It was toward the end of the T Bone Burnett–curated September 2013 Another Day, Another Time concert at New York City’s Town Hall—a celebration of the early ’60s folk revival that had inspired the Joel and Ethan Coen film Inside Llewyn Davis—when singer Rhiannon Giddens indisputably stole the show. Performing Odetta’s “Water Boy” with, as the New York Times put it, “the fervor of a spiritual, the yips of a folk holler, and the sultry insinuation of the blues,” Giddens brought the star-studded audience to its feet. She was the talk of the lobby during intermission as those attendees unfamiliar with her Grammy Award–winning work as a member of African-American folk interpreters Carolina Chocolate Drops wondered who exactly Rhiannon Giddens was, with her elegant bearing, prodigious voice, and fierce spirit.
On her Nonesuch solo debut Tomorrow Is My Turn, Giddens and Burnett revisit “Water Boy,” its Odetta-arranged work-song rhythm serving as both provocation and a statement of power. Giddens delivers an equally thunderous rendition, one made all the more striking when placed between a gentle, ruminative interpretation of Dolly Parton’s “Don’t Let It Trouble Your Mind” and a version of Hank Cochran’s “She’s Got You,” popularized by Patsy Cline, that Giddens imbues with “an old-timey R&B vibe,” abetted by Carolina Chocolate Drops band-mate Hubby Jenkins. The breadth of musical vision on Tomorrow Is My Turn fulfills the promise of that brief but stunning star turn at Town Hall. The album incorporates gospel, jazz, blues, and country, plus a hint of proto-rock and roll, and Giddens displays an emotional range to match her dazzling vocal prowess throughout.
The life that Giddens explores at the climax of Tomorrow Is My Turn is her own creative one, on the lilting, self-penned ballad “Angel City.” Though she regards herself far more as singer than songwriter, “Angel City,” composed in the course of a single night during the recording of the Burnett-helmed The New Basement Tapes project, fits perfectly at the close of the set, gently paying homage to the elder artists whose work comprise the rest of the album. “It was these women, these artists, who had helped me, who had come with me on this journey, and here are lyrics that represented that.”
Tomorrow Is My Turn was recorded in Los Angeles and Nashville, with a multi-generational group of players whom Burnett assembled. Among them are fiddle player Gabe Witcher and double bassist Paul Kowert of label-mates Punch Brothers; percussionist Jack Ashford of Motown’s renowned Funk Brothers; inventive drummer and Burnett stalwart Jay Bellerose; veteran folk-blues guitarist Colin Linden; legendary backup singer Tata Vega; and Nashville session great, bassist Dennis Crouch. Giddens enthuses, “We had Dennis and Paul on stand-up bass at the same time on some of these tracks. They are all ‘musicians’ musicians’ and they did cool stuff they don’t always get the opportunity to play. It was a bit of a challenge for them too, all these different kinds of music; every day was something new. We’d start the day by watching the original inspiration for the song on YouTube, and then we would go cut it. They were a diverse group of people, but it felt like a real band.” Giddens’ bandmates from the Drops—multi-instrumentalist Hubby Jenkins, cellist Malcolm Parson, and multi-instrumentalist Rowan Corbett—are part of her touring band for Tomorrow Is My Turn.
The songs here, says Giddens, “are all facets of the human condition.” Taken together, they answer the question Twyla Tharp posed at the beginning of Giddens’ solo adventure. Tomorrow Is My Turn is a composite portrait of “Ruby,” of America, and of Giddens herself, whose turn is clearly right now.
The rebirth of the African American stringband
With their 2010 Nonesuch-label debut, Genuine Negro Jig—which garnered a Best Traditional Folk Album Grammy—The Carolina Chocolate Drops proved that the old-time, fiddle and banjo-based music they’d so scrupulously researched and passionately performed could be a living, breathing, ever-evolving sound. Starting with material culled from the Piedmont region of the Carolinas, they have sought to highlight the central role African Americans have played in shaping our nation’s popular music from its beginnings. The Drops' repertoire incorporates blues, jazz and folk balladry alongside crackling string-band tunes. Though often striking out in new directions, the Drops return to familiar turf with tracks like “Riro’s House,” a traditional piece they’d learned from their late mentor, North Carolina fiddler Joe Thompson. Through several changes in membership, the Drops have continued to prosper under the leadership of singer/fiddler/multi-instrumentalist Rhiannon Giddens, whom super-producer T-Bone Burnett recently called the most profound musician active today. Much more than simply revivalists, The Carolina Chocolate Drops have evolved into American tradition-bearers of the first order—and their show is as much fun as anybody else's in the business. (via The Ark)
Produced by T Bone Burnett, Lost On The River was written and performed in creative collaboration by Elvis Costello, Rhiannon Giddens (Carolina Chocolate Drops), Taylor Goldsmith (Dawes), Jim James (My Morning Jacket) and Marcus Mumford (Mumford & Sons). The artists and Burnett gathered in Capitol Studios in March 2014 to write and create music for a treasure trove of recently discovered lyrics handwritten by Bob Dylan in 1967 during the period that generated the recording of the legendary Basement Tapes.
To learn more about The New Basement Tapes, please click here.
The two-disc collection Another Day, Another Time: Celebrating the Music of "Inside Llewyn Davis" captures a one-night-only concert held at New York City’s Town Hall in 2013 to celebrate the music of the Coen brothers film Inside Llewyn Davis, featuring live performances by icons and rising stars of folk and Americana. The concert, the resulting Showtime documentary, and the live album were produced by Joel and Ethan Coen and T Bone Burnett.
"The ... real head turner was Rhiannon Giddens," the New York Times reports from the concert. "She turned to the folk revival repertory of Odetta for the enigmatic 'Water Boy,' singing it with the fervor of a spiritual, the yips of a field holler and the sultry insinuation of the blues. And she followed it with a pair of songs in Gaelic, making them peal and dance ... the performances were splendidly polished."
Backstage, Burnett was immediately moved to ask if he could produce a record with Giddens and went on to do so, her solo debut album, Tomorrow Is My Turn.