okra. Issue 18, 2022 (Preview)

T

SUMMER ISSUET

2022

Display until August 12, 2022

Made by the hidden

SOUTH

BEYOND CLASSROOMS A folk school revives hands-on classes near Asheville, NC

PROCESSING THE PAST This photographer gives a nod to the past with modern photos

WILD PONIES Roaming the craggy mountains in western VA

ROBERT ST. JOHN Searches for rutabagas, rabbit, and Candia Love in rural MS

REC HARGE. HARGE .

CAMP NORTH END

Charlotte. A lot of experiences are waiting to recharge your soul. Those who wander are never lost in this humming metropolis surrounded by outdoor beauty that boasts magical landscapes and natural havens. This urban wonderland offers endless opportunities to change your scenery. Plan your trip at charlottesgotalot.com.

@ charlottesgotalot

charlottesgotalot.com

40: BEYOND THE CLASSROOM John C. Campbell Folk School attracts students from around the world in NC

50: FORGOTTEN RECIPES

A project to promote the flavors of the Smokies takes on a life of its own in TN

STORIES

58: OFF THE BEATEN PATH

The disappearing small-town churches of yesteryear were the heart and soul of their communities

Civil rights crusader, Janice Kelsey, continues to fight for equal rights in Birmingham, AL

Photography by Robert Alan Grand

66: WE ARE NOT AFRAID

CHAPTERS EDITORIAL

TO DINE SOUTHERN

PG 6: EDITOR’S LETTER

PG 26: THE SOUTHERN TABLE

PG 7: OUR CONTRIBUTORS

PG 30: ON OUR PL ATE

A father and son connect with their love of cooking.

Looking to the past to learn not only life lessons but how to hold onto skills we may be losing.

Chef Katsubi Tanabe shares his Japanese heritage and Mexican upbringing to life at áVerde in Cary, NC.

The people who make our stories come to life

PG 32: ENTHUSIASTIC SOUTHERNER Robert St. John muses about life in the South and rutabags, rabbit and Candia Love

PG 34: NOTEWORTHY

Southern food, French technique and elevated nostalgia at The Essential in Birmingham, AL.

PG 96: FINDINGS

Transplanted Mid-westerner Sarah Durst takes note and gives us her musings on life in the rural South and how to keep these goats from doing what they want.

PG 36: IN OUR GL ASS

These business partners are now running with the big dogs with their white rum, Rum Dog Rum.

36

90

10 SOUTHERN COMFORTS

A ROAD LESS TRAVELED

PG 10: PROCESSING THE PAST

PG 90: WANDERING

PG 15: BY SOUTHERN HANDS

PG 98: WHERE WE WENT

Christine Eadie uses the processes of the past to create new images for her subjects.

You’ll want these finds made by locals.

PG 18: LISTEN UP

With a new album, and new lineup, Nitty Gritty Dirt Band does Dylan.

Explore the mystic beauty of this Antebellum town on the river in St. Francisville, LA

76 SOUTHERN SNAPSHOTS PG 76: ALONG THE ROAD

The Carousel at City Park, New Orleans, LA

FRONT COVER

Discovering lessons from our past Photography by R_Tee

Visit the wild terrain and wild ponies of Grayson Highlands State Park, VA.

PG 82: L AY OF THE L AND

Our readers submit photos of their special Southern places and people

5

EDITOR’S LETTER

Looking to the past helps us to better prepare for the future.

STAFF

For our

annual Hidden South issue, we decided to look back at the past and embrace the ways that individuals, as well as organizations, are celebrating the many lessons to be learned.

In the Blue Ridge Mountains of North Carolina, John

Scott Speakes Publisher Genie Gaither Jones Editor-in-Chief Rebecca Cashwell Design Director Robert St. John J. M. McSpadden Liesel Schmidt Contributing Editors Richard L. Jones Copy Editor

Campbell Folk School is bringing nearly hidden crafts and life lessons from the past into school, but out of the classroom. Students come from across the world to learn about the vanishing skills of our ancestors.

Hidden and long forgotten recipes from the early settlers of the Smoky Mountains of Tennessee, have been rediscovered and are once again finding their ways to the table thanks to a project to embrace the tastes of the region.

Advertising Sales Specialists Brittany Sanders brmcdonald45@gmail.com Scott Speakes scott@okramagazine.com

Along our backroads, and towns, old churches, are found–some deteriorating, yet many still in use as originally intended. They were the heart and soul of their communities.

Growing up in Birmingham, Alabama, Janice Kelsey

CONNECT WITH US

didn’t understand the horrors she was about to face. As

facebook.com/okramagazine

a true survivor of the 60s and the fight for Civil Rights,

@okramag

Kelsey continues the crusade for Equal Rights across the

contact@okramagazine.com

nation by speaking and teaching our young people those lessons so they will never forget how far they have yet to go.

These skills and experiences are being shared as we learn from the successes and failures of the past to make our future world a better place.

Scott Speakes // Publisher Genie Gaither Jones // Editor-in-Chief

Published by Southbound Publishing, Inc.

okramagazine.com

CONTRIBUTORS JIMMY PROFFITT lives in East Tennessee with his husband, 4 dogs, and 5 cats. He works in marketing by day, but in his personal time he works on his website called The Appalachian Tale, develops new recipes, is working on his own cookbook, and has written a kids book he hopes to publish very soon. You can find him on social media as @theappalachiantale and online at theappalachiantale.com

MARIANNE LEEK is a retired high school educator who continues to teach part-time at Tri-County Community College. She lives with her husband in western North Carolina, where she spends much of her free time enjoying the outdoors.

Her work can be found in The Bitter Southerner.

DEBORAH BURST is a New Orleans native, author, and award winning writer/photographer with a portfolio of more than a thousand articles and photos including national covers. She has written five travel/ photo books featuring the South, its people, critters, landscapes, mystical legends and historic architecture. From hidden graveyards to the shrouded bayous and forests, Deb gives a voice to all. deborahburst.com

Photography by bhofack2

J. M. MCSPADDEN is a freelance writer and music enthusiast whose work has appeared online at theflamestillburns.com, and at mbird. com, a journal that examines faith in the real world. His love for roots music led to a gig at nodepression. com, where he reported on live music from The Birchmere, the famed music hall in Washington, DC. He is fascinated with the way words and music impact our lives and can be used as a vehicle for healing. Host of The Village Night Owl podcast, an interview show featuring musical artists. He lives in Virginia with his wife Suzanne where he is at work on his first novel.

7

CELEBRATING SEASON 10! Vera Stewart is the host of the VeryVera Show, syndicated across the Nation in 36 markets. The show combines Vera’s natural teaching ability and etiquette insight with modern twists to your grandmother’s favorite recipes. Vera Stewart is also a nationally recognized cookbook author whose career in the food and hospitality industry spans nearly four decades.

MARKETS AL : Dothan • Huntsville • Mobile • AR : Fort Smith • Little Rock • FL : Pensacola • Tampa GA : Albany • Augusta • Columbus • Cordele Macon • Savannah • IN : Evansville • Indianapolis • LA : Lake Charles MD : Hagerstown • MN : Rochester • MS : Hattiesburg • Jackson • NC : Charlotte • NY : Watertown • OK : Oklahoma City SC : Charleston • Columbia • Greenville • Myrtle Beach • TX : Austin • Dallas • Harlingen • Houston • Victoria • Waco VA : Richmond • Roanoke • WI : Madison

veryvera.com

@veryverastewart

CHAPTER 1

SOUTHERN COMFORTS

9

Photo: Andrew Shurtleff

C R A F T

PROCESSING THE PAST WITH A CURSORY NOD TO MODERN TECHNOLOGY, A PHOTOGRAPHER USES THE PROCESSES AND MATERIALS THAT DATE BACK CENTURIES. Written by Liesel Schmidt / Photography courtesy Christine Eadie Even though Charlestonian Christine Eadie began taking photographs profes-

it but I’m used to it. I have smaller cameras, but they aren’t period correct.”

sionally more than 20 years ago, the passion that fuels every flash of her

Armed with the patience of a saint as well as the understanding of pho-

camera is every bit as fresh and new as the very first time she booked a shoot.

tography and how to line up a shot, Eadie’s craft also requires the ability

Like the people she photographs, Eadie has grown and learned with time—

and know-how to use the ancient and cumbersome equipment—not an easy

though her technique merely gives a cursory nod to the changes in modern

task, by any means. Nor a short one. “The metal I use is aluminum trophy

technology, rebelling against them instead, as the processes and materials she

plate, the kind used to engrave awards and trophies,” Eadie explains, describing the arduous process of creating one of

uses date back centuries.

Her adept ability to capture a moment

her tintypes. “One side is pre-painted with

in time—not to mention her dedication to

black paint. I cut the metal myself to the

a forgotten and foregone art—shows in the

size I need using a guillotine paper cutter.

way her photographs forever immortalize

Then, I prepare the aluminum plate with the

that which might otherwise be lost, sus-

base chemical (collodion) which is poured

pending it through a process of light and

on in liquid form. To spread it evenly over

chemicals that seems almost a dark magic.

the entire plate, I tilt the plate slightly while

Having learned on a film camera as a kid

it’s horizontal to all four corners of the plate.

and subsequently becoming a commercial

Once covered, I pour off the excess into a

photographer using digital, Eadie’s inter-

bottle to be reused at a later time. All of this

est nonetheless strayed outside the realm

is done quickly, as the collodion immediate-

of digital photography’s forgiving ability to

ly starts to ‘gel up’ and will dry quickly. It

be manipulated. Rather, she is fascinated by something that only a limited number

needs to still be sticky.”

Christine Eadie

Next, Eadie dips the plate in a vertical tank full of silver nitrate solution, where it

of photographers have the patience or the passion for: collodion process photography used to make tintypes.

stays for three to five minutes. Because the surface is sensitive to light once

Requiring great patience, this archaic method also requires the use of toxic

it’s been coated in silver, the tank is enclosed in a wooden box to keep out

chemicals and an expensive old mammoth of a camera—or, in Eadie’s case,

the light. “Therefore, this step must be done in a darkroom or portable dark-

a few different cameras, one of which is a reproduction wooden whole-plate

box,” she says. “I take the plate out of the silver tank and transfer the plate to

camera made by the original founder of Star Camera Company, paired with an

the camera using a light-proof plate holder. Then, I focus the camera on the

original antique brass Jenna lens (circa 1870s-80s). “The bigger the picture

person I’m photographing and insert the plate holder. Next, I take the photo-

you want to make, the bigger the camera has to be,” says Eadie, who operates

graph—or make the exposure.

as the Charleston Tintypist. “This one is pretty heavy, but I’ve never weighed

I don’t have a shutter on my cameras, so I make the exposure by taking off

it. I carry it and the wooden tripod around quite a bit when I’m at an event,

the lens cap and counting how many seconds I need and then replacing the

and it’s maybe 30 pounds. My male customers always offer to ‘help’ me move

lens cap.”

11

SOUTHERN COMFORTS

Exposures can take as long as 30 seconds, depending on how fresh the collodion is, what light Eadie is using, and what the aperture the lens is as well as other variables. She then transfers the plate to the darkroom or portable darkbox and develops the plate with a ferrous sulfate developer that also contains acetic acid and grain alcohol. Then, the image appears on the plate as a negative, after which point Eadie washes off the developer to stop the development, using distilled water. At this stage in the process, she can bring the plate out of the darkroom and then “fix” the image. “This is the best part because it changes from a ‘negative’ to a ‘positive’ image,” says Eadie. “I wash off the fixer and air-dry the plate. If I’m in a hurry, I can use an oil lamp or a hairdryer to speed up the drying process. Once the plate is dry, it must be varnished to seal it and protect it from the air. If left unvarnished, the image will eventually darken. I pour on gum sandarac varnish the same way I pour on the collodion and drain the excess. I then dry it over the oil lamp or in a small oven I have. The heat gives the varnish a glossy finish.”

Each image takes between 20 to 40 minutes from start to finish, mostly dependent on how many people are in the picture. “If I have to pose them, it takes longer—and it also takes longer if I’m chatting to them,” Eadie admits with a smile. “I enjoy a good chat.”

With her personality, Eadie is perfect for this line of work, personable yet professional and exceedingly passionate about her work. Born in Australia, Eadie is the daughter of Greek immigrants who settled in Sydney and then later moved back to Greece when she was in high school. Life brought her to the U.S. in 2000, and she became a citizen after making it her home. It was here that she launched her career, subsequently earning accolades for her heirloom quality work and her exhibitions. Known throughout Charleston and beyond, Eadie has been featured in numerous print and online periodicals and has lectured extensively throughout South Carolina and Georgia.

“Some people have asked me, ‘Why not just create the same effect in Photoshop? Isn’t that easier?’ But you can’t recreate a hand-crafted tintype on a computer,” she contends. “Each tintype is a unique physical object and is oneof-a-kind. It’s special. They each have their own imperfections or tiny flaws. No two are ever exactly the same. While you can create a similar look on Photoshop, when you go to make a print, it’s just an inkjet print. Even the best print simply does not have the archival quality of a varnished tintype. Plus, I love the challenge of working in this process. It makes me slow down and appreciate the moment of taking—and making—a photograph. I connect better with the sitter, and it’s special for them, too. What I do is rare and appreciated by people who understand the difference. It’s a cool feeling when you master such a difficult process.”

To view Eadie’s upcoming event schedule, visit charlestontintypist.com

12 okramagazine.com

SUMMER 2022

“IF I HAVE TO POSE THEM, IT TAKES LONGER—AND IT ALSO TAKES LONGER IF I’M CHATTING TO THEM, AND I ENJOY A GOOD CHAT.”

13

CAT CH UP ON WHAT YOU’VE MISSED! BACK ISSUES AVAILABLE IN LIMITED QUANTITY. okramagazine.com

T

ISSUE NO. T 2

2017

LOOK FOR THE NEXT ISSUE OF OKRA. MAGAZINE ON NEWSSTANDS SOON.

F indingHome TO W N : M A D E : G R O PRIDE OF PL ACE

Ben & Erin their hometownNapier show off of Laurel, MS

ANKIDA RID

GE VINEYA

RD Keeping in Virginia’s Blu it all in the family e Ridge Mounta ins

WN

THE REAL DE

A hidden blues AL in a neighborholover’s dream od of Bessemer, AL

COURIR DE

Making a run forMARDIS GRAS Louisiana’s Caj Fat Tuesday in un Country

H S U B S C R I B E T O D AY & S AV E H In every issue, you’ll discover Real Southern Culture. Along the way, you’ll meet our wonderful people, enjoy Southern foods and visit unique and interesting places. Subscribe and receive 1 year–that’s 4 issues– for $22.95. https://okramagazine.com/okra-magazine-subscription-plans/

14 okramagazine.com

SUMMER 2022

H O M E

SEW IMPRESSED Sometimes the best ideas are born when you least expect it, and for says Cunningham. “We are always searching for new fonts to sew and best friends Katie Branham and Beth Cunningham, the post-school new trends in interiors. We can sew something for anyone! It may be drop off visits to the local coffee shops during which they cemented draperies, pillows, dorm bedding, a new big girl or big boy room, day their friendship and discussed their “someday” dreams gowns, heirloom dresses, nursery bedding, or monoof starting their own sewing business proved to be just grams on most anything, even new zippers in hunting that—an incredible idea taking shape. jackets.” And, of course, there are the requisite hankies Officially launching Sew Impressed, the two began with and table linens. a word-of-mouth business, which grew quickly as people They pride themselves on the quality of their work. learned of their skills. The two women are both equal“Handmade is almost always better quality, and the ly matched in their love of all things creative. “We love ability to make it custom and use the exact fabrics and making things,” says Cunningham. “We like to make materials that a person wants can’t be beat,” notes Cunthings as good as, if not better than, things we see in ningham. Currently, they have a Facebook page, Sew shops, and for better prices.”

Impressed, with an Etsy shop in the works. “We have Their process is one of collaboration, working with their been so busy, we have had to put it on the back burner, clients to achieve a custom product that can be found but it’s always on our ‘to do’ list,” Cunningham explains.

Katie Branham and nowhere else. “Everything begins with the client,” notes “We post photos of projects on Facebook, and people Beth Cunningham Cunningham. “It’s always fun to see what their vision is can message us there to order something.” and try to offer suggestions and ideas to enhance what Both women are hopeful for continued success. “We they want. We really like making things unique to the individual. Once have come to realize that we have a skill that is constantly in demand,” a design is decided on, the work begins. Sometimes there are quessays Cunningham. “We love making pretty things and the satisfaction tions and ‘tweaking’ that goes on, keeping the client involved through that comes with creating something beautiful for someone else to enjoy the process.” is priceless.”

True to their Southern roots, this Alabama-based duo is bringing back facebook.com/Sew-Impressed-110317017069129/?ref=page_internal something of a lost art through their work. “Monograms and heirloom sewing as well as beautiful home interiors are a staple in the South,” Written by Liesel Schmidt

15

SOUTHERN COMFORTS

H O M E

W E I S S P O T T E RY There’s a primitive charm about the pottery that Melissa Weiss creates, to further mix the clay. I make each piece by hand using techniques a certain appeal that comes from its simplicity and its bold use of such as carving, coil, slab, pinch and throwing. When the pots are color. Since venturing out on her own to launch Melissa Weiss Pottery dry, we fire them to a low temperature in an electric kiln—a process in 2016, the pieces that she initially created and sold called bisque firing. We then glaze and decorate each “here and there” as a hobby have become her signature, piece with glazes we make ourselves, both oxides and unique works of craftsmanship that display her love of underglazes. Then, we load the gas kiln and fire the pots creativity and her fascination with the process of pottery for 12 to 15 hours, with an additional six hours cooling making. the kiln with wood. The fired pots get unloaded, sanded, Inspired by “the most mundane of objects such as plastic and washed.” baskets, Tupperware, and even old enamelware,” Weiss As involved as making the pottery is, Weiss sees the also finds her muse in the Roman and Etruscan glass handmaking process as something that makes each and pots at the Metropolitan Museum of Art in NYC. “I piece even more special. “Creating things by hand gives am inspired daily by colors, light, architecture, cities, nathem imperfections and flaws that make them beautiture…I think we are all inspired by our surroundings in ful and one-of-a-kind, but there’s also an existentialism ways we aren’t consciously aware of. I also love to visit that comes from it,” she contends. “My work is perfect the paintings of Cezanne whenever possible,” she says. for people who care about the significance and joy of Melissa Weiss “The color and life in his still life’s is unreal.” a handmade object, and people who can recognize its All that inspiration is poured into her work, which takes beauty.” a rather labor-intensive process to create. “My husband and I drive to Weiss’s studio is open by appointment, and her work is available online our land in Arkansas and dig clay into buckets, which we bring home at melissaweisspottery.com as well as at limited in-person shows she and make into custom stoneware—first by turning the clay into a slip, offers. Weiss is content with where she is, and the ability afforded to then screening it, adding dry ingredients, mixing until a homogenized her to work in her own time. “I do not plan to grow,” she says. “I am liquid, and bucketing out the liquid clay into sheet- and screen-lined not interested in having employees or mass-producing my work. I plan racks,” Weiss describes. “We leave it for weeks until the water drips to make more time-consuming pots and sculptures at a slower pace.” out and the clay is stiff enough to take out. Then, we use a pugmill melissaweisspottery.com Written by Liesel Schmidt

16 okramagazine.com

SUMMER 2022

F O O D

SOUTHERN STRAWS Authenticity is something of a buzzword with marketing these days, how to start a food business,” she recalls. “The early years were spent and the story behind Southern Straws is nothing if not authentic. The learning the legalities of the industry, driving around the Southeast brainchild and passion project of Georgia native Margaret Amos, the handing out cheese straws to potential shops, and doing all the baking, cheese-straw-making company is founded on the recipe packing, and selling of my cheese straws.” her mother’s family had been passing down for generaThree years later, her oldest son joined the company aftions, creating a nostalgic treat that, for Amos and countter graduating UGA, determined to help grow Southern less other Southerners, has been a part of special occaStraws and expand their footprint. Now, more than ten sions for generations. “Growing up as a child in the ’60s, years later, the company has become a favorite in housecheese straws were a treat that just appeared during the holds across the country, sold in many boutiques and holidays,” she explains. “You knew Christmas was comgift shops across the U.S. as well as directly from their ing when you smelled cheese straws cooking in the kitchwebsite at southernstraws.com. en. I loved to eat them back then but never attempted As much as they’ve grown, the process is still completeto make them. Fast forward 20 years, and I was looking ly hand-made and true to the recipe. “They’re unique,” for something special to make for friends as Christmas Amos explains. “We only use real butter, block cheese gifts. Using my mother’s old family cheese straw recipe that we grate, premium flour and spices. We don’t waand her hand-crank cheese straw press, I started baking ver from the principle that better ingredients produce a Neal and Margaret Amos cheese straws. It should be noted that folks either love better product. One of the decisions we made early on to make cheese straws or they try it once and never want was to limit ourselves on the number of flavors of cheese to make them again—there is no middle ground. For me, I found them straws we offer. We wanted to focus on producing exceptional cheese easy to make and a joy to give away. So, cheese straws became my straws and not stretch ourselves too thin with many flavors. ‘thing,’ and people always expected that I would show up with them at “It’s fun to create a product that reminds folks of their childhood or any and every event.” brings back fond memories,” Amos goes on. “We hear all the time, That “thing” of Amos’s became an “aha!” moment, a life change from ‘These remind me of the cheese straws my grandmother used to make!’ her corporate career, and Southern Straws was officially launched in And that’s one of the highest compliments we receive. ” 2011. “I had zero experience in the food world, so I had to figure out Written by Liesel Schmidt

17

I I UP LISTEN

18 okramagazine.com

SUMMER 2022

THE DIRT BAND TURNS 56 AND THROWS A PARTY WITH A DYLAN TRIBUTE ALBUM Written by Joseph M McSpadden / Photography by Steve Roberts

Album Cover Art Designed by Bob Delavante

A Bit of History could trust a band if he couldn’t see their faces, a reference to the long hair Jeff Hanna is on the phone from Nashville and in the mood for conversation. and bushy beards the boys were sporting (Mother Maybelle liked to tease the And why wouldn’t he be? As a founding member of the Nitty Gritty Dirt Band, bearded band, referring to the guys as “them dirty boys”). Acuff stopped by the Hanna has been recording and performing for 56 years. Forced to take two studio one day to listen to some of the tracks and was won over. “Hell boys,” years off as a result of the Covid crisis the band is eager to get on the road Acuff is reported to have said, “That ain’t nothing but country music. I’ll be and in front of fans. All that pent-up post-pandemic energy is about to be back tomorrow. Be ready.” unleashed on the faithful as the Nitty Gritty Dirt Band takes to the road for the first real tour since the plague began. And, if that wasn’t enough good A New Roster, A New Record news, they are set to release a great new album, Dirt Does Fast forward to 2022. As with any band that has been in Dylan, their first since 2016’s Circlin’ Back celebrated existence for nearly six decades there have been lineup their 50th anniversary. changes. Today the group consists of founding members The history of the Dirt Band is long and storied. You Hanna and Jimmie Fadden, Bob Carpenter (a member know the hits; Mr. Bojangles, Dance Little Jean, Fishin’ since 1979), Jim Photoglo and two recent additions, in the Dark, and more. From their start in 1966 as a Ross Holmes, and Hanna’s son, Jaime. The new memgroup of jug band hippies that briefly included a young bers, rather than being intimidated by the legacy of the Jackson Browne, to their current lineup as a veteran sexband, have brought an energy and musicality that has tet, the Dirt Band continues to forge ahead with its own pushed their comrades. The adrenaline is palpable when brand of country rock. Along the way those road miles the band takes the stage. have turned into milestones.

As Hanna says, “This lineup started playing in 2018.

The Old Dogs, L - R: Carpenter, Hanna, Fadden The band has scored a ton of hit records and Grammy It’s like when you throw a couple of puppies in a pen with courtesy of NGDB and CMA nominations. Of all the bands that grew out the old dogs, the old dogs start playing again. That enerof the fertile soil of the country rock movement of the gy comes up to another level. I don’t mean to compare 1960s, none has crossed genre lines as effortlessly as Nitty Gritty. Folk, rock, this group to other configurations of this band because everyone who has ever country, bluegrass, Cajun, and old-time mountain music are all part of the been in it has brought something profound and unique to it.” group’s musical DNA. What would seem ambitious, or perhaps forced, for some Speaking of the addition of Ross Holmes and his son Jaime, Hanna adds, groups comes quite naturally for Hanna and the band.

“They are both superb musicians. They are both great singers and Jaime is a Early on in their career the band took risks. On the heels of a genuine radio great writer and guitar player as well. He’s killing it on the Telecaster.” The hit in Mr. Bojangles Nitty Gritty took off to Nashville to record a country and choice to bring both men on board was apparently an easy one. bluegrass album with their idols. What at first seemed like a career misstep turned into a legendary piece of recording history. So much so, in fact, that Ken Choices at the Crossroads Burns covered the moment in his documentary on country music.

After the departure of fiddler and banjoist John McEuen in 2017 at the close The band has the distinction of having one album that just passed the 50th of the 50th anniversary tour the band needed to fill out the roster. It was Jaianniversary of its release - Will the Circle Be Unbroken vol. 1- and a new one, me who suggested his neighbor Holmes, a virtuoso on fiddle and mandolin.

Dirt Does Dylan due to release on May 20th. The Circle album was a landmark Holmes had toured with Mumford and Sons and worked with Bruce Hornsby as release that bridged a generation gap amidst the tension of the Vietnam War. a member of the Noisemakers. Hornsby has a history with the Dirt Band, having It was recorded in 1971 at a time when Nashville was very much behind the appeared on Will the Circle Be Unbroken vol. 2.

Nixon administration, and did not trust long-haired hippies. There was also Ross came over to the elder Hanna’s house and they played for about two doubt by some in Nashville that the Dirt Band could play well enough to keep hours. “We had some dates on the books after John left, and we wondered if up with the likes of Earl Scruggs, Doc Watson, and Merle Travis. The album we should cancel or play them. Ross walked on stage basically cold, in Ohio. that resulted from those recording sessions removed all doubts.

He killed it. Afterward, everybody in the band said, ‘Can we just get him?’”

The list of players on the Circle record is too long to name here, but included Still, the band felt they needed something. Jaime Hanna had done a long Mother Maybelle Carter, Jimmy Martin, Vassar Clements, Norman Blake, and stint in The Mavericks and had recorded an album with his cousin Jonathan Roy Acuff. Acuff almost didn’t participate stating that he didn’t know if he McEuen (John’s son) under the name Hanna McEuen. He had also spent a

19

dozen years in country singer Gary Allen’s band.

When the band asked Jaime to join he took a cautious approach.

Jaime’s response, Jeff Hanna recalls, went something like this: “Why don’t I just come out and hang out on the bus for a couple of days?” It made sense to the elder Hanna. “Half of it is being able to get along with everybody. I mean, Bob and Jimmie are his uncles anyway. Jimmie Fadden is his godfather. But it’s different hanging out with people and working with them.” After that road test Jaime was in.

The newly retooled Dirt Band toured throughout 2018 and 2019, and then, like the rest of the world, hunkered down to ride out the pandemic. “It was like 2020 was the year that just went away,” Hanna recalls.

A New Band, A New Project How did the band decide to do the Dylan project as the first record with the new roster? “We decided that, rather than go the usual A&R route of everybody bringing in material, why don’t we go to a single source? And Dylan’s name came up immediately. That music is in our DNA. Jimmie Fadden and I have been playing these songs since we were teenagers.”

“Dylan’s catalog is so deep… it allows you to go on a variety of musical journeys. He’s playing country music one minute, and then there is the song Country Pie, which I love. We do that as a Django Reinhardt/Stephane Grappelli sort of thing. Of course, Dylan really grabbed a lot of us country rock guys when he recorded the song You Ain’t Going Nowhere. That and the Basement Tapes and all the stuff he did with The Band.” In fact, Nitty Gritty had scored a top ten country single with a cover of Dylan’s You Ain’t Going Nowhere back in the early 90s.

The challenge was whittling the catalog down to ten tracks.

What they looked for were songs they could play as a band, as opposed to songs which were better suited for a solo artist. The band members each suggested different tunes and some of them they knew immediately would work. “I should point out that there were two or three songs in the sessions that just didn’t work. So, we stuck those over on the group W bench,” Hanna chuckles, referencing Arlo Guthrie.

“Casting is interesting. Now we have another lead singer, my son Jaime. He sings Girl from the North Country and he also sings the second verse on Forever Young, which was kind of a neat moment for me as a dad, having my kid sing on this song that resonates generationally.”

“It didn’t take much convincing to have (keyboard player) Bob Carpenter on I Shall Be Released because it really fits him perfectly, like a glove. It has that soul and gospel feel. A perfect Bob song.” It is also one of two tracks on the album that feature collaborations with other artists. The duo Larkin Poe share vocals on I Shall Be Released and turn in a stellar performance.

The band also enlists the help of some pretty heavy hitters on The Times They Are A-Changin’. For that number they brought in Jason Isbell, Roseanne Cash, Steve Earle and The War and Treaty.

“I asked Jason how he would feel singing the second verse and

20 okramagazine.com

SUMMER 2022