklet includes an expanded set of essays by Hazel, Alice, Laurie Lewis, and Peter Siegel, as well as iconic photographs by John Cohen and Carl Fleischhauer.
Smithsonian Folkways: https://folkways.si.edu
Facebook: facebook.com/smithsonianfolkwaysrecordings
Twitter: twitter.com/Folkways
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The content and comments posted here are subject to the Smithsonian Institution copyright and privacy policy (www.si.edu/copyright). Smithsonian reserves the right in its sole discretion to remove any content at any time.
Video by Trent Freeman and Eva Anandi Brownstein
'Tell 'Em You Were Gold' is now available on CD and digital. The LP version, which features bonus tracks, will be available in late 2022/early 2023.
Stream/purchase:
Smithsonian Folkways: https://folkways.si.edu/pharis-jason-romero/tell-em-you-were-gold
Bandcamp: pharisjasonromero.bandcamp.com/album/tell-em-you-were-gold
All other platforms: orcd.co/pharis-jason-romero
Pharis and Jason Romero are pure craftspeople. A renowned banjo builder, Jason spent years developing his own personal designs, and on Tell ‘Em You Were Gold, his handmade instruments take center stage. Over a half dozen uniquely crafted banjos are played by the duo in the course of the album. There’s conviction and delicacy in this music, which ranges from duets that showcase the pair’s deep psychic and artistic connection to solo banjo meditations and full band romps. Recorded over six days in an old barn in Horsefly, British Columbia, the album displays the multiple Juno Award-winning duo playing music that is honest, direct, and reflective of life’s beauty and knottiness.
Pharis & Jason Romero: http://www.pharisandjason.com
Facebook: facebook.com/pharisandjason
Instagram: instagram.com/pharisandjason
Smithsonian Folkways: https://folkways.si.edu
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Twitter: twitter.com/Folkways
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The content and comments posted here are subject to the Smithsonian Institution copyright and privacy policy (www.si.edu/copyright). Smithsonian reserves the right in its sole discretion to remove any content at any time.
Shot live at the barn in Horsefly, BC in October 2021. Videography by Trent Freeman and Eva Anandi Brownstein.
'Tell 'Em You Were Gold' is now available on CD and digital. The LP version, which features bonus tracks, will be available in late 2022/early 2023.
Stream/purchase:
Smithsonian Folkways: https://folkways.si.edu/pharis-jason-romero/tell-em-you-were-gold
Bandcamp: pharisjasonromero.bandcamp.com/album/tell-em-you-were-gold
All other platforms: orcd.co/pharis-jason-romero
Pharis and Jason Romero are pure craftspeople. A renowned banjo builder, Jason spent years developing his own personal designs, and on Tell ‘Em You Were Gold, his handmade instruments take center stage. Over a half dozen uniquely crafted banjos are played by the duo in the course of the album. There’s conviction and delicacy in this music, which ranges from duets that showcase the pair’s deep psychic and artistic connection to solo banjo meditations and full band romps. Recorded over six days in an old barn in Horsefly, British Columbia, the album displays the multiple Juno Award-winning duo playing music that is honest, direct, and reflective of life’s beauty and knottiness.
Pharis & Jason Romero: http://www.pharisandjason.com
Facebook: facebook.com/pharisandjason
Instagram: instagram.com/pharisandjason
Smithsonian Folkways: https://folkways.si.edu
Facebook: facebook.com/smithsonianfolkwaysrecordings
Twitter: twitter.com/Folkways
Instagram: instagram.com/smithsonianfolkways
The content and comments posted here are subject to the Smithsonian Institution copyright and privacy policy (www.si.edu/copyright). Smithsonian reserves the right in its sole discretion to remove any content at any time.
Shot live at the barn in Horsefly, BC in October 2021. Videography by Trent Freeman and Eva Anandi Brownstein.
'Tell 'Em You Were Gold' is now available on CD and digital. The LP version, which features bonus tracks, will be available in late 2022/early 2023.
Stream/purchase:
Smithsonian Folkways: https://folkways.si.edu/pharis-jason-romero/tell-em-you-were-gold
Bandcamp: pharisjasonromero.bandcamp.com/album/tell-em-you-were-gold
All other platforms: orcd.co/pharis-jason-romero
Pharis and Jason Romero are pure craftspeople. A renowned banjo builder, Jason spent years developing his own personal designs, and on Tell ‘Em You Were Gold, his handmade instruments take center stage. Over a half dozen uniquely crafted banjos are played by the duo in the course of the album. There’s conviction and delicacy in this music, which ranges from duets that showcase the pair’s deep psychic and artistic connection to solo banjo meditations and full band romps. Recorded over six days in an old barn in Horsefly, British Columbia, the album displays the multiple Juno Award-winning duo playing music that is honest, direct, and reflective of life’s beauty and knottiness.
Pharis & Jason Romero: http://www.pharisandjason.com
Facebook: facebook.com/pharisandjason
Instagram: instagram.com/pharisandjason
Smithsonian Folkways: https://folkways.si.edu
Facebook: facebook.com/smithsonianfolkwaysrecordings
Twitter: twitter.com/Folkways
Instagram: instagram.com/smithsonianfolkways
The content and comments posted here are subject to the Smithsonian Institution copyright and privacy policy (www.si.edu/copyright). Smithsonian reserves the right in its sole discretion to remove any content at any time.
Stream/purchase:
Smithsonian Folkways: https://folkways.si.edu/jake-blount/the-new-faith
Bandcamp: jakeblountmusic.bandcamp.com
All other platforms: orcd.co/jake-blount-the-new-faith
“I learned "Once There Was No Sun" from a Bessie Jones recording. The track opens with a reading from Genesis, describing the world in the days prior to the creation of light, the sun, and the moon. The song’s lyrics reflect on the same period of time, reminding us that many things we treat as universal constants did not always exist - and, by extension, could recede into nothingness at any time. "Once There Was No Sun" is an invitation to reflect on the impermanence, fragility and beauty of a world we too often take for granted.
We filmed on a small island off the coast of Maine, which also inspired the setting for 'The New Faith,' and it was clear to us from the start that the video should highlight the majesty of the landscape. The video is a celebration of beauty, in some of its most elemental forms: wind, light, sea and stone, and human bodies moving through it all. It’s my hope that, through such celebrations, we can learn to better care for all these things.”
Video Produced by Blacklodge
Cinematographer & Editor - Tadin Brego
Backup Dancer - Veeva Banga
Drone Pilot - Jesse LaFountaine
Jake Blount: jakeblount.com
Facebook: facebook.com/notjacobnotblunt
Twitter: twitter.com/forked_queer
Instagram: instagram.com/jake.m.blount
TikTok: tiktok.com/@jake.m.blount?lang=en
Smithsonian Folkways: https://folkways.si.edu
Facebook: facebook.com/smithsonianfolkwaysrecordings
Twitter: twitter.com/Folkways
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The content and comments posted here are subject to the Smithsonian Institution copyright and privacy policy (www.si.edu/copyright). Smithsonian reserves the right in its sole discretion to remove any content at any time.
Learn more about Arhoolie Records: https://folkways.si.edu/arhoolie
Visit the Arhoolie Foundation: arhoolie.org
Smithsonian Folkways: https://folkways.si.edu
Facebook: facebook.com/smithsonianfolkwaysrecordings
Twitter: twitter.com/Folkways
Instagram: instagram.com/smithsonianfolkways
This project has received federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center.
The content and comments posted here are subject to the Smithsonian Institution copyright and privacy policy (www.si.edu/copyright). Smithsonian reserves the right in its sole discretion to remove any content at any time.
Hernández says, “I still feel that what we’re making is American music. There [are] borders and things that tell us where we are, but the music is happening here. So it’s just as American as it is Mexican and Tejano and Californian, and it’s beautiful. I think that’s one of the special things about living in a place like the United States, you know. A lot of worlds can fit here and it’s built on that.”
Produced by Daniel Sheehy and Charlie Weber
Camera by Charlie Weber
Written and Edited by Isabel Spiegel
Filmed at Bias Studios, Springfield, VA on July 27-30, 2021
In memory of Pete Reiniger
Pre-order/stream:
Smithsonian Folkways: https://folkways.si.edu/la-marisoul-and-los-texmaniacs/corazones-and-canciones
Bandcamp: lamarisoullostexmaniacs.bandcamp.com/album/corazones-and-canciones
All other platforms: orcd.co/lamarisoullostexmaniacs
In Corazones and Canciones, two Mexican American musical powerhouses join forces to create an album overflowing with heart and imagination. L.A.’s Marisol Hernández—La Marisoul—and San Antonio-based Tejano conjunto Los Texmaniacs draw from a repertoire of cherished canciones rancheras and boleros. "Everything is done with heart and soul, because of the passion and love we have for this music," asserts Texmaniacs leader Max Baca. Adds Marisol, "It’s just as American as it is Mexican; that’s one of the special things about living in the United States." Special guest Little Joe Hernández adds his trademark vocals to the melody of "Las nubes," the song he propelled to the forefront of the Chicano Movement.
This project has received federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center.
Los Texmaniacs: http://lostexmaniacs.com
Facebook: facebook.com/texmaniacs
Twitter: twitter.com/texmaniacs74
Instagram: instagram.com/texmaniacs
La Marisoul: http://lamarisoul.com
Facebook: facebook.com/LaMarisoulMusica
Twitter: twitter.com/LaMarisoul
Instagram: instagram.com/la_marisoul
Smithsonian Folkways: https://folkways.si.edu
Facebook: facebook.com/smithsonianfolkwaysrecordings
Twitter: twitter.com/Folkways
Instagram: instagram.com/smithsonianfolkways
The content and comments posted here are subject to the Smithsonian Institution copyright and privacy policy (www.si.edu/copyright). Smithsonian reserves the right in its sole discretion to remove any content at any time.
Musicians:
Erica Parra - Drums
Morís Cañate - Alegre/conga
Juan Arango - guitar
Diego Alzate - Bass
Ronald Polo - lead singer
Johanna Castañeda - vocals and Guache
Scotty Otten - Trumpet
Alexander Ramirez - Sax
Ronny Polo - background vocals
Dancers:
Daniel Fetecua
Osiris Barcenas
Composed by Ronald Polo
Videographer: Chuy Gutierrez
'Mi Herencia (My Heritage)' is available now on CD and digital/streaming.
Stream/purchase:
Smithsonian Folkways: folkways.si.edu/rebolu/mi-herencia-my-heritage
Bandcamp: rebolu.bandcamp.com/album/mi-herencia-my-heritage
All other platforms: orcd.co/rebolu
“Rebolu is a party!” exclaims the intrepid group. “We are a confluence of sound and energy reflecting the intensity of our urban life and the need to create music for the world based on our folklore and heritage." Leaders in the New Colombian Music movement of New York City, their adopted home, Rebolu’s vibrant, salsa-inspired music has its roots in the diverse Afrocentric rhythms of Colombia’s Caribbean coast. On their Smithsonian Folkways debut Mi Herencia (My Heritage), composer Ronald Polo, tambor alegre master Morris Cañate, percussionist Erica “Kika” Parra, lead singer Johanna Castañeda, and their top-drawer bandmembers bring a battery of percussion, commanding gaita flute melodies, and make-you-move vocal stylings into the spotlight as they exuberantly reinvigorate generations-old traditions.
Rebolu: gruporebolu.com
Facebook: facebook.com/gruporebolu
Twitter: twitter.com/gruporebolu
Instagram: instagram.com/gruporebolu
Smithsonian Folkways: https://folkways.si.edu
Facebook: facebook.com/smithsonianfolkwaysrecordings
Twitter: twitter.com/Folkways
Instagram: instagram.com/smithsonianfolkways
The content and comments posted here are subject to the Smithsonian Institution copyright and privacy policy (www.si.edu/copyright). Smithsonian reserves the right in its sole discretion to remove any content at any time.


