There is a power present in the places where we’re invited to adopt the pace of nature. The same forces that patiently connect the cells of a sprig in the soil can uproot a redwood with a single winter storm. If you’ve listened to Daniel Norgren, you understand. The experience of Norgren’s music is marked by connection: the artist to the band, the audience to the music, and the body to the soul. His latest album, Wooh Dang, released April 19, 2019 on Superpuma Records, will be Norgren’s first worldwide release.
Produced by Norgren and engineered by longtime collaborator and Superpuma Records originator Pelle Nyhage, Wooh Dang was made during the Fall of 2018 in a single room of a 19th-century textile farmhouse in the woods near Norgren’s home in Southwest Sweden. “The interior looked it hadn’t been touched for the past 80 years,” says Norgren. “I moved a lamp and it left a dark red ring on the pink tablecloth underneath…goldmine! The house was huge, full of good, inspiring mustiness, creaking wooden floors, scary old portrait paintings on the walls, and an old, black German piano which I used in all the songs.”
Recorded live and entirely on a 16 track analogue rig, without guitar tuners, the album captures the close chemistry between Norgren and his band, comprised of old friends Anders Grahn (bass), Erik Berntsson (drums), and Andreas Filipsson (guitar and banjo). An intertwining of analog instrumentation, live performance, and rural field recordings, Wooh Dang is rife with a deeply hopeful creative intention. It’s red blooded, alive, and coursing with equal parts adrenaline and seratonin. “Wooh Dangwas a real fun album to make and to me it’s been the world for the last few years,” says Norgren. “Thanks for taking the time. I hope you enjoy it.”
JAKE XERXES FUSSELL
Durham, North Carolina singer and guitarist Jake Xerxes Fussell (yes, that’s his real middle name, after Georgia potter D.X. Gordy) grew up in Columbus, Georgia, son of Fred C. Fussell, a folklorist, curator, and photographer who hails from across the river in Phenix City, Alabama (once known as “The Wickedest City in America” for its rampant vice, corruption, and crime.)
Fred’s fieldwork took him, often with young Jake in tow, across the Southeast documenting traditional vernacular culture, which included recording blues and old-time musicians with fellow folklorists and recordists George Mitchell and Art Rosenbaum (which led Jake to music) and collaborating with American Indian artists (which led Jake eventually to his graduate research on Choctaw fiddlers.)
As a teenager Jake began playing and studying with elder musicians in the Chattahoochee Valley, apprenticing with Piedmont blues legend Precious Bryant, with whom he toured and recorded, and riding wild with Alabama bluesman, black rodeo rider, rye whiskey distiller, and master dowser George Daniel. He joined a Phenix City country band who were students of Jimmie Tarlton of Darby and Tarlton; he accompanied Etta Baker in North Carolina; he moved to Berkeley, where he hung with genius documentary filmmaker Les Blank and learned from Haight folkies like Will Scarlett (Jefferson Airplane, Hot Tuna, Brownie McGhee) and cult fingerstyle guitarist Steve Mann; he appeared on A Prairie Home Companion. He did a whole lot of listening, gradually honing his prodigious guitar skills, singing, and repertoire. In 2005 he moved to Oxford, Mississippi, where he enrolled in the Southern Studies department at Ole Miss, recorded and toured with Rev. John Wilkins, and in 2014, began recording his first solo album.
Jake’s 2015 self-titled debut record, produced by and featuring William Tyler, transmutes ten arcane folk and blues tunes into vibey cosmic laments and crooked riverine rambles. Collaborating with Tyler and engineer Mark Nevers in Nashville was a conscious decision to depart cloistered trad scenes and sonics for broader, more oblique horizons. Tyler, a guitar virtuoso known for his own compositions that untether and reframe traditional six-string forms and techniques, helmed the push boat in inimitable fashion, enlisting crack(ed) Nashville session vets Chris Scruggs (lap steel, bass, mandolin: Bonnie “Prince” Billy, Marty Stuart), Brian Kotzur (drums: Silver Jews), and Hoot Hester (fiddle; Bill Monroe, Ray Charles) to crew.
In 2017 Fussell followed his celebrated self-titled debut with a moving new album of Natural Questions in the form of transmogrified folk/blues koans. This time these radiant ancient tunes tone several shades darker while amplifying their absurdist humor, illuminating our national, and psychic, predicaments. What in the Natural World features art by iconic painter Roger Brown and contributions from three notable Nathans—Nathan Bowles (Steve Gunn), Nathan Salsburg (Alan Lomax Archive), and Nathan Golub (Mountain Goats)—as well as Joan Shelley and Casey Toll (Mt. Moriah).
On Out of Sight, his third and most finely wrought album yet, guitarist, singer, and master interpreter Fussell is joined for the first time by a full band featuring Nathan Bowles (drums), Casey Toll (bass), Nathan Golub (pedal steel), Libby Rodenbough (violin, vocals), and James Anthony Wallace (piano, organ). An utterly transporting selection of traditional narrative folksongs addressing the troubles and delights of love, work, and wine (i.e., the things that matter), collected from a myriad of obscure sources and deftly metamorphosed, Out of Sight contains, among other moving curiosities, a fishmonger’s cry that sounds like an astral lament (“The River St. Johns”); a cotton mill tune that humorously explores the unknown terrain of death and memory (“Winnsboro Cotton Mill Blues”); and a fishermen’s shanty/gospel song equally concerned with terrestrial boozing and heavenly transcendence (“Drinking of the Wine”).