Lots of Traditional Source Material Updated, Modernized & Glistening

Some new music comes as standard stuff and some come with inspiring ideas; good performances. Jayme Stone’s “Folklife,” arrives with enthusiasm that instantly rubs off on the listener’s ears like a big slice of cheese cake with whipped cream. There’s banjo – but this banjo is fiery and intense and never leaves behind the melody. What kind of music is it? Filled with spirituals, island music, Creole, calypso, and Appalachian-type folk songs. That’s a lot of enticing genres. But in the hands of these musicians — a piece of cake.

“Mwen Pas Danse,” (“My Hobbies Dancing”) — starts with a teasing fiddle and then the banjo sweetens it just before Moira Smiley (accordion) starts to sing in Dominican Creole and whips into English. Her beautiful accordion and Nick Fraser’s percussion punch hard. Jayme Stone plays the dynamic banjo and Sumaia Jackson adds fiddle. This is a traditional tune but the modernization is so thorough and clean it’s invigorating.

Track 3 also from traditional sources was originally performed by singer Bessie Jones who sang this tune decades ago. “There Is More Love Somewhere,” is sung on this collection between male and female voices and its sound is attractive and clear. Bessie Jones’ original singing has been heard at the conclusion of two “Deadwood” episodes on HBO. So, her voice is known and respected in other entertainment sources.

Jayme and Moira sing along with Felicity Williams on this track and it’s arranged so tight and delightful with the fiddle (Sumaia Jackson) featured up close.

“Hey, Lally Lally Lo,” – while being a traditional song found by the legendary Alan Lomax — who tracked down singers and songs that could have been lost to history if it wasn’t for his efforts – sounds like it could have been sung by jazz singer Madeleine Peyroux. Moira Smiley’s vocals are both folkish and bluesy and Joe Phillips deep throbbing bass is highlighted. Followed by this, is a melodic fiddle run by Sumaia but if one listens closely you’d hear a little marvelous banjo playing under the surface by Jayme Stone.

Usually this type of music can only hold my attention for so long and then I get a little weary of its nostalgia. Nevertheless, the performance on this LP is filled with so much energy that it’s hard to stop. “Drunken Hiccups,” is a Jayme and Moira duet and their voices are magical. The old-fashioned instrumentation is played well. Many of these tunes are played with an inspiring drive. A tune The Band (with Robbie Robertson, Levon Helm, Richard Manuel, Rick Danko and Garth Hudson) would have delighted in covering had they known about it.

I’m moving along the tracks expecting something to be lame, laid back or plain. But I’m coming up empty. “Buttermilk,” is enriched with the addition of Ron Miles’ cornet. Another Alan Lomax find in Mississippi. This track has grit and foot stomping glee. Dom Flemons’ singing is powerful, and you can tell by listening he’s into it. That alone will carry you along with him. Flemons’ plays guitar and quills (made from cane reeds). This song with its diversified sound between the instruments and how they work in unison is worth several listens. If you need to hear something that is earthbound and in the dirt – this is the soil. It’s not the blues, it’s not really folk, it’s just traditional classic Americana.

More in a spiritual mode “Hallelujah,” becomes somewhat spine chilling. The combined voices of virtually all the musicians is exhilarating. Never count an old well-written song down when there are musicians like this that can inject at will – a full array of new life into the notes. If they sang like this in church I would be there every Sunday.

“Boatsman,” is an instrumental that reminded me of the music played in many Civil War documentaries. If this one was never used they should consider it. I also thought of that wonderful concluding music that was always played at the end of the HBO series “Deadwood.” This is incredible stuff. The goosebumps that must rise on the musicians’ skin when they play this together must be a wonderful feeling. The energy, the blood that courses through the veins of the musicians as they play – what is basically a black minstrel song is persistent. This song was first published in 1843 – by Dan Emmett. It was a banjo melody and originally had lyrics but the music was so fiery and wonderful the words had been dropped in the 20^th Century. It was performed also by — a hard act to follow – the wizard of the fiddle/banjo Marcus Miller. The work between fiddle and banjo on this recording is what makes this kind of music enduring and would probably put a smile on Mr. Miller’s face.

“That’s All Right,” sounds like it could be sung brilliantly by the likes of Alison Krauss. But here, Jayme, Moira, and Felicity sing this traditional tune with sincerity and sweetness. Moira’s accordion drifts through sadly but the fiddle pluck and banjo keep it anchored in a moody, and beautiful stream.

The next track struck me as something The Fairfield Four would have recorded. With Jayme Stone’s group singing with the additional voice of Joe Phillips and Denzal Sinclaire it has potency that has to be heard to be appreciated. This is all acapella – no instrumentation except for the voices and their six wonderful mixed tones. Don’t dismiss this. This is a work of art what the human voice can do and on this track that human voice is on prominent display.

There are lots of informative liner notes about each song and their origins and sources. The CD package is a colorful six panel fold out with a real nice stitched booklet. Many songs came from old 78’s, acetates, and field recording tapes. Just the miraculous event that it all survived these decades and was captured and preserved is a miracle. Jayme Stone’s project reinvents many of these songs faithfully, modernizes it without losing any of its tradition. And that alone is a wonderful feat.

The project was produced by Jayme Stone and David Travers-Smith in Toronto, Canada and Denver, CO. The illustrations are by Camilla Perkins. The CD art was designed by Travis Ladue with art direction by Jayme.

Website: http://jaymestone.com/

Facebook: https://www.facebook.com/jaymestonemusic

Music Samples:   http://jaymestone.com/music/

Disclaimer: The opinions expressed in this review/commentary are those of the author and do not necessarily reflect the official position of No Depression. All photography is owned by the respective photographers and is their copyrighted image; credited where photographer’s name was known & being used here solely as a reference and will be removed on request. YouTube images are standard YouTube license.

John Apice / No Depression / Written July 2017