A few days ago, I featured these two performers in a post about my occasional epic fails in recording street musicians. Normally, I make a point of getting at least a reasonable amount of information from the buskers I record, as showcasing them is really the only point of the project in the first place. Not having something as fundamental as the performers names really chewed on me, as that’s not a mistake I generally make.
My assumption was that I’d lost the recording where I actually talked to them about who they are and why they’re busking. Continue reading
EDIT: A few days after I wrote the post below, I was able to find the tiniest scrap of audio at the end of one of the recordings where I confirmed the two performers’ names. I’ve obviously lost the recording where I spoke to them about their other details, but at least one small piece of this mystery is solved.
Every so often, I’m terrible at recording buskers. Particularly if I’m feeling harried or distracted, I’ll make some fairly baffling mistakes. I’ll forget to turn on my microphone, for instance. Or I’ll get in a position where the light is constantly changing, blowing out the white levels. Sometimes I’ll even forget the very basics, like saying the performers’ names a few times, having them spell it, or asking where I can find more of their content so people who like them can get in touch.
While most of my mistakes come one at a time, every so often I’ll be looking at a video I took and realize I’ve created a perfect storm of embarrassing incompetence. This is one such video. Continue reading
It helps that Rebekah is a recent arrival in Asheville, having only arrived in town a little less than three weeks ago. What brought her here? Continue reading
Clark had encountered the duo in passing as they busked in front of the Iron Sculpture in downtown Asheville in 2011. A casual conversation about old-time country had turned into an off-the-cuff jam session between three musicians separated by nearly two generations. Clark only played a few songs with Deep Chatham, and this was a truly fortunate thing to happen across. Continue reading
Composed of four friends who came to Asheville for, as they sheepishly put it, “this fiddle gathering … like a convention.” Of course, anyone who follows the Asheville music community would instantly know what they were talking about: The Swannanoa Gathering at Warren Wilson College.
The quartet wouldn’t exactly characterize themselves as a band, although Nick DiSebastian (guitar) and Charles Muench (bass) were both members of the Lancaster, PA, group River Wheel. Bronwyn Keith-Hynes (fiddle) and Jen Starsinic (fiddle) also had a musical project together, and three of the four lived in the same town and attended the same school, and had played together under various names over the years. On this day, they had decided to call themselves The Leather Britches.
Here, the quartet perform the cross-genre standard “Make Me a Pallet on the Floor.” Continue reading
It was Busk Break gold, right from the start.
It’s safe to say that the three were still getting used to the attention of that afternoon as I approached. It was the July 4th weekend of 2011, and a great time to be a busker in downtown Asheville. The air was warm, but not yet oppressively hot. They were huge crowds of three-day-weekenders pumping through the city’s veins, happy to part with coins and small bills for a moment’s entertainment. By the time I approached, camera-in-hand, they were already receiving waves of compliments from strangers. Continue reading
In the three years since this recording, Deep Chatham has made quite a name for themselves, releasing a fantastic full-length album (Words From The Well) and touring several times around the East Coast. Along the way, they’ve picked up two key members in fiddle player Matt Heckler and pianist/accordionist Trevor Grassi, who longtime followers of Busk Break may know better as Balkan Death Grip. Continue reading