In the realm of music, where boundaries are meant to be crossed and traditions are meant to be celebrated, Marisa Anderson's 'The Anthology of UnAmerican Folk Music' stands as a testament to the power of exploration and the beauty of the unknown. This album is not just a collection of songs; it's a journey through time and space, a testament to the interconnectedness of musical cultures, and a reminder of the profound impact of historical conflicts on the arts.
Anderson, a guitarist with a penchant for the experimental, delves into the archives of Harry Smith, a 78rpm collector whose 'Anthology of American Folk Music' has been a cornerstone of folk, blues, and country music. But Anderson's project is not confined to the borders of the United States. Instead, she ventures into the heart of regions shaped by major US conflicts, from Southeast Asia to Soviet Russia and the Islamic and Arabic worlds. What emerges is a captivating collection of folk tunes that defy geographical and cultural boundaries.
One of the most striking aspects of Anderson's album is her interpretation of 'Quodlibet,' a minor-key medley of Uzbek tunes originally performed on the dambura, a fretless lute. Anderson, unable to play quarter-tones on her guitar, adds bluegrass techniques to the mix, creating a unique and captivating sound. Her take on 'Hamd,' a qawwali vocal tune, is equally impressive, with stacked guitar layers that ring with warmth and emotion. These interpretations are not mere covers; they are personal expressions, infused with Anderson's own style and perspective.
The album also features collaborations with other musicians, such as Gisela Rodríguez Fernández, who adds violin to 'Sarvi Simin,' a shimmering tune from Soviet-era Afghanistan. In 'Zar,' a Yemeni tune intended to exorcise evil spirits, Anderson and Fernández constantly rearrange five notes without repetition, creating a haunting and ethereal sound. These collaborations showcase the album's versatility and the power of musical dialogue across cultures.
What makes 'The Anthology of UnAmerican Folk Music' truly fascinating is Anderson's exploration of the relationship between contemporary classical composers and the music of the past. Her liner notes raise intriguing questions about the influence of these far-flung musical cultures on modern compositions. This album is not just a collection of songs; it's a conversation between the past and the present, a reminder of the enduring power of music to connect and inspire.
In a world where music is often consumed in isolation, Anderson's album is a call to explore the unknown, to embrace the diversity of musical traditions, and to celebrate the interconnectedness of human creativity. It is a testament to the power of music to transcend borders and to bring people together, even in the face of conflict and division. Personally, I think that this album is a must-listen for anyone interested in the history of music, the power of cultural exchange, and the enduring beauty of the human spirit.
