On Beehive Cathedral, Joseph Decosimo, Luke Richardson, and Cleek Schrey take tunes they love and make them as strong and dynamic as possible while maintaining the spirit and the magic that has kept them alive for so long.
For their debut album, Beehive Cathedral, Joseph Decosimo, Luke Richardson, and Cleek Schrey installed themselves and their various instruments in a cabin in Tennessee and spent time exploring, in depth, some of the Old-time fiddle and banjo tunes and Appalachian music they have gathered collectively thus far. The objective was to record an album of material that encapsulates the spirit of this Old-time music, meaning the trio, who have spent years playing alongside one another in various outfits, paid attention to the intricacies and fine nuances of the sound they were creating, including string buzzes, ‘minute shifts in bow pressure, organ clacks and banjo overtones,’ (Decosimo).
It results in a deeply satisfying, intimate listening experience. On solo miniature piece Chimes, built around an alternate tuning on a six-string banjo, the mic is up close, with Luke’s banjo’s harmonics and lightly picked notes coming through beautifully. On the trio pieces, the playing is sympathetic and dynamic; Joseph’s fiddle part on Blackberry Blossoms is complimented by a soft banjo line and the spellbinding sound of the 19th-century pump organ the trio gained access to. Acting as a low drone throughout the song, it comes across like the Scottish bagpipes, which brings out the tune’s Celtic link.
Also great is Pompey Ran Away, an old American jig with roots in African-American music; this sub-two-minute tune is played by Cleek on the Hardanger d’amore, a fiddle originating from Norway with six sympathetic strings along with the traditional four bowed ones. The sound is richer than a standard violin, with the six drone strings bringing a generous, full timbre to the bowed notes. The lovely oddity Drunken Hiccups, an old piece either of English or southern American origins, is another to benefit from the fuller sound of the Hardanger, but the accompanying fiddle and banjo, played sparingly to emphasise its impact, ensure this delightful tune sticks in mind.
Completely different is Rockingham, a wonderful church hymn played solo on the pump organ. A slow, sombre piece, its chords are clear and drawn out, giving the music plenty of heft and character. The following song, Prettiest Little Girl in the County, also utilises the organ, but this time it is sat behind the fiddle and banjo, both playing a jaunty melody very much in keeping with the song’s title.
The final two tracks are probably my pick of the bunch. Shortening Bread is an instrumental version of an old nursery rhyme from the south, here played as a glistening, steady banjo piece. The recording is key here, as it allows the natural metallic resonance of the banjo drum to reverberate and enrich the tune. Billy in the Lowground is just delightful; a reel originating from Ireland or Scotland in the eighteenth century, this version backs up a joyous fiddle refrain with organ drones and some low-key banjo playing. The musicianship is key here because nothing is overplayed; each musician locks into their part, and each component lends itself to the tune. It is a detail that can be applied to the performances on Beehive Cathedral as a whole; beautiful music played by cracking musicians who love the tunes and are set on making them as strong and dynamic as possible while maintaining the spirit and the magic that has kept them alive for so long. There you have it.
Beehive Cathedral is released on 28th June, 2024, via Dear Life Records.
Pre-Order: https://josephdecosimo.bandcamp.com/album/beehive-cathedral