Old-Time Week

Old-Time Week

July 14 - 19, 2019

This year we are excited to introduce another team of outstanding workshop leaders that have both a deep connection to old-time music and a passion for sharing it. Participants will begin each day with a single morning workshop from 9 a.m. – noon with their primary workshop leader. These in-depth sessions create an intimate learning environment to develop new skills, awareness and repertoire. Each afternoon will feature a presentation from workshop leaders and elder master musicians and an array of elective workshops. Evenings are packed with lively jams, slow jams, song swaps, square dances and performances. This week is a nurturing, friendly environment that encourages new musicians as well as seasoned players. Wherever you start, you can be sure that by the end of the week your musicianship will have new life and depth, and you will have new friends from around the globe.

Old-Time Week runs concurrently with Blues & Swing Week; Arts, Crafts, & Folklore Workshops; Folk Arts for Kids; and Evening Mini-Courses. Participants can take advantage of both weeks by attending special events, swapping tunes and songs in jam sessions, and sharing in the fun!

“We are so excited to be paired with Blues and Swing week again this year and are delighted to continue offering programming that takes a wide view of traditional music. In addition to our regular courses, we are especially excited about a few new classes we are offering. Allison De Groot and Tatianna Hargraves will be teaching a full week-long morning class for fiddle banjo duets, and there will be beginning as well as intermediate/advanced classes for rhythm section instruments. We have returning favorites such as Gerry Milnes who will be teaching a class on local West Virginia String Music, and Dena Jennings who brought powerful dialog to the program last year with her traditions and transformation class.” – Joe “Joebass” Dejarnette, Old-Time Week Coordinator

Tuition Guide:
$490/week if paid before June 1. $5
30/week if paid after June 1. 

(+ Room & Board or other available options.)

Registration will open on March 5, 2019. 

Register Here! 2019 Week at a Glance | 2019 Schedule of Events / July 14 – 19!Old-Time Week Flyer

2019 Workshop Leaders and Classes COMING SOON. Click any name below to open more details. Click again to close.

Joe “Joebass” Dejarnette, Coordinator

Joe “Joebass” Dejarnette

Originally from Madison, Virginia, Joebass discovered old-time music through 78 rpm records which he began collecting at age 6. Eventually he traveled to Brooklyn, NY, and spent a decade playing music fulltime throughout the US and internationally, concluding with over two dozen shows on the 2009 Bob Dylan/Willie Nelson tour. He now lives back in Virginia where he runs Studio 808A, a “band and breakfast” recording studio that specializes in traditional music. He has taught in the JAM program (Junior Appalachian Musicians), Music Lab, the Carnegie Hall Neighborhood concert series as well as festivals around the world. He currently plays with the Bucking Mules, who won first prize in the string band competition at Clifftop in 2012 and 2014.

Banjo (Beginning) – Brian Slattery

This course will give you what you need to get you started playing clawhammer banjo. We’ll cover the right-hand techniques of playing the instrument, learn chord shapes for the left hand, and learn tunes and tunings in a few different keys. We’ll also do some ear training and strategies to help you learn how to pick up tunes on the fly so you can play with people at jams without needing to know the tunes. Everything will be geared toward helping you become whatever kind of banjo player you want to be.

Brian Slattery

Brian Slattery (www.bfslattery.com) has been playing clawhammer banjo for 25 years, from bars and square dances to concert halls and house concerts, most notably with fiddler and Mississippi music scholar Harry Bolick. He also plays fiddle, from Appalachian and country to jazz and Eastern European music, and trombone playing jazz and Eastern European music. He loves all kinds of music but always returns to Appalachian music for its soul and its drive, and spends a lot of time in the summer blowing off gigs to go to old-time music festivals instead. He is a member of several different bands based in and around New Haven, CT and is a journalist there working for the New Haven Independent.

Banjo (Intermediate) – Brett Ratliff

In this class you’ll go beyond the basics with specialized techniques like drop-thumb, as well as Appalachian modal and double D tunings. You’ll also learn more challenging banjo songs and the banjo’s relationship to fiddle tunes. Here you’ll begin to develop skills with alternate tunings and advance your experience in picking up tunes by ear. Some supplemental materials will be provided. Please bring a recording device, tuner, and a capo.

Brett Ratliff

Brett Ratliff’s homeplace is Van Lear, Kentucky, the historic coal camp that gave birth to Loretta Lynn. Having been mentored by the masters of the area — George Gibson, Rich Kirby, Paul David Smith, and Lee Sexton among them — Ratliff has toured with groups such as Clack Mountain String Band, Dirk Powell Band, Woody Pines, Giant Rooster Sideshow, and Rich & the Po’ Folk. He has played alongside the likes of Foghorn Stringband, Jean Ritchie, Mike Seeger, and Art Stamper. Ratliff has taught traditional Kentucky repertoire at the Festival of American Fiddle Tunes in Port Townsend, Washington; Swannanoa Gathering in Swannanoa, North Carolina; Sore Fingers Week in Oxfordshire, England; Augusta Heritage’s Early Country Music Week in Elkins, WV; Cowan Creek Mountain Music School in Letcher County, KY; and elsewhere. His first solo release was the 2008 June Appal recording Cold Icy Mountain. Gone Boy, scheduled for release in 2017, is his long awaited second solo project. www.brettratliff.net

Banjo (Advanced) – Rachel Eddy

For this week of banjo classes, we will focus a lot on how to be solid players, and to use your thumb to make the banjo swing in different percussive ways. We will work through several tunes that have helpful techniques and licks, and talk about how to fit and apply those ideas to tunes you already know. Some time will be spent addressing how to have really good economy of motion with your claws, how to gain speed and drive, and easily be able to syncopate and texturize your playing by using phantom notes and drop thumbs. Lastly, we will work with some ideas on how to accompany and compliment singing. For this class it is encouraged that you be comfortable using your drop-thumb on all the strings, able to play in different tunings, and know the chords in each tuning. I teach only by ear, video recording is encouraged in a session at the end of class each day, and audio recording is always welcome.

Rachel Eddy

Rachel Eddy is a native of West Virginia who grew up in a musical family steeped in the traditions of Appalachian music and dance. Now based in Washington, D.C., Rachel is known throughout the world as both a dynamic, emotionally powerful performer and an engaging, thoughtful teacher. Rachel’s soulful singing and multi-instrumental finesse—including fiddle, banjo, guitar, and mandolin—may be heard on numerous solo and collaborative recordings as well as at dances and jam sessions, where Rachel is dedicated to fostering community and sharing a love of music with others.

Rachel’s performances, workshops, and festival appearances have featured both a creative range as a soloist and an energetic engagement with fellow musicians part of various ensembles, including the Ken and Brad Kolodner Quartet, the Early Mays, and a European tour with Uncle Earl. Rachel has shared a passion for music at the Alabama Folk School, Augusta Heritage Center, Common Ground, Kauffman Kamp, Nashville Fiddle and Banjo Camp, Sore Fingers, and many others. While living in Sweden from 2008-14, Rachel invigorated the Swedish old-time scene and inspired dozens of people to take up Appalachian music and dance. Always up for new artistic challenges, Rachel is collaborating on the soundscape for, and performing in, the Indiana Repertory Theatre’s 2019 performance of Amber Waves.

Banjo & Fiddle Duets (Intermediate / Advanced) – Allison DeGroot & Tatiana Hargreaves

This course will explore the banjo-fiddle duo in depth. We will work on navigating through the sparsity of this configuration, and how to listen, respond, interact, improvise variations, and pick up new tunes on the fly. The end goal of this class is to have students experience intimate banjo-fiddle duos that they will work with throughout the week. Class time will include working as a full group, working as separate instrumental groups, and working in duos. We will also utilize the master class format to make sure each duo has a chance share what they’ve been working on and get feedback from the class. We recommend that students of this class are at an intermediate-advanced level on their instrument. We encourage students who have never played in a duo format to take this class — this is a great place to explore. If you are already in a duo and would like to take this class, we encourage that as well. Make sure to bring a recording device to each class as the focus is on communicating with each other via aural transmission rather than notation.

Allison DeGroot and Tatiana Hargreaves

Allison de Groot & Tatiana Hargreaves, two musicians on the forefront of American traditional music, join forces in this powerful new duo. Together, they create a sound that is adventurous, masterful, and original, as they expand on the eccentricities of old songs, while never losing sight of what makes them endure. The duo not only showcases impressive musicianship, but reflects on which voices we seek to hear as we explore the expansive, diverse canon of American roots music. Already leaders in the young generation of roots musicians, de Groot has become known for her intricate clawhammer banjo work with Molsky’s Mountain Drifters, while Hargreaves has brought her powerhouse fiddling to the stage with Gillian Welch and Laurie Lewis. Their debut, self-titled album released with Free Dirt Records is a powerful opening statement, one not to be missed! For more information about de Groot, visit www.allisondegroot.com. For more information about Hargreaves, visit www.tatianahargreaves.com

Fiddle (Beginning) – Ben Nelson

In this class we’ll strive to demystify the process of learning traditional music by ear, and to create a supportive community of fellow learners with whom we can share critical feedback and celebrate our successes throughout the week! First, we’ll build muscle memory for several “core rhythms” of old-time fiddle bowing; then, we’ll gradually integrate melody while maintaining rhythmic focus. Accumulating repertoire isn’t the goal, but we’ll work on a small number of tunes that offer specific lessons on how to play simply, yet with a distinct old-time drive. We’ll also assemble a toolbox of exercises for home practice that simultaneously emphasize bowing and develop other essential elements of fiddling – tone, intonation, playing in multiple keys, etc. And song, dance, and group games will all support our growth as musicians throughout the week. Bring a fiddle and bow in playable condition, an electronic tuner or app, and an open mind!

Ben Nelson

Ben Nelson grew up in a family of old-time musicians from the Virginia mountains, tagging along to fiddlers’ conventions across the southern Appalachians throughout his childhood. After he began playing traditional music as a teenager, Ben was awarded a Thomas J. Watson Fellowship to study the trans-Atlantic roots of the fiddle and banjo in Ireland and West Africa. A passionate educator, Ben works in his home community of Asheville, NC, as an environmental education instructor and traditional music teacher. He shares his love of old-time music and dance with students at Warren Wilson College and young players in the Junior Appalachian Musicians (JAM) program, and has also taught at the Swannanoa Gathering and the John C. Campbell Folk School.

Fiddle (Intermediate) – Justin Robinson

This class is intended for the player who has a working knowledge of their instrument and knows at least a few tunes from memory. We mostly focus on technique and style, setting a firm foundation for being able to pick up tunes quickly. This class will be taught by ear so no need to be able to read music. Please bring a recording device if you desire.

Justin Robinson

Justin Robinson is a founding member of the Carolina Chocolate Drops. He has played on numerous stages around the world. While violin/fiddle is his main instrument, he also plays banjo, autoharp, and harp. He is a North Carolina native and spends most of his time thinking about the intersections of music, food, and plants.

Fiddle (Advanced) – Emily Schaad

This class will be focused on building a stylized repertoire, getting rhythm in the bow, and finding “that old-time fiddle sound.” Tunes will be drawn from a variety of fiddlers from NC, KY, VA, and WV, exploring different techniques that are used for accentuating rhythm. We will discuss making choices while learning new tunes, varying rhythms while playing, and some basic ideas for breaking free from playing a tune the same way each time. Some discussion of improving mechanics (tone, articulation, ergonomics) and exposure to source recordings will be included. Please bring a recording device, as all tunes will be taught by ear, and be prepared to play in a few different keys and tunings.

Emily Schaad

Emily Schaad has been playing and teaching music for nearly her whole life. With a background in classical music and public school music education, she went to North Carolina to earn an MA in Appalachian studies, learning from well-known fiddle masters. She is known for a complex and powerful fiddling style and has taken first place in numerous stringband and fiddle contests, including the Appalachian Stringband Festival in Clifftop, WV. Emily currently performs with old-time stringband Old Buck, conducts youth orchestras, teaches fiddle and violin and is working toward a doctorate in music education. www.oldbuckmusic.com

Guitar and Bass (Beginning ) – Aimee Curl

We will play a lot, study rhythm patterns, learn many old-time tunes and work up their tempos to join in the jams. We will develop simple bass runs to complement the melody and chord progression. Let’s listen closely to the lead instruments, provide support and create dynamics in the music while gaining familiarity with the basic chord progressions and elemental forms of old-time tunes….… AND we will play a lot.

Aimee Curl

Aimee was raised by a singing family at the foot of Furnace Mountain in Taylorstown, Va. She grew up singing more than talking. In her early teens she took up the mountain dulcimer, fiddle and guitar to join friends playing old-time and bluegrass music nearby. She traveled to New Mexico, formed a band there called ThaMuseMeant and toured the country for a decade as bassist and singer. All the while, she came home to Virginia regularly to play old time music with friends as part of The Furnace Mountain Band.

A love of jazz and a curiosity about how music was studied in school led Aimee to attend The New School of Jazz and Contemporary Music in NYC. She later returned to Virginia and built a house on a creek where she continues to study and practice music-mainly with a bass, guitar and voice. She performs with The Furnace Mountain Band at festivals and venues in the U.S. and overseas and is found in musical collaborations of many kinds onstage and off. She currently teaches music to children during the school year and enjoys music festivals and camps all summer!

Old-Time Rhythm Backup for Bass, Guitar, and Mandolin (Advanced) – Danny Knicely

Get your bass thumpin’, and guitar runs cookin’ with clean, crisp strummin’. Learn how the rhythm section works together to create dynamics and how to follow along with subtleties of the lead instruments such as drive, drag and volume intensity. Learn handy tricks for keeping
the tempos up to the end of the tune without tiring. We’ll do some Old Time Chord progression analysis and hear how the chords and melodies can add up to make sophisticated harmonies. Many tunes have basic structures in common. We’ll work with those basic tune templates as well as get a tase of a crooked tune or two.

Danny Knicely

Danny Knicely comes from a musical family steeped in a mountain music tradition for generations. He first learned music from his grandfather, A.O. Knicely, who played dances and social events in the Shenandoah Valley of Virginia beginning in the 1930’s. Danny has used his roots in old-time and bluegrass to explore various types of music from around the world. He has shared his music and collaborated with musicians in over a dozen countries spanning four continents, including U.S. State Department tours in Tunisia, Morocco, Russia and Cabo Verde.

Danny has won many awards for his mandolin, guitar, fiddle and flat-foot dance expertise, including first place in the mandolin contest at the prestigious Telluride Bluegrass Festival. He has the chameleon-like ability to blend into almost any musical situation and has appeared with many top Bluegrass, Old-time, Swing, Jazz, Blues, Rock, Folk, Latin, Country, Irish, Americana, and World Music artists. As a very sought after session musician, producer, and arranger, he participates in countless recordings and appears on Patuxent and Smithsonian Folkways record labels.

Danny is an avid music educator whose students have gone on to attain degrees at institutions such as Berklee College of Music and Oberlin Conservatory. He has taught at some of the leading music camps in the U.S. including Augusta Heritage Center, Common Ground on the Hill, Louis J. Meyers Music Camp, Fairbanks Summer Arts Festival, and Millwood Blues Week. Danny has also been a mentor in Strathmore Music Center’s Young Artists in Residence Program and a Master artist Virginia Folklife Organization’s Apprenticeship Program.

Old-Time Harmony Singing (All Levels) – Valerie Mindel

This class concentrates on the nitty-gritty of old-time singing, both melodies and harmonies, exploring ways to put this singing across with and without instruments. We’ll draw repertory from prominent groups such as the Carter Family and the Delmore Brothers along with lesser-known performers such as Darby and Tarlton and the Bice Sisters, as well as singers today who exemplify the old-time style. We’ll concentrate on specifics such as tone, ornamentation and blend … the how-tos of the style. We’ll also work on developing ourselves as singers in the old-time context, taking advantage of the time we have to break into small working groups, performing for each other. The class is open to all levels of singers, but students should feel comfortable singing a melody and learning relatively quickly by ear (with word packets provided). Expect to do a lot of singing.

Valerie Mindel

Val Mindel is a longtime musician, teacher, and workshop leader, known for bringing out the best in singers, whatever their level. Her specialty is the close, buzzy harmony that makes American old-time, bluegrass, and country harmony so compelling. She has taught at numerous music camps – here in the US at Augusta Vocal Week, Ashokan Southern Week, Voice Works, Allegheny Echoes, and others; and in the UK at Sore Fingers fall and spring camps. In addition to her solo work, Val teaches and performs in various combinations, including with California-based Any Old Time, with singer/multi-instrumentalist Joe Newberry and with daughter and old-time country musician Emily Miller and her husband Jesse Milnes (they have two CDs together: In the Valley and Close to Home), and has just published a book, So You Want to Sing Folk Music, part of the “So You Want To Sing” series for Rowman & Littlefield and the National Association of Teachers of Singing. Val teaches classes across the country and abroad as well as regular workshops at Brooklyn’s growing old-time music school, Jalopy. She lives in Elkins, West Virginia.

The Genres Speak: Navigating the Minefield of Cultural Performance (All Levels) – Dena Jennings & Greg Adams

For over 20 years, Dena Jennings, D.O. has been a physician, multi-instrumentalist, and facilitator in the field of Conflict Transformation. She was raised in the traditions of Black Appalachians from the Cumberland Gap region of Kentucky—the music, the dance, and decorum of generations of mountain folks. She currently resides in the piedmont region of central Virginia where she practices medicine, and builds gourd instruments on an organic farm in the quiet rural village of Nasons.

Dr. Jennings’ course, Navigating the Minefield of Cultural Performance, uses the tools of facilitated conversation, role play, music and dance, to explore integrating the history and culture of tunes you play without disrupting the flow of performance. Address some of the tough issues of old-time, blues and swing in a safe space with your peers. Attend the full course for the week or drop-in during your breaks. Each session is designed to stand alone or as a part of the entire course. Teachers are welcome to bring their class to a session or two with advance notice.

Topics to be covered include: what’s in a name, when emulation become appropriation, whose music is it anyway, and many more.

Dr. Jennings will be available each day outside of the classroom to address conflicts or concerns that arise between sessions for those who identify the need.

Dena Jennings

Dena Jennings, DO, is an Osteopathic physician of Internal Medicine who has 20 years’ experience in counseling patients and community members through conflict transformation. She established a nonprofit human rights organization in 1997 that is an active NGO with the United Nations. She works with patients and communities, companies, and individuals who choose to practice mediation, facilitation, and conflict transformation. In addition to a solo medical practice, Dr. Jennings builds banjos and Appalachian instruments in her studio, Storygourd Workshop, located in central Virginia. Her instruments have been distributed in Canada, the UK and USA. She is the descendant of Black Appalachian and Scottish farmers from the mountains of Kentucky’s Cumberland Gap. Read more about Jennings’ work with the banjo in the Orange County Review (May 26, 2014).

Greg Adams

Greg C. Adams is an archivist (MLS), ethnomusicologist (MA), and musician who currently works as an archivist in Washington, DC. Greg’s ethnomusicological work is grounded in critical heritage research and programming focused on the multicultural history of the banjo. Highlights of his efforts include fieldwork in West Africa (2006, 2008), developing a work plan for maintaining data about banjo-related material culture through an NEH Digital Humanities Start-Up Grant (2009), and working with banjo scholars Bob Winans and Pete Ross as guest curators for the 2014 Baltimore Museum of Industry exhibit Making Music: The Banjo in Baltimore and Beyond. Read more about Greg’s work with the banjo in the November 2014 issue of Banjo Newsletter.

West Virginia Traditions (All Levels) – Gerry Milnes

This class is for intermediate and above students. You should be playing tunes with good timing, but I expect that you will come wanting to improve. Fiddle, banjo and guitar players are welcome. We will cover a host of old-time tunes learned by Gerry directly from old-timers like Ernie Carpenter, Sarah Singleton, Melvin Wine, Woody Simmons, Harvey Sampson, Junior Holstein and more. We will also learn a few unusual songs from the vast repertoire I’ve collected in West Virginia. You will be introduced to the old-timers through photos, tapes, films and personal stories. If time and weather allows, we may take a field trip to the “Shelvin’ Rock” and learn the story and the tune while being sheltered underneath! I’d like to introduce a lot of folklore about the fiddle and music in general that I’ve picked up over the years from the many musicians I’ve come to know. I’m interested in tunes that celebrate place, so we’ll learn some of them and about the places they represent. For instance, nearby is Cheat River, so we may learn “The Three Forks of Cheat,” “Cheat River,” and/or “Wading the Cheat.” I also like to play “Old Cheat Mountain.” Depending on where students are in their skill level, I hope to show some nuances that make west Virginia tunes have a unique sound. Modal tunes are a favorite, so plan on learning several. I’m looking forward to a fun week and I hope to fill everyone’s musical needs. Recording devices are welcome, in fact, recommended. I do not use any tab or note reading, so be sure to bring your ears.

Gerry Milnes

Gerry Milnes retired after twenty five years as folk arts coordinator of the Augusta Heritage Center. He produced many films of traditional subjects and was West Virginia Film Maker of the Year in 2007. He produced over twenty audio recordings of the state’s traditional music for the Augusta Heritage Center, several making the “Selected List of American Folk Music Recordings” by the American Folklife Center. As a musician, he performed with the band Gandydancer for sixteen years. He won all of the state’s top contests including at Clifftop, Vandalia, Mountaineer Week, the West Virginia Open and the West Virginia State Folk Festival contests. Gerry was a Footbridge winner, received the Robert C. Byrd Fiddling Award, the Gardner Award, the Governor’s Arts Award and the Vandalia Award, the state’s highest folklife honor. He has authored three books of West Virginia folklore and music and writes for the state magazine, Goldenseal.

Old-Time Week Liasion – A’yen Tran

A’yen Tran

Guitarist and vocalist A’yen Tran is a lover of the old-time string band music. She sings and plays guitar in the group Ginny’s Kitchen. A’yen finds inspiration in the vibrant tradition of women in American string band and traditional music. Alice Gerrard, Hazel Dickens, The Coon Creek Girls, Ginny Hawker, and Val Mindel are among her greatest inspirations.

A’yen was raised in New York where she grew into an artist and community organizer. She spent years building boats with the artist Swoon and brought singers together on her ‘Boat for Singing Together’ project in New York City. Her background in activism and intersectional feminism permeate her band’s mission: to honor the roots of old time music while helping the community become more inclusive. She remains committed to the community, serving on the Advisory Board of the Jalopy Theatre in NY and the Youth Traditional Song Weekend board.

In her professional work, A’yen divides her time between San Francisco and New York where she is a Senior Strategy and Operations Analyst for a large technology company. She loves creating orderly systems and hopes to bring some of that in her role as Staff Liaison at Augusta.

A’yen received a B.A from Columbia University in European History, where she studied British Imperialism just before the time of collector Cecil Sharp and Maud Karpeles’ travels in the Southern Appalachian Mountains. She wrote about the ethics of Sharp and Karpeles’ work as compared to contemporary data collection practices here: https://medium.com/memo-random/cultural-data-collection-in-appalachia-9c4a9547e80f

She looks forward to giving a presentation entitled Women in Old Time Music: Notes from Alice Gerrard to share some of the amazing archive and knowledge Alice has shared in years past at Old Time Week.

Staff Musician – Jake Blount

Jake Blount is a fiddler, banjo player and scholar based in Ithaca, New York. He has studied with modern masters of old-time music, including Bruce Molsky, Judy Hyman (of the Horse Flies), and Rhiannon Giddens and Hubby Jenkins (of the Carolina Chocolate Drops). He centers and venerates his racial and ethnic heritage through his approach to music and its history. In 2016, Blount became the first Black person to make the finals at the prestigious Appalachian String Band Music Festival in Clifftop, WV, and the first to win in the traditional band category. In the following year, he received his B.A. in Ethnomusicology from Hamilton College and released his debut EP, “Reparations,” with award-winning fiddler Tatiana Hargreaves. He has since shared his music and research at the Smithsonian Institution, the Museum of Fine Arts in Boston, MA, and numerous other museums, colleges and universities. He recently released a CD and toured internationally with the Moose Whisperers, a decorated old-time string band. Learn more about Jake at http://www.jakeblount.com

Staff Musician – Daniel Coolik

Daniel Coolik

A consummate musician’s musician, Daniel Coolik, originally from Atlanta, Georgia, swept into the Lafayette, LA scene in 2009 and quickly added his name to many respectable rosters, loaning his talents to such groups as Cedric Watson & Bijou Creole, Les Malfecteurs, The Red Stick Ramblers, and helped found the GRAMMY Nominated band The Revelers. Daniel was already an adept multi-instrumentalist in the Asheville, North Carolina scene where he focused on playing swing and jazz on guitar & mandolin as well as old time Appalachian traditional music, and has since emerged as a violoniste extraordinaire here in Acadiana. His abilities have taken him all over the globe, including Haiti, Thailand, most countries in Western Europe, and Canada. He is an in demand session musician who has played bass, guitar, mandolin, steel guitar, and fiddle on numerous recordings including the most recent release by Shovels and Rope (By Blood 2019). As of 2019, Daniel finished transcribing all of the notation for Ann Savoy’s 2nd volume of her acclaimed Cajun Music: A Reflection of A People and is in the process of recording a new album for his latest project, Boma Bango, a Congolese Rhumba band inspired by the music from the Congo in the 1950s and 1960s.

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