tony trischka

territory
tony trischka territory “It’s like
1. Fox Chase 3:30 12. The Next Big Thing 4:03
2.
3.
Leatherwing Bat (trad.) 3:32
Rainbow Yoshi 2:27
13. Noah Came to Eden 4:12
14. Eighteen 1:54 the banjo
4. French Creek/Burning 15. Celtic Medley:
Springs 3:21
5. Zoe 2:16
St. Anne’s Reel/ Drowsy
Maggie/Red Haired Boy/ chose me....
The Blackbird/Red Haired

I didn’t
6. John Henry Medley: Lass (all songs trad.) 3:01
John Henry (trad.)/Bonaparte’s
Retreat (trad.)/Twists and 16. Salt River (arr. Bruce Molsky) 2:43
Turns 3:18 17. Banjoland (Joe Morley) 3:00
7. Trompe de l’oreille 2:47
8. Hawaii Slide-O 2:22
18. Old Stone Church 4:30
19. Gourd Banza 1:44
really have
9. John Cohen’s Blues 1:47
10. Molly and Tenbrooks
20. Brightshade/Carolina
Traveler (Earl Scruggs/Scruggs Music
Inc., BMI)/Casey Jones (trad.) 3:57
a say in the
(arr. Bill Monroe/Bill Monroe Music, BMI) 2:46

11. Sean 1:57 21. Lake Flora 3:29

* Unless otherwise noted, all songs written or arranged by Tony Trischka / Tone Zone Music, BMI, admin. by Bug
matter.”
SFW CD 40169 2008 Smithsonian Folkways Recordings
Tony Trischka Territory by Bob Carlin out on its own, stark and gutsy. There are four banjo duets, one each with
Mike and Pete Seeger, Bill Evans, and Bill Keith. Territory also features the only

H
published recordings of Tony’s brief stint with fiddler/banjoist Bruce Molsky
ave you ever heard of a bluegrass banjoist referencing Black Banjo
and guitarist/pianist Paula Bradley (aka Jawbone). Lastly, Tony Trischka’s cur-
Songsters of North Carolina and Virginia, Kentucky oldtimer Lee Sexton,
rent touring band of young talent with fiddler Brittany Haas, guitarist/singer
black harmonicists DeFord Bailey and Sonny Terry, and musician and
Michael Daves, and Skip Ward on bass present four pieces that explore the
folklorist Mike Seeger? Tony Trischka does this on just the first cut of this CD.
world between old-time fiddle tunes and bluegrass music.
These sources would make sense if we were discussing a member of bluegrass
Interestingly enough, one of the things that gives Tony’s playing on this
generation one, such as founding father Bill Monroe or guitarist Clyde Moody.
recording its distinctive sound is the eschewing of the “standard” bluegrass
They might seem incongruous for banjo innovator Tony Trischka, from the first
banjo “G” tuning (gDGBD fifth to first string), used on eight cuts, for the “C”
generation of bluegrass musicians to turn the “tradition” on its head by introduc-
tuning (gCGBD) that was customary in the 19th century. Trischka also refer-
ing influences from rock ’n’ roll and jazz. However, those who have been closely
ences folk tradition by employing the old-time banjo “C” tuning (gCGCD) for
following Tony’s musical journey should have seen this CD coming.
three pieces. And if you are expecting the biting tone of the standard bluegrass
In Territory Tony Trischka shows the influence of late 19th- and early
banjo à la the Gibson Mastertone model, you’ll only find that on a cut or two.
20th-century classic banjo playing, Pete Seeger’s up-pick sing-along accom-
Part of the tonal shift is helped along by Trischka’s choice of instrument. On
paniments, African and African-American string band music, four-string tenor
this record, and in performance, Tony has replaced the standard sound of the
Irish-Celtic plectrum-style banjo, Hawaiian slide/steel guitar, John Hartford’s
Mastertone for a mellower Deering Tenbrooks model.
iconoclastic Americana, old-time musician Mike Seeger’s prebluegrass picking

T
styles, as well as Tony’s own roots in the three-finger methods of Earl Scruggs ony Trischka’s music has always swung widely between projects like his
and melodic banjo innovator Bill Keith. On banjos strung with nylon and Double Banjo Bluegrass Spectacular (2007), those with wide critical and
steel, and made from gourds, metal, and wood, we get twenty-one tracks with audience support, and other more radical but no less important musi-
thirty tunes, two-fifths of them preexisting and three-fifths newly composed by cal experiments. During the mid-1970s, Tony pushed the limits of bluegrass
Trischka. Of those twenty-one tracks, twelve are purely solo, leaving the banjo with the wildly eclectic band Breakfast Special. Although the group wasn’t
4 5
A Short History of the Banjo by Bob Carlin embraced by the traditional bluegrass
community, it attracted a diverse audi-
Historically speaking, banjos evolved end and emerges through a hole cut like the banjo we know today, with
ence with an appetite for the band’s
in sound and structure right along with in the head toward the other end onto a round body of bent wood and the
mixture of bluegrass, rock, Hawaiian,
the music that’s been played on them. which the bridge and horsehair strings five-string layout of four long and
and klezmer. Trischka’s tenure with
Part of American history as long as are anchored. There are two or more one short “thumb” string.
the group Skyline in the 1980s faced
there have been West Africans in the noting and a number of drone strings After the Civil War, frets made
similar resistance from the strict tradi-
New World, the banjo in fact could be tied to the neck with pieces of rawhide. their way from the European guitar
tionalists while casting a net towards
said to have been more consistently The “folk” lutes, like the akonting, use family of instruments over to the
yet another musical audience. The
at the center of musical movements a larger gourd body over which the skin banjo. Mass manufacturing meth-
in the United States than any other is stretched. Unlike the griot lutes, the
band played a blend of folk, pop, and
ods made it possible to refine many
instrument. neck goes all the way through the skin bluegrass and built a core following
pieces of the banjo and contributed
Lute instruments with short, head, emerging at the other end of the over a period of nine years. Tony’s
to making the instrument more suit-
unfretted strings and membranous gourd. Akontings have three strings, forays placing the banjo into rock/jazz
able for large concert halls. In this
soundboards have been found in West two long noted ones and one short period, the rim body became heavier
settings in the late 1990s shifted his
African countries like Mali, Senegal, string, arranged much like the early with the addition of more brackets fan base once again. With his fearless
and Gambia going back at least one American proto-banjos described below. to hold on and adjust the skin head, musical curiosity always at the fore-
thousand years. The “classical” lutes When enslaved Africans were and a metal “tone ring” to increase front of his playing, Tony never rests
of the griots or jelis, called variously brought to the Americas, they brought volume and high frequencies. on his laurels. While we, the audience,
halam, hodou, tinbit, and ngoni, feature with them these instruments, either By the 20th century, four-string aren’t always brave enough to follow
a hollowed-out trough-like wooden in their memories or in actuality. Once banjos had joined their five-string Tony’s musical explorations, we ulti-
body with a cow skin stretched over here, the instrument developed first cousins. In fact, you could make a mately benefit from his willingness to
the opening for a soundboard. A round into a gourd-bodied proto-banjo and experiment regardless of the risks.
dowel-like neck is inserted into one then, by the 1840s, into something continues on page 9 A native of Syracuse, New York,
6 7
Tony Trischka’s early interest in the banjo was kindled by his parents’ albums A Short History of the Banjo (cont.) sive tone rings were added for the
of the Almanac Singers, as well as the Kingston Trio’s rendering of “Charlie on increased volume needed for perfor-
banjo equivalent of just about every
the MTA” in 1963. Two years later, Tony joined the Down City Ramblers, where mances in larger concert halls during
plucked string musical instrument
he remained through 1971. That year, Trischka made his recording debut with those days before the advent of sophis-
simply by grafting the neck of a man-
double banjo group Country Cooking on their album 15 Bluegrass Instrumentals ticated sound amplification systems.
dolin, ukulele, or a guitar onto a banjo
(Rounder Records). In 1973, Tony began a three-year stint with Breakfast Special. These changes made the instruments
body. This gave the players of other
During his time with Breakfast Special, Tony recorded Bluegrass Light and louder still and probably contributed to
string instruments the ability to get
Heartlands, two solo albums for Rounder featuring his own compositions. As the stereotype of a banjo as a loud and
the banjo sound without learning the
fellow banjoist Ben Freed wrote in Banjo Newsletter, “Tony was the first to cre- obnoxious music maker, which contin-
fret board of the five-string. It also
ate a significant body of original work for bluegrass banjo outside the genre’s ues to some extent to this day.
gave bands a wide range of rhythm
usual confines. His endless ability to write captivating melodies has secured Throughout the banjo’s long and
instruments that could cut through
his artistic status as much as his signature style of picking. And his ground- varied history, several right-hand tech-
the sound of a large ensemble, which
breaking ideas for composition and arrangement have legitimized the experi- niques have dominated for exciting the
came in handy when groups were
mentation of the progressive players that came later.” strings. West African music is differenti-
called upon to make transcriptions on
After one more solo album in 1976, Banjoland, Tony went on to become ated from European lute styles by the
the primitive equipment utilized by the
musical leader for the Broadway show The Robber Bridegroom. Trischka toured use of a downward striking motion with
nascent recording industry. Around
the fingers of the right hand. This meth-
with the show in 1978, the year he also played with the Colorado-based Monroe the same time, metal replaced 19th-
od survived to the New World, where
Doctrine bluegrass band. century gut, silk, and horsehair as the
Anglo-Americans learned it from African
In the early 1980s, Tony Trischka began performing and recording with his string material of choice.
Americans, and dubbed it “stroke” or
new group, Skyline. Subsequent albums under his own name during his tenure As the 20th century progressed,
“banjo” style. Other names for this
with Skyline included A Robot Plane Flies over Arkansas (1983) and a collection banjos became more sophisticated in
downward motion used in folk tradition
of bluegrass-tinged original compositions, Hill Country (1985). In 1984, Tony their design and construction. A closed
performed in his first feature film, Foxfire. Three years later, he worked on the back (or “resonator”) and more mas- continues on page 12
8 9
 music for an off-Broadway production
of Driving Miss Daisy. The following
“... [T]he very first thing I played
year (1989), Skyline recorded its final
album, Fire of Grace. on it was ‘Ode to Joy’ from
After Skyline, Trischka released two
solo recordings, World Turning (1993) Beethoven’s Ninth Symphony. So I
and Glory Shone Around: A Christmas
Collection (1995), and the two CDs fea-
turing his “jazz” group, Bend (1999)
guess I’ve never had preconceived
and New Deal (2003). Since 1993,
Trischka has also been a member of the
notions about the banjo.”
supergroup Psychograss and appeared roof. These gatherings of banjo instructors, students, makers, dealers,
on three of their recordings as well as and historians signaled the first rumblings of the instrument’s comeback.
in concert and festival appearances with Without the Tennessee Banjo Institute there would be none of the myriad
the band. banjo events today, none of the acclaim the instrument has received or the
While some five-string banjoists understanding of its history.
have gotten more and more mod- For Tony, the Banjo Institutes pushed his music in a different direction.
ern in their playing, Tony Trischka’s journey has carried him away into other It was there that he originally heard British classic banjo virtuoso Chris Sands,
musical genres and back again into banjo history and tradition. His water- saw African musicians up close, and was first introduced to gourd banjo
shed moment occurred at the Tennessee Banjo Institute when he heard the visionary Scott Didlake. The change in Trischka’s focus is dramatically por-
minstrel style actually being played. Held every other year from 1988 to 1992 trayed in the camp photos. By the last Banjo Institute, Tony is pictured holding
in a state park just east of Nashville, the Banjo Institute was the first attempt the Didlake banza. A photo of that instrument appeared in the collage featured
in modern times to bring together all the divergent banjo styles under one in the CD booklet for his 1993 release World Turning.
10 11
A Short History of the Banjo (cont.)

include frailing, clawhammer, rapping, life. Minstrelsy was succeeded in the and plectrum instruments played in
and banging. By the late 19th century, popular arena by classic-style banjo in a flat-picking chord style. Virtuoso
banjoists had borrowed from the guitar the late 19th century. For this, guitar- vaudevillians and dance band rhythm
a method of up-picking the strings that style three-finger picking was utilized sections all featured these fancy
used the thumb and the first two fin- by concert artists and in the burgeon- banjoists. Finally, just after World
gers of the right hand (aka three-finger ing middle class to play popular tunes War II, a young North Carolinian
picking). This style has predominated and light classics of the day. Young took the lessons he’d learned from
on the five-string banjo through many ladies courted their suitors with wistful finger-picking country musicians and
styles of music up to the present time. five-string melodies, and ensembles codified them into a new three-finger
And with some variation, this is the of banjo family instruments filled the approach that he sent nationwide
method utilized in bluegrass music and clubhouses at boarding schools, col- over the airwaves of the Grand
by Tony Trischka. leges, and universities with the sound Ole Opry. From then on, the banjo
Along with a variety of playing of plunking strings. The approach made was primarily associated with Earl
styles, the banjo has been emblematic its way into country music as well, Scruggs and bluegrass music.
of many of America’s most notable where it fit well as accompaniment to
musical movements. In the mid-19th the Tin Pan Alley songs emanating from
century, stroke-style banjo was central large American cities that were being
to the first true American popular musi- adapted and adopted by fiddle- and
cal form, blackface minstrelsy. Popular banjo-led aggregations.
songs and dance tunes combined Anglo Around World War I, the five-
perceptions of African syncopation string banjo went out of fashion, to
with lyrics about rural Southern slave be replaced with the four-string tenor
12 13
 S
In many ways, it was fortuitous for Trischka that the Tennessee Banjo o where is Tony Trischka headed next? Right now, Trischka is playing
Institute came along when it did. By 1988, his band Skyline was in the process within a “traditional” string band ensemble of fiddle, banjo or double
of disbanding, and he was poised for a fresh direction. At the conclusion of the banjo, guitar, and string bass with vocals. He is revisiting the bluegrass
third and final Banjo Institute, Tony was ready to take what he had absorbed form with his young bandmates’ interpretations of traditional stylings. Tony
from historical styles and apply it to a new, somewhat solo show portraying the is also opening the eyes of bluegrassers to the deep history of that important
passage of the banjo through history. American musical institution, the banjo, and hopefully directing them to new
World Turning augured Tony Trischka’s new direction. The album was light sources for their own grounding and inspiration. With any luck, Tony Trischka’s
on bluegrass and the progressive stylings found on some of Trischka’s other inclusion on this CD of musicians from the old-time side of the fence will
recordings, and heavy on historic styles and references to the history of the encourage other banjo interactions across the stylistic gulf that currently
banjo. Under the guise of a gathering of musical superstars, Trischka integrat- divides traditionally based American music.
ed different banjos, right-hand playing techniques, and repertoire into his own In many ways, Tony is following the lead of the late John Hartford, who, in
original compositions. Made around the same time as Tony’s inclusion in the his return to old-time fiddle music in his later years, advised bluegrass musi-
early banjo sampler Minstrel Banjo Style (also for Rounder), World Turning was cians to “go back, young folks, go back.” Trischka has taken up that mantle,
the inspiration for Tony Trischka’s live history of the banjo shows. and in doing so, will connect the many streams of banjo music. For this, along
Territory, like World Turning, is grounded in historical banjo styles yet with his other accomplishments as a writer and player, Tony Trischka is bound
forges ahead with original compositions that showcase Trischka fifteen years to earn himself a special place in banjo history.
later—more refined but no less daring or inspired. Following his own interests
and muse, Tony charts new territory that spans past and present, tradition Bob Carlin, Lexington, NC
and innovation. Obviously, his musical experiences now are deeper and more November 2007
varied, and the influences of banjo styles other than bluegrass are now more
integrated into his playing and compositions.

14 15
 Track Notes by Tony Trischka
Except as noted, I’m playing a Deering Tenbrooks model.

1. Fox Chase I needed to come up with another

“Fox Chase.”
Tuning: aDGBD
In late spring of 2007 I wrote
Tony Trischka, banjo; Michael Daves, a pinky-intensive, fiddle-tuney A
guitar and vocals; Brittany Haas, fiddle; section, but was stuck for a B part.
Skip Ward, bass
I started rooting around for other “fox
A few years ago I was teaching at chases”—since it’s a tune template
Sonny Osborne’s NashCamp banjo for old-time and blues players of the
weekend and saw a 1950s film of past—to give me some inspiration.
DeFord Bailey playing solo harmonica I got hold of Sonny Terry’s
on a tune called “Fox Chase.” It was The Folkways Years, 1944–1963
a transcendent experience. In a fit of (Smithsonian Folkways) to check
inspiration I went into another room out what he was doing on his “Fox
and wrote a “Fox Chase” of my own. Chase.” Within hearing three of
I never tabbed or recorded it, prompt- Sonny’s notes I had my inspiration
ly forgot it, and then kept the concept for the B part. The C section followed
in the back of my mind—someday in quick pursuit.

16 17
 I played it for Mike Seeger Mama yelled, “Tom, you better 2. Leatherwing Bat Pete back up to his home in Beacon.
shortly thereafter, and he assured me get your horn / Fox got a chicken, sure As Pete was about to get in the car,
Tuning: gDGBD
that he could hear two dogs in the as you’re born.” he noticed something reflecting the
tune…no greater seal of approval. He grabbed ole Copper, his best Tony Trischka, banjo; Pete Seeger, banjo spring sun in the verdant grass near
The lyrics are a mixture of mine hound / Headed out to where the hill and vocal; Bruce Molsky, fiddle the house where we were recording.
and some borrowings from a couple went down. My mother went to school with He walked over and picked up a bro-
of other old-time sources. Michael Why does the hound got the fox Pete’s wife Toshi years ago at the ken headlight which had been thrown
nails the vocal beautifully while navi- on the run? / ’Cause he’s got the hunter Little Red School House in New York away. He got back in Bruce’s car with
gating a dense thicket of verbiage. and the hunter’s got the gun. City. So I’ve had some sort of con- the headlight in his lap, fully prepared
The fabulous Brittany is playing Hound said, “Fox, you’re ’bout to nection to the Seegers since I was to take it back to Beacon to place in
five-string fiddle in a cross tuning fall. / In just a short while you’re gonna growing up. My parents would play his recycling. When I came out to
(with psychotically powerful bowing). be hangin’ on the wall.” music by the Almanac Singers, the say goodbye, I offered to take it. Pete
Check out Black Banjo Songsters That hound ran the fox up, out Weavers, and Pete around the house. said, “As long as you dispose of it
of North Carolina and Virginia and in / Splashed ’cross the stream Though I recorded with Pete playing properly.” I did. Pete walks the walk.
(Smithsonian Folkways) for Dink where the ducks did swim. guitar on my Rounder Christmas
Roberts’ and John Tyree’s wonderful Said “Keep your nose to the wind / album, Glory Shone Around, this was
versions. Lee Sexton also has a great If you wanna keep your skin.” my first opportunity to play double
banjo arrangement on Lee Sexton and The sun went down, the hunter banjos with him on CD. The great
Family (Field Recorder’s Collective slowed / Copper chased Fox past the thing is, he was willing to vocalize
FRC 105). owls and the toads. on this…and he rarely sings out solo
. As they headed off, the moon these days.
shone down / That’s the last Tom saw After the session in Garrison,
of the fox and the hound. New York, Bruce offered to drive
18 19
3. Rainbow Yoshi We were scheduled to do a workshop 5. Zoe 6. John Henry Medley: John
(Five String vs. Five String) and had Henry/Bonaparte’s Retreat/
Tuning: gCGBD Tuning: gCGBD
no repertoire. In her infinite wisdom, Twists and Turns
Tony Trischka, banjo Brittany suggested doing five fiddle Tony Trischka, banjo
tunes, one on each string. In other Tuning: aDF#AD
Named by my son Sean, this bluesy This was inspired by my beautiful
words, each tune had to be played Tony Trischka, banjo
tune has an alternating thumb thing daughter when she was about six
exclusively on one string.
going on. The dropped C on the months old. It bloomed out of my This is a collection of three pieces in
Taking this concept into original
fourth string always provides a low Deering John Hartford model with D tuning. Earl Scruggs recorded “John
territory, I wrote these two pieces with
tonic gravitas. nylon strings. The A part is a simple Henry” in D tuning on Foggy Mountain
the chillingly evocative titles. I’ve also
folk-like melody that I contrapuntally Banjo, but this is primarily an alternat-
composed a tune on the fourth and
4. French Creek/Burning embellish as it goes along. I use ing thumb arrangement. I heard Etta
second strings (not included here)
Springs thumb and three right-hand fingers Baker play this beautifully and gently
and am waiting for a waft of inspira-
for the beginning of part B…the on slide guitar on her One Dime Blues
Tuning: gDGBD (for three of these tion to complete the fifth string. This
advantage of not using picks. recording (Rounder Records CD2112).
strings it doesn’t matter what the dang works on any string instrument—and
She never went to the V chord, but
tuning is) may I suggest you try to compose
leaned towards the IV chord at the end
Tony Trischka, banjo; Michael Daves, your own tunes if you’re a player.
of each verse. She was the inspiration
guitar; Brittany Haas, fiddle; Skip
for my arrangement.
Ward, bass
My good fiddle pal Kenny
The first time I really got to hang Kosek—a four-string wizard if ever
out and play with Brittany was at a there was one—taught me this ver-
festival in New York State in 2005. sion of “Bonaparte’s Retreat.”
20 21
I learned the very last section from 7. Trompe de l’oreille upbeat. This trick of the ear prompt- Ron Saul out in San Luis Obispo,
John Hartford while dueting with ed Bill—he is possessed of French California. I first saw Tony Furtado
Tuning: gDGBD
him in a darkened classroom late fluency—to bequeath the above title playing it at the Telluride Festival in
one evening on the campus of Elkins Tony Trischka, banjo; Bill Keith, banjo to the chanson. Colorado and craved it like crazy. It
College in West Virginia. He learned (first solo); Paula Bradley, piano finally ended up in my hands. Having
it from the remarkable fiddler Ed The suggestion for using double played pedal steel guitar a bunch in
Haley and told me that it represented banjos with New England-style piano 8. Hawaii Slide-O the 1970s, it wasn’t too much of a
Napoleon’s loss to the Russians. came from Béla Fleck. stretch to use a slide on my left-hand
Tuning: eAEG#B
I fashioned the last tune while Bill has been a hero of mine ring finger. There is precedent. Gus
twisting some of Bill Keith’s pegs at Tony Trischka, banjo Cannon played some slide banjo back
since 1963. His influence on me has
the end of my headstock. The pegs been incalculable. I wrote this and three other tunes in the late ’20s, and Béla Fleck did the
have special “stops” that allow you Paula is a newer friend and is included on this album to be per- same when he wrote and recorded
to tune between two notes perfectly. great at laying down that bedrock formed on the NPR show, The Next a tune called “Bonnie and Slyde” on
I love the effect and have written rhythm. And how many people do you Big Thing, in January of 2005. The the Flecktones album UFO Tofu.
a number of tunes over the years know who own a National ukulele? premise of the show was to interview
featuring these crafty gizmos. I also Bill starts and then I join in. musicians, actors, dancers, artists,
throw in some harmonics. I hope this Paula plays the part of Jo Ann Castle writers, etc., and discuss works in
comes across more as music than perfectly. progress. I decided to write these
gimmicks ahoy. The A-part melody starts on the tunes, on four separate banjos, spe-
downbeat, then halfway through is cifically for the show.
repeated, but offset by half a beat I play this tune on a one-of-
so that the downbeat becomes the a-kind National banjo made by

22 23
9. John Cohen’s Blues 10. Molly and Tenbrooks 12. The Next Big Thing 13. Noah Came to Eden
Tuning: gDGBD Tuning: gDGBD, capo at fourth fret Tuning: gCGCD; Keith tuners tune the Tuning: gDF#AD (D tuning)
Tony Trischka, banjo Tony Trischka, banjo; Michael Daves, second string from C down to B, the Tony Trischka, banjo; Mike Seeger, har-
vocals and guitar; Brittany Haas, fiddle; third string from G down to F. monica, banjo
As the years roll on, I become ever Skip Ward, bass Tony Trischka, banjo
more impressed with John Cohen’s I composed this after playing a rain-
gifts as a filmmaker, photographer, Just one of my favorite bluegrass I wrote this for the aforementioned drenched solo set at the Charlie Poole
musician, and chronicler of the pro- tunes. Bill Monroe put his own spin NPR radio show. It helped with the Festival in Eden, North Carolina, in
found musics of the past, musics that on this Kentucky racehorse song, and title. Lots of crazy tuning working out 2005…great festival, too much water.
still inspire and have deep relevance Michael Daves sings the hooves off it. of double C. The A section is coming Thus the beginning of the tune.
in the present and remind us of what out of the high lonesome arena to When it came time to record, I
lies at the heart and soul of America. some extent. Part B leans in a Celtic could think of no one I would rather
Another offering for The Next Big 11. Sean direction, which in some ways begat have play on this than Mike Seeger.
Thing. I wrote this after chatting with the high lonesome gestalt. The third Originally I was just going to ask him
Tuning: gCGBD
John at Nora Guthrie’s Christmas section (following an up-the-neck to play banjo. The night before the
Tony Trischka, banjo variation on part A) is based on a
party. I play this on my 1883 session I realized this would sound
Fairbanks-Cole, and eschew picks. A song I wrote for my wonderful son. technique I picked up from listening to great with his harmonica added on,
J.D. Crowe. There’s an ongoing fourth- and, boy, did it! Thanks, Mike!
string drone throughout. While pedal-
ing that, I’m hitting double stops on
the second and third strings. It helps
the banjo to sound a bit more orches-
tral than it usually does.
24 25
14. Eighteen medley reflects that in-country 16. Salt River 17. Banjoland
experience.
Tuning: gCGCD Tuning: gDGBD, capo at second fret Tuning: gCGBD
I’d have to say my main inspira-
Tony Trischka, banjo tion has been Gerry O’Connor, whose Tony Trischka, banjo; Brittany Haas, Tony Trischka, banjo; Bill Evans, second
stunning four-string sorties have left fiddle; Michael Daves, guitar; Skip banjo
This is an anniversary song for my Ward, bass
me gasping for air. He’s able to take This is a snazzy double banjo tune
wife, Assunta. The song is made up
a tune and raise it to an unbelievable The bluegrass standard “Salt Creek” composed by the great British five-
primarily of successive groupings of
level. I learned the Irish version of is issue from the loins of “Salt River.” stringer Joe Morley. It probably dates
three measures of 6/8 time.
“St. Anne’s” from him. I picked up There are many geographic and musi- from the mid-1920s, though I don’t
“The Blackbird” from Jerry and Bernie cal “Salt Rivers” in this world, and have its exact date of composition. I
15. Celtic Medley: St. Anne’s McGann—the father of modern-day this particular arrangement comes first heard my compadre and banjo
Reel/Drowsy Maggie/Red Celtic banjo—at a late-night picking from the playing of the remark- wizard Bill Evans play it and was
Haired Boy/The Blackbird/ session at the Johnny Keenan Festival able Bruce Molsky. It has an almost then compelled to learn it myself.
Red Haired Lass in Longford in 2006.“Drowsy Maggie” unbearable level of high lonesome Bill came east from California, and
and “Red Haired Lass” come from intensity, and Brittany burns the I was able to snag him long enough
Tuning: gDGBD the O’Neill book (O’Neill’s Music of house down with this here and in live to go into the studio and record this
Tony Trischka, banjo Ireland). I had the amazing Séamus performance. arrangement. Banjo sheet music
Egan show me “Red Haired Boy” at a from this era often featured the lead
I’ve had the great pleasure to go to
banjo show in the early ’90s. It’s solo, a banjo accompaniment, and a
Ireland a number of times in recent
somewhat of a bluegrass standard, separate piano accompaniment. So,
years for the Johnny Keenan Banjo
and I wanted to find out how to play depending on who your musical bud-
Festival. There, my interest in Celtic
it closer to the Irish way. dies were, you were covered.
music has been rekindled. This

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18. Old Stone Church 19. Gourd Banza 20. Brightshade/Carolina 21. Lake Flora
Tuning: gDGCD, capo at second fret Tuning: dGDGA
Traveler/Casey Jones Tuning: gCGBD
Tony Trischka, banjo; Bruce Molsky, Tony Trischka, banjo Tuning: gCGBD Tony Trischka, banjo
banjo and fiddle; Paula Bradley, guitar Tony Trischka, banjo
This was the fourth tune slated for I wrote this at the Puget Sound Guitar
Waltzing into 4/4, this features The Next Big Thing show. As it turned The opening tune is in the key of F, Workshop, across the way from
Jawbone, an old-time/bluegrass out, I ended up not using this one, lovely but underutilized territory for Seattle, around 1990. It was named
fusion band that the three of us put but here it sees the light of day. the banjo. for a lovely body of water that was the
together in 2005ish. Here I get to I play this on a beautiful banza “Carolina Traveler” is Earl’s ver- recreational hub of the workshop.
do some clawhammering with the I was given a few years ago by David sion of “Mississippi Sawyer” from
multitalented Bruce. Paula lays down Hyatt while performing in Arkansas. John McEuen’s first String Wizards
the solid rhythm. I love the high lone- It’s a gourd instrument of African album. The grand simplicity of the
some sound, whether it comes from origin that preceded the drum-con- quarter-note octave Cs that begin part
Bill Monroe, Dock Boggs, or Roscoe struction instrument we know today. B are ample evidence of Earl’s genius.
Holcomb. That flavor was the inspira- It was played by Africans and African “Casey Jones” is a train song my
tion for this tune. Americans in slave times and is mother sang for me when I was
currently seeing somewhat of a young. John Hartford once told me
resurgence. that he’d played this with Earl at a
The tune has a bluesy flavor, jam session in the mid-’80s. This is
probably in the white, high lonesome my vague re-creation of that arrange-
end of the spectrum. ment, as played to me by John after
hours at the Birchmere.

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 CREDITS Betty Derbyshire, financial operations manager; ABOUT SMITHSONIAN FOLKWAYS
Produced by Tony Trischka Laura Dion, sales; Toby Dodds, technology manager; Smithsonian Folkways Recordings is the nonprofit
Spencer Ford, customer service; Henri Goodson, record label of the Smithsonian Institution, the
Associate producers: Deborah Miller and Richard
financial assistant; Mark Gustafson, marketing; national museum of the United States. Our mission
James Burgess
Helen Lindsay, customer service; Julian Lynch, cus- is the legacy of Moses Asch, who founded Folkways
Tracks 1, 4, 10, 16: recorded and mixed by Michael tomer service; Keisha Martin, manufacturing coor- Records in 1948 to document music, spoken word,
Daves, Brooklyn, NY dinator; Margot Nassau, licensing and royalties; Jeff instruction, and sounds from around the world. The
Track 2: recorded by Art Labriola, Garrrison, NY Place, archivist; Amy Schriefer, program assistant; Smithsonian acquired Folkways from the Asch estate
Tracks 3, 5, 6, 8. 9, 11, 12, 14, 15, 19, 20: recorded Ronnie Simpkins, audio specialist; John Smith, sales in 1987, and Smithsonian Folkways Recordings has
and mixed by Pete Reiniger at Private Ear and marketing; Stephanie Smith, archivist, Norman continued the Folkways tradition by supporting the
Recording, Hyattsville MD Van Der Sluys, audio specialist; Kathy Wasik, sales. work of traditional artists and expressing a commit-
Track 7: recorded by Aaron Hurwitz at NRS studios, ment to cultural diversity, education, and increased
West Hurley, NY SPECIAL THANKS understanding.
Track 13: recorded by Pete Reiniger at Private Ear As always, thanks to my most amazing family: Sean, Smithsonian Folkways recordings are available at
Recording, Hyattsville, MD Zoe, Assunta, Aurora, Nona, and Grandpa. Thanks record stores. Smithsonian Folkways Recordings,
Track 17: recorded by Tom Tedesco at Tedesco also to Deborah Miller for making this happen. Folkways, Collector, Cook, Dyer-Bennet, Fast Folk,
Studios, Paramus, NJ Thanks to my manager, Ben Hershman, for his faith Monitor, and Paredon recordings are all available
Track 18: recorded by Russ Martin at Viscount in me and my music and for yeomanlike work on through:
Studios, Providence, RI my behalf. And thanks to Blue Mountain Artists for
keeping me out there. Smithsonian Folkways Recordings Mail Order
Tracks 2, 7, 13, 17, 18: mixed by Ronnie Freeland, Washington, DC 20560-0520
Clarksburg, MD Management: Ben Hershman Phone: (800) 410-9815 or 888-FOLKWAYS
Mastered by Pete Reiniger at Smithsonian Folkways Hi-Gain Management (orders only)
Recordings 262 South Van Dien Avenue Fax: (800) 853-9511 (orders only)
Ridgewood, NJ 07450
Annotated by Bob Carlin and Tony Trischka To purchase online, or for further information
Ph: 201-612-5747
Photos by Michael Stewart, www.michephoto.com [email protected] about Smithsonian Folkways Recordings go to:
Executive producers: Daniel Sheehy and D. A. www.folkways.si.edu. Please send comments,
Sonneborn Bookings: Hugh Southard questions, and catalogue requests to
Blue Mountain Artists [email protected].
Production managed by Mary Monseur 810 Tyvola Road, Suite 114
Editorial assistance by Carla Borden Charlotte, NC 28217
Design and layout by Sonya Cohen Cramer Ph: 704-525-1559
[email protected]
Additional Smithsonian Folkways staff:
Richard James Burgess, director of marketing and Tony Trischka plays Deering Banjos and GHS
sales; Emily Burrows, customer service; strings (010, 011, 013, 022, 010).
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 Washington DC 20560-0520 SFW CD 40169 2008 Smithsonian Folkways Recordings
musical spirit....”
“I’ve just got this restless