When we read that Sam Amidon had announced a self-titled album there was already a sense of weight behind that statement, one which his label Nonesuch were keen to add to: he considers the album his ‘fullest realization to date of his artistic vision’. The album, which comprises of his radical reworkings of nine mostly traditional folk songs, is performed with his band of longtime friends and collaborators.
Trackback to Amidon’s 2007 debut But This Chicken Proved Falsehearted and you can trace that thread of familial collaboration and exploration of folk music throughout his discography since. That album was recorded at home in Harlem with Thomas Bartlett. When it was re-issued a few years ago, he described it as a “deep friendship-collaboration” and the “nucleus of all the albums I have made since.” Like every traditional song he has recorded since he has become something of a master of reinterpretation. On this album, many of the tunes were first heard in childhood, Amidon being no stranger to roots and traditional music with both his parents being folk singers. He was also no stranger to Irish traditional music, having released an earlier Solo Fiddle album of Irish tunes in 2001 which is rare as hen’s teeth.
Among the songs featured on this new release are the likes of ‘Pretty Polly,’ one of the first traditional tunes he learned to play, as well as ‘Time Has Made A Change’, a song that his parents, who were on the 1977 Nonesuch recording Rivers of Delight with the Word of Mouth Chorus, sang around the house when he was young.
We get our first taster of the album today courtesy of a new video for opener, ‘Maggie’ which is available to stream today. It’s a great song and there are some also some great versions out there, including Roscoe Holcombe, Hamish Imlach, Sean hayes and a great version by Barbara Dane… None of which sound like this…but then who does sound like Amidon.
Joining Amidon on this album are his frequent band of multi-instrumentalist Shahzad Ismaily and drummer Chris Vatalaro. They were joined in the studio by Belgian guitarist Bert Cools (who played on his last EP), as well as Amidon’s wife, Beth Orton, who adds vocals on three songs. Acoustic bassist Ruth Goller and saxophonist and labelmate Sam Gendel also play on the album, which was mixed by Leo Abrahams. Sam Amidon was mostly recorded live in the studio. Amidon arranged the songs, which are traditional tunes, with the exception of Taj Mahal’s ‘Light Rain Blues’, Harkins Frye’s ‘Time Has Made A Change’, and ‘Hallelujah’, which is an 1835 William Walker shape-note tune using earlier words by Charles Wesley, found in the Sacred Harp collection of early American folk-hymns.
Sam Amidon is available for pre-order on Bandcamp, with a print signed by Amidon. The complete tracklist is below.
Sam Amidon will be available as a vinyl LP on January 22, 2021.
PRE-ODER SAM AMIDON: http://smarturl.it/samamidon
Amidon will perform two concerts at Kings Place in London on October 3. A limited number of tickets will be available in the venue, as well as tickets to stream the event from home. Further details are available here.
Sam Amidon Tracklist
1. Maggie
2. Pretty Polly
3. Light Rain Blues
4. Spanish Merchant’s Daughter
5. Reuben
6. Hallelujah
7. Cuckoo
8. Time Has Made A Change
9. Sundown
Last year, the Vermont-born, London-based folk singer, shared his love of folk music through Fatal Flower Garden, a project inspired by bohemian Harry Smith’s Anthology of American Folk Music. In an interview following the release, Amidon spoke to Folk Radio about those early years and folk music today:
I recently heard an interview where you were discussing your upbringing, and how growing up in New England in the 70s, folk music was simply a part of everyday life for you. From contra dancing to shape note singing, to the tune sessions you attended; it was less about coffee houses per se and more about community music-making.
You mentioned you felt each generation seems to have its own folk revival – I was wondering where you see us moving in 2020?
Yes, this is true. And also, importantly, it was never about folk music as something vintage or old or antiquated. The point was not that anything needed to be preserved or revived; but simply that these were great social activities, great melodies and songs and stories, good to engage with on a regular basis for their own sake.
It does seem to be the case, for America at least that each generation has had their own version of folk ‘revival’ – from the 60s, Dylan-led guitar strumming version, to the 70s & 80s more communal music-making and folk dancing and fiddle tunes that I grew up in; to the “old weird America” freak folk etc of the early 2000s.
I have no idea how it would be characterised now, but it definitely seems like traditional music is alive and well in all its varied forms! I think the distinction between more ‘modern’ versions of folk music versus ‘traditional’ forms has dissolved compared to previous eras.