The latest tunes from Missouri bred Black – thirteen of them – are delivered solo and acoustic.
Jeff Black’s tenth album, another self-release was recorded at his rustic Arcana Studios as were recent predecessors PLOW THROUGH THE MYSTIC (2011) and B-SIDES AND CONFESSIONS, VOL. 2 (2013). Produced by Black, the sessions took just two days and the sounds captured were mixed, once again, by Dave Sinko (Chris Thile & The Punch Brothers, Sam Bush, Don Williams). Intentionally adopting a back to basics approach, Black is the sole contributing musician, employing 5 string banjo, 6 and 12 string acoustic guitars and harmonica to accompany his voice.
Black penned twelve of the FOLKLORE songs – more regarding the thirteenth later – while around a dozen-and-a-half further compositions were penned, recorded and subsequently discarded. Focusing specifically on the lyrics, a concise 
Thesaurus definition of FOLKLORE would be ‘tales from the past.’ Expanding that concept relative to national identity, custom, tradition, wisdom and even myth are embraced by Black. Jeff has resided in the “capital of country music” for a number of decades; utilizing old-school acoustic instruments, FOLKLORE is an intentional collection of folk ballads. This is True Americana, when compared with the plethora of music that is touted as such.
The album opens on a dark and stormy night as the weary Rider Coming struggles to reach home – a concept as old as time, it possesses a contemporary parallel for the travelling troubadour. Decades pass as we journey through our allotted three-score-and-ten; while attempts to walk in ancestral footsteps often results in revelation they can equally conjure a deal more unanswered questions. The torn and faded photo that graces the album cover was taken, one sunny winter day, around 1930, by Jeff’s paternal grandmother Lotos Nile. Standing on the right Jeff’s father shades his eyes, interpreted by his son as “looking into the future.” Uncle Lyle is on the left, and akin to ‘the past’ is already physically fading into infinity. Music enriched the lives of Black’s ancestors – Lotos played piano in church – and her boys performed at dances and socials during the 1930’s, driven by economic necessity rather than creative intention and inspiration. Jeff simply had no choice, having most assuredly inherited a ‘music gene.’
Featuring banjo, Cages Of My Heart is a compassionate ode to love that closes “I want to fly you down the dirt roads of my soul.” ‘63 Mercury Meteor recalls a decades ago, winter road trip, with his dad and younger sister, aka the “little drifters on a gypsy road.” Jeff and his kids, Emerson and Zuzu, penned Lemonade a fantasy for children of all ages, while the narrator of #10 Bus enjoys a trip to town where he witnesses a puppet show. No Quarter explores that tension-filled instant before guns are drawn and mayhem ensues. Concluding that confrontation cannot be avoided, one protagonist admits “I don’t even know what I’m fighting for now,” and brimming with confidence cautions “pray for my enemy.”
In the spirit of the late Pete Seeger, Sing Together advocates that “If we sing together” then “We can change the world.” With satellites “flying through the western sky,” born in Okemah on (American) Independence Day – “right place just the wrong time” – the seemingly-familiar central character in Flat Car wears an old top hat, hops trains and learns “to play the guitar.” Set in the north of Black’s home state, the almost five-minute long travelogue Decoration Day closes FOLKLORE.
Recollections of the generational connectedness of family life, during a simpler age, reside at the heart of FOLKLORE. It’s a precious trait that many fail to practice with any intensity here in the 21st millennium.
Photo Credit:
Jeff Black (Michael Wilson)
Jeff Black – In the heart of Arcana Studio, Nashville (Circa 2006) (credit not known)
From the desk of the Folk Villager
