Folk Alley Sessions Archives: Béla Fleck & Abigail Washburn Folk Alley Sessions
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- Music
(This Folk Alley Session was originally published in November, 2014) - What happens when two greats join forces? Well, in the case of Béla Fleck and Abigail Washburn, a whole lot of banjo playing. For their 2014 eponymous duo album, Fleck says the main conceit was that "it would just be the two of us all the way," and not just in the studio. They also wanted to be able to tour the project properly, honorably, as a duo. But, as musicians are wont to do, Fleck explains, "As we got into it, we realized we really wanted to have different colors. So, we started pulling out all the banjos we had and looking at them and thinking about what went together in different ways." The resulting soundscape is painted with cello banjos, ukulele banjos, and even a bass banjo borrowed from Victor Wooten. Both pickers make the instruments earn their keep with Fleck, in particular, churning our superlative runs and riffs all the way through. But they also use the banjos in more measured ways to fold percussive rhythms into the mix and flesh out the sound because, as Washburn points out, "The truth is, a banjo head is a drum head."
(This Folk Alley Session was originally published in November, 2014) - What happens when two greats join forces? Well, in the case of Béla Fleck and Abigail Washburn, a whole lot of banjo playing. For their 2014 eponymous duo album, Fleck says the main conceit was that "it would just be the two of us all the way," and not just in the studio. They also wanted to be able to tour the project properly, honorably, as a duo. But, as musicians are wont to do, Fleck explains, "As we got into it, we realized we really wanted to have different colors. So, we started pulling out all the banjos we had and looking at them and thinking about what went together in different ways." The resulting soundscape is painted with cello banjos, ukulele banjos, and even a bass banjo borrowed from Victor Wooten. Both pickers make the instruments earn their keep with Fleck, in particular, churning our superlative runs and riffs all the way through. But they also use the banjos in more measured ways to fold percussive rhythms into the mix and flesh out the sound because, as Washburn points out, "The truth is, a banjo head is a drum head."