Showing posts with label josh willis. Show all posts
Showing posts with label josh willis. Show all posts

Friday, May 30, 2014

AT A GUM TREE FARM BAND CONCERT

the gum tree farm band

Afternoon of next day I'm still reeling from the music heard last night, The Gum Tree Farm Band on the Willis farm, next driveway down Waterfall Road. This is Josh Willis' present band, a Young Fogies old-time band with a new-time sound, not restricting themselves to old-time, though its their base. Josh brought the others with him. They are getting their groove together toward the Mt Airy fiddler's convention next week. I had the good fortune to be invited to hear them play, an audience of one. And they fed me, fed me well. I had the impression all of them cook. All five of them were in a kitchen of tight quarters, comfortable for two, best for one. These are people of a generation far more social than my generation. They were also a band, same as a family. They play in a tight circle in amongst each other. Everybody was sitting on the deck on a very pleasant spring day in the mountains, rhododendron and dutch iris in full bloom, overlooking the lake. A cloud came crawling through Air Bellows Gap across the lake, reaching as clouds do like an imaginary herd of white horses, the fastest ones out in front dancing across the water in slow motion. I enjoyed it doubly in the company of people who were in awe of what they were seeing. One of my beloved aspects of these hills, the clouds crawling over them. These people were all artists, their senses awake to appreciation. Good, peaceable vibes flow between them hanging about on the deck talking, breathing the mountain air, a tent on the lawn, Yuengling beer cans on the deck rail, four dogs milling about, winding though the maze of our legs and chairs. Peaceable people, peaceable dogs. I had to know where they were all from. It's something I picked up in the mountains, asking somebody you meet where they're from, where they live. On the local AM radio show of mountain music, I always told where the musicians were from, what county, what state, what town, because it gives a mental place. Especially in the old-time way, every region had its own sound. I just like to know where people I meet are from. It's not a judgment thing, rather a push-pin on the google map in my mind.
 
clockwise from lower left: shona carr, niels bonefass,
sam stallings, gailanne amunesen, josh willis
 
A meal seemed like it came out of nowhere. Different ones were going and coming. Gailanne, fiddler, appeared to be presiding in the kitchen arena. I didn't know what they were doing and didn't pay attention. Talked with one for awhile, another for awhile, learned who they were and where they were from. Gailanne is from Orlando and her mother is a painter. Shona, fiddle, if I recall correctly, said both her parents are musicians. Sam, guitar, came from Staunton, Virginia. his dad is a musician and his mother into gardening. Every one of these people can play so well it seems uncanny, all or most of them under thirty, and they're multi-instrumentalists. Niels, banjo, can make a banjo do what he wants it to do. At one point, during a break between songs, Niels was showing Shona some runs on a song she was learning. He took his fiddle out of its case and I saw in that brief demonstration he has a fine touch with a fiddle bow. I'd guess he's every bit as alive to the music with his fiddle as with his banjo, and his banjo does it right. Its important to note they play music. They don't slow it down. Its foot-moving music, music you feel. I'm recalling a time I played an old-time band on the radio show that was from down the state close to Raleigh. Later, when I saw Jr Maxwell, bluegrass banjo picker, he said, "Weren't no music in it." I knew what he meant. It did not make you move. It's sit-down old-time. Old-time is a dancing music. These people have the music. The music is what each one of them is playing. They play so freely with the music that a sour note becomes part of the tune, somebody stops playing a moment, the music goes on in such a way that melody and technique become irrelevant when the music is flowing. They, every one of them, play from the heart. They play from experience, too. It seemed to me I heard several years of music making in them.
 
niels banjo, shona and josh fiddles
sam guitar, gailanne fiddle
 
Niels, the banjo picker, is from Denmark, and drove down here from New York, a twelve hour drive, the day before. He came in around midnight, I was writing and saw a car stop out front. I thought I'd wait to hear a door close before turning on the light. It was Niels looking for the turn to the farm. I told him it's the next driveway up the road and he was gone. He was wired from the drive. I get the impression he makes his way busking. He plays clawhammer style his own way. He can bear down on it  too, and make it walk. Sam on his guitar, also Staunton, Virginia, can play melodic guitar and he can wear it out, too. He works his guitar, like Niels with banjo, keeps it going like a racehorse, their fingers pounding the strings like horses' hooves on a dirt track. Three fiddles going and these guys keeping the rhythm flowing. Shona, Gailanne and Josh played fiddles through several songs. Later, Josh brought in his stand-up bass and Gailanne put her hair up in a loose Rasta hat for dreadlocks. Gailanne has a talent that is all her own. She's an artist first, and whatever art form she would go with she'd do it well. Shona plays all four instruments. Niels I know plays banjo and fiddle, don't know about guitar. I'd like to hear him play a tune on his fiddle. I like his touch with a bow. I can tell already his sound is uniquely his own. I like about these musicians that they are not about saying one way of playing old-time is less valid than any other. When they get in motion and all are flowing in a good groove, they have what it takes to play, bring in new sounds, try this, try that. They are musicians who love playing old-time without the constraints of saying it is only one way of playing. They play the spirit of old-time, the dance spirit.
 
sam guitar, josh bass, shona tenor guitar
 
Last night was the first I knew of Josh playing a fiddle. He can play it, too. He plays banjo beautifully and makes the bass into an instrument you make art with. Gum Tree Farm is Josh's family's mountain summer place. His grandparents, Ben and Agnes Willis, from Winston-Salem, bought a farm in the mountains, the old Jim Scott place, put up a dam and made a lake, put up a round house with glass all the way around. I knew Agnes and Ben since my first summer in the mountains. Agnes was shy and liked her solitude. They leased a couple hundred acres of grazing land to somebody who kept cattle, and paid Tom Pruitt to be caretaker of the land, the farm part of it. They were good people. Josh's mother and dad now own it together with uncle Ben and his wife. Josh is about the only one who uses it now. He brings whatever band he's working with at the time to the mountain house to jam and practice. This is, if my memory serves a reliable assist, the fourth band he's brought here. He invites me to come over and listen while they jam. I feel privileged to be an audience of one with some excellent musicians who know how to make music. All Josh's bands have been ones to play music in its fullness. It's the music Josh is connected to. It's why he plays. The day he dropped by with the invitation to go hear them, he noted they're a pretty good bunch of musicians. I said, I know they're good. All the musicians you make music with are good. It's not that I'm a prophet, it's just the pattern. It was a remarkable experience for me to sit and chat with new people I didn't know, except Josh. No problem. Everybody was friendly. Beautiful people. If they are the people of the future, I say, bring it on. They're also musicians, artists performing their art. In their art form, the artist is on stage making the art through time. We get up from our places on the deck and move inside as darkness crept up on us slowly like the fog. They went to their instruments, talked about starting their first tunes with the instrument they're most comfortable with and play best. This is rehearsal I'm witnessing, tuning in with each other toward Mt Airy, finding what flows with them best. I made two  videos I meant to put on YouTube today, but time went by and it's one of them days there's not enough time in. Going back over when this is done and posted. Camera charged and ready to go. Tomorrow, that's the first thing in my mind to start the day. It will be several hours. Their music is worth it. They played so well. I'll put up a note on facebook when they go online. I'm charged and ready to go too. I love a good concert.
 
niels, sam, gailanne, josh, shona
 
 
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Wednesday, July 27, 2011

BUFFALO DEATH RATTLE

lyle

lyle


john and dusty
lyle, josh, ashley

 ashley

dusty, lyle, josh

dusty
josh



These guys are Buffalo Death Rattle. They play old-time and their own compositions in the old-time style. They've been a band less than a year. They're here in the mountains to see what jams they can find and fiddlers conventions. They'll be going to Clifftop in West Virginia. They're from all over the place, and came together in New Orleans. Josh on the bass is from Winston-Salem, grandson of Ben and Agnes Willis who had a vacation farm in Air Bellows, the old Jim Scott Place. Ben and Agnes have been gone quite awhile, and the farmhouse is now a vacation place for the grandkids, Josh the one that uses it the most. Josh has been in New Orleans for some years, went back and forth from Philadelphia a few times, and found this band he's with now is the one he wants to stay with. They are staying at the farmhouse for a few days on their road trip looking for Appalachian music.



They travel in 2 vans and play music all the time. They are together about music and music is what they do. They are at the place now in their development as a band of how to flow with each other's styles of playing, and getting the feel of the whole. I think all they need now is stage experience. They play mountain music like mountain people, and they didn't even know it. They like old-time and they like to play. Josh in the past telling me about the band apologized for them every time saying, "We play fast," as if to say it might be too much. What he calls "too fast" is what's called drive in the mountains. They have drive in abundance. The fiddler can lay it to it, too. They tore up Breaking Up Christmas, Lost Indian, Ed Haley's Indian Ate A Woodchuck, and other such fiddle tunes. I mean tore them up! I told them when they get before an audience and want to get everybody's attention, play those tunes and have everybody on their feet the whole time. The drive they have is on the order of New Ballard's Branch Bogtrotters and Whitetop Mountain Band.



The band doesn't sound like old-time played by people not of these mountains. My perhaps erroneous thinking is the people from other places learn mountain music by the mind. The mountain musicianer learns it by heart and plays it from the heart. The very first rule musicians learn in the mountains is play from the heart. Lyle is such a fiddler. He plays straight from the heart. He plays with his ears and his heart as one. Dusty, the banjo picker, used to play guitar, picked up a banjo a year and a half ago, started plucking around on it, got focused and now he's playing very respectable clawhammer he's taught himself. John, the guitar picker, is one dynamic picker. He plays details and he plays hard, both at once. He can get a rhythm going and he uses his guitar to push the band through the waves of the music. He keeps the rhythm solid and plays melody with the banjo as well.



Before they started making music, I heard them apologize that they're not very good, that they don't have it together yet as a band. I suppose it was all their apologizing before they played that gave me the surprise at hearing them make music, respectable mountain music, the real deal. I want to tell all my musician friends about these people, maybe get a few videos on YouTube where they can be heard. They are just now starting to think about things like that. At this place in their development as a band, this trip is intensive practice, picking every day, finding their flow together. I told them I believe they'd be very well received at the Rex Theater on a Friday night. I believe they'd be well received at any place in these mountains they might play. It was a joy for me to hear them playing Appalachian music in Appalachia the first day, and already having the sound. I believe they have the sound because they each learned their instrument the old-time way, figure it out and how you figure it out becomes your style. Each one has his/her own style of playing that's not like anybody else. Josh the musician continues to blow my mind.  



Ashley is playing fiddle tunes on the accordion with the fiddle. They sound good together. It's even along the line of an autoharp with a fiddle in its sound. Instead of being a separate sound, it enhances the fiddle's sound as if it were coming from the fiddle. She is playing viola too. Sometimes banjo plays note for note with the fiddle and they sound good together. Josh I've known him since he was a youngun playing soccer in jr hi. I knew his grandparents, his parents, uncles, aunts, brother, sister, cousins, over the years of being next door neighbor with the Willis farm. When Josh was at Chapel Hill, he had different bands doing post-punk noise kind of Mercury Rev thing. Band mates he'd bring to the mountains sometimes to retreat and make music. I'd go over and have a concert of some dynamic sounds. Josh is a good musician all the way around. Good songwriter, good singer and a bass player who plays individual notes on the bass, fingers of both hands going. He's played bass for a long time. He plays banjo too, figured it out on his own and has his own style.



It's always been a treat of a concert when Josh brought his present band to the farm. Because all the musicians he's had here in the past have been real artist musicians, I figured these guys would be too. When they started playing this evening just before sunset, I was surprised and not surprised at once by what I was hearing. It was no surprise that they were as good as they were at making mountain music, but it was a big surprise that they are a very respectable old-time band. Their drive is just right. From here on, they learn tunes together, talk about arrangements, live totally in their music, develop their sound with hundreds, then thousands of hours of stage experience, make recordings to sell at gigs. They have a facebook page now with links to a few videos. Write buffalo death rattle in the search box on facebook and you'll be there. I think they have a few things on youTube too. We talked about making some video tomorrow for YouTube. That will be awesome. I like their spirit.



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Tuesday, September 28, 2010

BLUES DOWN UNDER

adrian kosky

Adrian Kosky is an Australian musician who plays American music rooted in blues with stretches into country and various styles of playing. Four years or so ago he traveled around America getting acquainted with acoustic musicians along the way. The picture above was made in 2006 at Cullowhee NC at a dulcimer workshop. He doesn't play a dulcimer like anybody you see at a fiddlers convention playing dulcimer. He plays it his own way. He goes at it like you would a guitar or banjo, though holding it on his lap. He finds new sounds, new ways of playing it.

A year or less ago he found my blog online in Australia. He wrote and introduced himself. He is a busy man. He has created something of an artist colony for musical and visual arts. It's in south central Australia. We wrote back and forth a bit. I recently found one of his cds called Dirty White Blues and like it. It's playing now. Finally, today it occurred to me to look him up at YouTube and there he was, playing dulcimer, taking it seriously as an instrument, making it sing. I could see him at the Front Porch Gallery in Woodlawn on a Friday night. Scott could work with him musically very well. Australia is a bit of a journey to make for gas money. Hearing so much live music in these mountains I've come to appreciate musicianship more and more as years go by.

This evening I searched "galax banjo" at YouTube and listened to all of the top 10 bluegrass banjo pickers this year. All I could think was I'm glad I'm not in a position to judge them. They all sound equally good to my untrained ear. It seemed like #8 was a perfect match with #1. The one I enjoyed the most was #4. Stevie Barr was #1 and he was awfully good. His performance was flawless. The music flowed with him. All I could figure on why none of the others got first was probably a missed note or loss of the rhythm for a split second. I tried to listen to why Linwood Lunsford got #8 and didn't feel like #2 was really better than him. But I don't know what judges listen for, and I hope all judges are musicians. I listen to music uncritically now.

I listen to musicianship, which is good in everyone in these mountains who dares record. When I say a band is among the best, that's what I mean. In every region there are the better musicians who tend to play with their equals. In these mountains there are so many good musicians it's hard to say good, better, best about them unless it's somebody like Benton Flippen playing a fiddle. It's easy to say the best about him. But every region has its equal to one of the best in our area. We have Richard Bowman, Jacob Bowen, Eddie Bond, Lynn Worth, Thornton Spencer, Kilby Spencer, Wade Petty, Jeff Michael, Henry Mabe among the fiddlers of our region. I can't say one is better than another. Maybe they could, but I can't.

I hear different styles of playing, and that's what I listen to now. Mountain music has improved my ear for all other musics I listen to. I appreciate musicianship more than ever. I live among so many people who are such good musicians it's humbling. I'm of the notion that mountain music is of the spirit of these mountains, of the old ways people lived before electricity. Though the culture may fade away, the music will be carried on for probably a long time to come. As long as the music is alive, the spirit of the mountain way of life continues, and much of it is recorded.

I love it when I discover new (to me) music. Josh Willis, whose parents live in Winston-Salem and own the next farm, the Willis Farm in Air Bellows, was passing through here last week on his way from a couple years in Philadelphia where he played open-back banjo and bass with a band called TJ Kong & The Atomic Bomb. You can find them on YouTube. He also made a cd of his own band he calls Jubel Jenkins. It's on YouTube too. fHe left a cd with me of each band. What I hear of what he's doing is interestingly understated. He doesn't put his banjo out front, uses it for melodic rhythm. Josh is a good musician.



He's on his way to New Orleans via Chatanooga to see his brother, Hank, then to below sea level to the city where he spent a couple years before Philadelphia, after Katrina. I think he wants to be a part of the new music scene that starts up in New Orleans after the city was swept away, people shipped to other states, the music world there history. It can never be the same, because the elements that made New Orleans a music capital are not there anymore. Some of the musicians are coming back and new musicians are coming in. I think Josh feels some interesting musical energy generating there. I wish you the best, Josh.