In my last post, I reviewed the wonderfully raucous gospel-roots EP, The Night the Cumberland Came Alive by Mike Farris and the Cumberland Saints. The EP was inspired by the devastating flood that overtook Nashville last May. Part of the proceeds from the EP will be donated to help flood victims recover from their losses.
Farris was kind enough to grant an interview about this project. He also discusses the virtues of collaboration, live vs. studio recordings, jug band research with Ketch Secor of Old Crow Medicine Show, and his love for a lesser-known musical hero.
___________________________________
Were you in Nashville during the flood last May?
Yes, I was at home with my family, fortunately.
Did the flood personally affect you or any of your friends/family? If so, can you tell me a story or anecdote about what you saw as a result of the flood?
We had minimal flooding in our basement and workshop which took maybe a couple of hours to shop vac out, so we made out pretty well. Given the magnitude of this particular flood I think everyone knows somebody whose life was turned completely upside down.
A few days ago we went out on location and interviewed flood victims still suffering and in need and what I walked away with was very surprising and uplifting. I found that the common thread in each family’s story was their having to deal with the acceptance of great amounts of generosity. It’s amazing to me the amount of innate giving we are capable of as humans but we struggle with sitting quietly when it’s time for us to receive. Beautiful stuff!
What was the genesis of this project, The Night the Cumberland Came Alive EP?
Days before my former manager, Rose McGathy, passed away we had talked about putting together a charity project. She chose a local charity here in Nashville and since her death it has been something I had wanted to do but was waiting for the right time to launch something in her honor. Earlier this year we had decided on a charity EP and started the process of putting a batch of songs together that we wanted to record…then the floods came. My long time label rep and confidant, Tyler Pittman, and I immediately agreed that we should focus our creative energies toward the victims of the flood.
You recorded this EP in Nashville’s Downtown Presbyterian Church in an afternoon. You also previously recorded a live album at the legendary Station Inn. Do you feel more comfortable recording live takes or in front of an audience as opposed to laying down individual tracks in the studio? Do you ever use the latter process?
I tracked piece by piece on Salvation In Lights and it worked well for me then because I was venturing into new waters and it made me more comfortable at the time. I had taken quite a bit of time off prior to doing that album and so it was good for me to take it slow. It’s extremely tedious but it can be done that way. I do favor recording live for several reasons. I don’t think about the big picture so much. I get caught up in doing my bit and let everyone else carry their own part. It is good for me to be reminded that I don’t have to carry everything all the time. It is a spiritual moment for me. I’m so fortunate to know some of the greatest musicians in the world, literally. Nashville is second to none with its caliber of players.
For The Night the Cumberland Came Alive none of the players had ever heard the songs prior to arriving at the session. We ran through each song 3 to 5 times and moved on to the next one. With the combination of the performances and that incredible room we ended up only having to do two overdubs. We realized we needed an intro and solo for “Dear Lazarus” so we went back to the church and set up everything for Sam Bush to record some additional fiddle. The other overdub is Byron House’s bass part on the Memphis Slim song “Mother Earth” which he couldn’t do at the original session. Basically everything you hear on this record is exactly what took place that fine afternoon in May and it’s by far the best sounding record I have ever been a part of.
Can you talk a little bit about your songwriting process? Did it differ any with this particular project?
We actually went with the Salvation In Lights template, meaning we would write a few songs and also dig out some of those old songs that I wanted to bring to light. I had really wanted to do a pre-war jug band project so that was the style I focused on. Ketch Secor knows more about that era of music than anyone I know so I naturally turned to him for advice. He sent me over some records, and suggestions for others, so I dove right in and found two of the songs there, and then he and I wrote “Dear Lazarus.” A day or two before we went in to record I heard a Curley Weaver song called “You Were Born To Die” which floored me. I felt like I could repurpose the refrain in context with the floods so I wrote lyrics from my memories of that night and wrapped them around that great line. And with that I knew we were set to record the project.
You seem to be very comfortable with collaboration. I’m specifically thinking of the freedom and spotlight you offer to backing vocalists such as the McCrary Sisters. Do you prefer to work closely with other musicians (as opposed to your solo acoustic gigs) and how much do others’ ideas and performances influence your work?
I love the idea of being onstage with people who could easily carry the show themselves. The McCrary Sisters ooze creativity and like me they love to go places musically that are unexpected. This is essential because it keeps things fresh as well as keeping us all on our toes.
Solo shows are great because I can revisit the way a song came into the world and I love the dynamic qualities that you get with a guitar and a voice. For me the full experience is all about the musicians in the band. I want them to shine. If they feel comfortable and we are moving air, space and time it’s going to be a good night for all of us.
We were playing an opening slot at the Hollywood Bowl last year and they had only given us a 30 minute set. I really wanted to get as many songs in as possible so I abbreviated them so we could get all 6 or 7 in that limited amount of time. Halfway through the set I realized I had cut away all the fuel that actually inspires me. I really needed those solos and the edge-of-the-blade musical excursions that drive me along. It’s not enough for me to simply sing. The energy of someone trying to express themselves through their saxophone or guitar or piano inspires me to deliver my part with as much conviction.
Your music is obviously influenced by gospel, earthy soul, blues, and traditional country. Can you name an influence or artist you love that might surprise your listeners?
I love Klezmer music and would love to infuse that style into what I do someday. A lot of people are surprised by how little I listen to rock music. I’m just not a big fan as of late. There are very few new rock acts that do it for me nowadays and really how many times can you listen to Live at the Filmore? I did see MUSE live recently and they put on a great show as far as big room acts go. My ears rang for a week!
We’ve played the Delbert McClinton cruise the last 2 years and every year there is a guy on the boat named Big Joe Maher. Joe plays drums and sings with a stripped down band. The volume is enjoyable and the guy swings harder than anybody I know, plus he sings like a bird. He plays 40’s to early 50’s era boogie and blues. I could sit and listen to Big Joe all night long. He’s far from a household name, but he’s one of my biggest musical heroes. He’s not looking to change the world he’s just making Big Joe happy, which coincidentally, if everyone did decide to do just what makes them happy – the world would indeed change!!
___________________________________
You can read more about Mike Farris and his latest EP at mikefarrismusic.net.
__________________________
Dustin Ogdin is a freelance writer and journalist based in Nashville, TN. His work has been featured by MTV News, the Associated Press, and various other stops in the vast environs of the world wide web. His personal blog and home base is Ear•Tyme Music. Click below to read more and network with Dustin.
Ear•Tyme blog… 
Facebook… 
Tweets… 
