May has turned out to be a momentous month for The 78 Project, each year it brings opportunities and joys we can hardly imagine. This year May finds us in France! Thanks to our fiscal sponsors and wonderful supporters at IFP we are participating in the first year of the Cannes Cross Media Corner, taking place during this year’s Cannes Film Festival.
Thinking back to last May, we realized we were on a similarly adventurous bent, as in just one week we had the chance to record with The Wandering in a New York City alleyway at night, to appear live on WNYC Soundcheck recording with Justin Townes Earle, and to share an incredible evening of music at City Winery with our friends and supporters, culminating in a live onstage recording with Marshall Crenshaw.
In anticipation of the exciting week to come, a look back at this exciting week from one year ago:
Our afternoon workshop at the 5th annual Brooklyn Folk Fest felt momentous. It was finally Spring! It was Record Store Day! It was the midpoint in a weekend of exceptional folk music, a gathering of some of the finest musicians and most enthusiastic appreciators around. And we were honored to be scheduled just before Anna Lomax presented her father’s film “Ballads, Blues and Bluegrass.” We were among friends and fellows, with legendary banjo player and historian John Cohen in front of our mic.
Thanks again to Eli Smith, the Bell House, John Cohen, Jackson Lynch and all the musicians, organizers and folks who came out to the Brooklyn Folk Festival.
So often they seem beyond belief, the yarns that are spun around town and around dinner tables, late in the night or in passing on the street. They are mostly told secondhand. Or third. Stories from the family lore too wild to think they could have actually happened, and so exciting and colorful we would hardly want to live in a world where they couldn’t.
Often a delightful dubiousness is added to these tales by the distance they traveled to reach our ears, the wine, and the festive manner of telling. This was not the case on the summery night when our friend, acclaimed 78 collector and producer Christopher King, shared with us his family fables. His were told firsthand, and with demonstrations to help us picture the action.
“Did we tell you how our daughter, Riley, was born?” He asked us later, nonchalant as he cleared our plates. After the stories his family had already shared, of ceiling snakes and hatchets and the town where they live in Virginia, we knew this legend, saved for last, must be the best one.
We’ve been hard at work in the editing room since returning home in January from our California road trip. And though we sit in the same room every day as we sort the hours of footage we’ve shot so far for The 78 Project movie, there’s no possibility of sameness or fatigue. Each day we are transported to another room, any of the many different and beautiful rooms all around the country we’ve been invited into to film and make 78s.
This week as scenes from our Southern journey emerged on our editing monitors, the drudgery of winter had disappeared and suddenly summer was bearing down with the last of its might. We were transported to a sunny high-ceilinged room in Nashville mesmerized by a sultry and spectacular sound: the voice of Dylan LeBlanc.
We wanted to show it to you the moment we saw it. Haunting and reverent and filled with purity and magic, it called to us like the endless roads of our journey, reminded us of the warmth of your support, made us want to say thank you right now and always.
Sid Selvidge is a performer and folk music scholar of the highest order. It’s a well-deserved rap he caught from devoting himself congenially and tirelessly to knowing the people and learning the songs of the South. And of course, to contributing his own songs to the story. Sid is a walking record of Delta music and the American folk scene as it has been and as it is, with stories for days and an ear ready for any new ones you might want to share with him.
Sid had a memory of the Frank Stokes song “I Got Mine” from hearing it on a sampler, he recalled it being catchy and sly. A song that puts its singer in the shoes of a rascally gambler out for a good time. But as he discovered, listening to it again, the exact lyrics are hard to make out. He looked them up, and found enough different versions to keep you confused for a week. So, acting in the truest folk music spirit, Sid just picked the words he liked and rolled with it, the version that now goes on record as his.
Things do change and stay the same in equal parts. For Sid, his son Steve, and for us the day we recorded them together in Memphis, that meant hearing Sid singing a song he’d sung so many times before, but in a changed voice and on a very old format. It was Sid’s idea, to hear the old and the new together this way, the perfect test of time, and the perfect record of place.
It was the true spirit of mobility, a genuine adventure. Rooting around a dark alley for a power source, decent light, bright sound and a clean-ish, flat surface for the Presto and for the ladies’ fancy shoes.
It was late at night, and there was an energy, a happiness, a spark still glowing from the show The Wandering had just played at Joe’s Pub. They slipped out the back after their encore was through to make a record with us in the alley. Five voices with the fife as their sixth, bouncing joyfully off the concrete and mixing together in the warm spring air.
Did we feel it? We hadn’t noticed. A train went by, fast, beneath our feet. The Wandering, more accustomed to standing on solid ground than we New Yorkers, felt it rumble. The Presto felt it, too. Leaving a pretty-looking zig and a zag on the groove to mark it’s passing, a note stuck forever to the surface of the record telling exactly what their tapping feet had sensed.
We might have never gotten to sleep that night, it’s true. The excitement of the glorious recording lit us all up so, band, crew and friends alike. Had The Wandering’s flipside not been just the right reverie, the perfect song for the night’s end, we might have vibrated right through till morning. It was so beautiful in its calm, so right in its gentle longing, “Rock My Soul” brought us fluttering right back down to earth.
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A beautiful afternoon filled with end-of-summer sunlight hid the rainstorm that was on the horizon. Our week in Memphis had been full of surprises, and our last day there was no different.
Sid walked in first, and his son Steve followed with their guitars. While we set up, father and son filled the room with stories of Memphis past and present. Sid can tell tales of Tennessee music for days, and you’d never want to miss one minute. He’s been there for it, and not only can he tell it, he can play it for you, too.
They settled in to pick and slide through a mischievous version of “I Got Mine,” two styles of playing that spin on the same axis. And when the story was told and the song finished, we heard two generations echo “It’s a record.”
Our deepest thanks to Ward Archer. For so many things!
How did we imagine things when we were children picturing our adult lives? Exciting and strange, moving more quickly than the quiet creep of childhood, and painted in much broader strokes inside much more confident outlines. We would fill our houses with grass instead of furniture. And when we fell in love, we would be held fast in strong arms or gentle, delicate hands, and kissed as the sparkling night kept us safe.
We met Leah Siegel in that fantastic possibility, in a mischievous loft with grass instead of carpet, the magical surroundings completed by ladders leading to hideaways and a forest wall scattered with glittering stars. And when the Presto was nestled snugly in the soft ground, she sang of a whimsical and lovely romance contained in the smallest most innocent of gestures.
Our beautiful early hopes and feelings are not lost to us. In fact, more often than we even know, we look for and find them again in songs.
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The rest of the story is a memory. A view of a dreamy past carried along through life, strange and unforgettable and intoxicating.