Jenny on the Railroad (The Rhythm Rats live at the 1997 Wheatland Music Festival)

Original fiddle tune by Kenny Jackson. Fiddles played by Kenny Jackson and Rayna Gellert, guitar by Paula Bradley. From the CD Over the Mountain, by Kenny Jackson & Friends (5-String Productions).

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Little Devil Waltz

I learned this tune from Birch Monroe, who had gotten it from his uncle Pendleton Vandiver (the Uncle Pen of Bill Monroe's song), and played it for me on Uncle Pen's old Hopf fiddle. My version of the tune is also inspired by the playing of Joe Stuart, Kenny Baker, Glenn Smith, and my own fever dream.

I Believe I'll Go Back Home

Jenny Lynn

Osey Helton was a fantastic fiddler, who with his brother Ernest made some great old-time music back in the 20s-30s. This is a favorite version of this tune, which was played by a number of fiddlers in western North Carolina. Solo fiddle.

Rough mix: pre-EQ, pre-mastering

Green River

This track is from the album The Shortest Day and is available for purchase on CD Baby here: http://www.cdbaby.com/cd/kennyjackson2

Her Bright Smile Haunts Me Still

An excellent selection is paired with superb talent from fiddler Kenny Jackson and friends on a dozen and a half old-time songs and tunes. A versatile musician and vocalist, Jackson switches to banjo or guitar on five cuts. Joining him in duo and trio configurations are long-time colleagues Paula Bradley (vocals, guitar, banjo-uke), Whitt Mead (banjo), and Rayna Gellert (vocals, fiddle). Jackson goes it solo on four tracks.

The ensemble beautifully brings to life such cuts as the title song, culled from an Uncle Dave Macon reissue where he was backed by the harmony vocals of the Delmore Brothers. Jackson tips his bow to Marcus Martin on the thoughtfully played medley “Wake Robin/Boatsman” as well as on the lively “Nubbin Ridge.” We are treated to the very traditional version of “Eighth Day of January,” based on that offered by Kentuckian Jim Bowles, whose expressive style is much admired by Jackson.

Another nugget is the inspired treatment Jackson gives “Little Birdie,” on which he pays tribute to the two-finger playing banjo technique of Morgan Sexton of southeastern Kentucky. Gellert’s understated harmonies are perfect complement. The two-finger playing style of Hayes Shephard, also from Kentucky, is attributed on “The Peddler and His Wife.”

Among the three Jackson originals on the album, “America Baily” is but one example of traditional music being brought to life anew by studious and faithful incorporation of those components that give oldtime music its spirit. Jackson turns to the dance floor with his “Little Devil Waltz,” which he twin-fiddles with Gellert.

“Tomahawk” stands out with its fiery fiddle playing, while “Henry Lee” is another highlight with its engaging, right on vocal pairing (Jackson and Bradley).

Over the Mountain is a clean, thoughtfully paced album that demonstrates a seasoned and practiced knowledge of both craft and genre. ~Sing Out!

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