Presented by: BCT Presents
Where: Buskirk-Chumley Theater
Orchestra Pit: $USD 55.00
Orchestra / Lower Balcony: $USD 45.00
Upper Balcony: $USD 35.00
|Friday, October 29th 8:00 pm||Buy Tickets|
Fleck and Washburn met at a square dance and began playing music together a dozen years ago, beginning with the Sparrow Quartet. They married shortly thereafter and became parents to a cute little tot. They’ve been touring the globe as a duo for years, almost nonstop but for each other’s performances with various other musical iterations: Béla with the likes of Béla Fleck and the Flecktones, Chick Corea and Chris Thile, among many others, and Abigail with Wu Fei (a master of the ancient 21-string Chinese zither), The Wu-Force and Uncle Earl.
With the exception of a few restyled traditional tunes, all tracks on Echo in the Valley are originals, and are largely co-written – a different creative approach from their first album, where songs were mostly his or hers.
“This time, we really wanted to truly write together,” Béla adds. “We spent a lot of our time on the lyrics, deciding what we want the songs to communicate, both literally and under the surface.”
Echo in the Valley reflects relevant issues while simultaneously connecting us to our past through wild re-imaginings of traditional pieces. New original tunes range from “Over the Divide,” a song inspired by Hans Breuer, who worked to ferry Syrian refugees to safety, to “Blooming Rose,” inspired by Native American voices and lamenting a continual distancing from nature, and “Don’t Let It Bring You” is an emphatic mantra for hard times.
With I don’t wanna cry, cry, cry, oh, “Let it Go” is ultimately about release from the pain of transition and surrendering to growth. The song acknowledges that we must let our children grow up; the concession that youthful innocence will one day give way to adult cares and worries.
Clarence Ashley’s “My Home’s Across the Blue Ridge Mountains” has been turned into a rural blues, and Béla’s well-known piece “Big Country” is framed by the traditional Appalachian tunes “Sally in the Garden” and “Molly Put the Kettle On,” a medley Béla and Abigail performed hundreds of times on stage before recording. “’Big Country’ is one of the most beautiful melodies I have ever heard played on the banjo,” says Abigail, who takes the lead on this version.
“Come All You Coal Miners” is the point-of-view of coal-miner advocate Sarah Ogan Gunning, whose passages remain poignant and powerful today. “This song came from a very emotional, mother-driven, daughter-driven, wife-driven place, and there are not many songs throughout history from that perspective, so I am incredibly moved by her,” says Washburn.
As the story goes, Béla was struck by the sound of Mr. Earl Scruggs’ banjo when hearing the Beverly Hillbillies theme song. He got hold of a banjo, took his musical namesakes (Béla for Bartok, Anton for Weburn, Leos for Yanecek) to heart, and has since continuously broken new musical ground with his instrument. Fleck has the distinction of being nominated in more categories than any other instrumentalist in Grammy history, and has brought his banjo through scorching hot newgrass, traditional bluegrass, otherworldly funk, modern jazz, African originals, transatlantic Celtic, and classical realms, with two self-composed banjo concertos to his name (The Impostor and Juno Concerto), and a third one in the works.
Abigail was similarly jolted into life as a banjoist, but for her it was hearing Doc Watson perform “Shady Grove.” “I was proud to discover that I came from a country where you can hear that ancient sound – from Africa, from Scotland, from Ireland – all mixed up in this beautiful new sound, with those ancient tones in it,” Abigail reflects. “The ancient sounds of our culture remind us who we are, and in them, we see a constellation of who we are becoming.”
Washburn has imbued this philosophy in all aspects of her work, from the string band Uncle Earl to her acclaimed solo albums, Song of the Traveling Daughter and City of Refuge, and her semi-autobiographical theatrical work, Post-American Girl, as well as in her musical ambassadorship with China, a country with which she has a long, profound history. Abigail is deftly following in the footsteps of the founding mothers of folk, and has become a prominent voice of old-time in our time while bringing to light those ancient sounds of American and Far East cultures in new and exciting ways.
Béla and Abigail’s creative process on Echo in the Valley is sonically made manifest in the record’s major themes of harmony, empathy, and surrender. As Abigail explains, the intense, intimate collaboration that Fleck and Washburn put forward on this project required “a spirit of staying strong, but also a willingness to release into the other’s ideas to create something new,” possibly something bigger and more beautiful than one could do on one’s own.
Doors open at 7:30pm for this reserved seating event. Estimated length of the show is an hour and 30 minutes. Wearing a mask is required in the building.Vaccine verification or negative covid test results within 48 hours required to enter the venue. COVID Policy FAQ
114 East Kirkwood Avenue
Bloomington, Indiana 47408
Owned by the City of Bloomington, the Buskirk-Chumley Theater is operated by BCT Management, Inc., a private non-profit organization. This theater, located one block east of the Courthouse Square, seats 600 with an orchestra level and a balcony. Concessions and items purchased from BLU Boy Cafe may be taken into the auditorium.
Restrooms, concessions, the box office, and the orchestra-level seats are all wheelchair accessible. Special seats are reserved for those using wheelchairs, which can be purchased via the box office at 812.323.3020. Street, lot, and garage parking is available across downtown Bloomington.