Marisa Anderson's latest album, 'The Anthology of UnAmerican Folk Music', is a captivating exploration of non-American folk tunes, drawing from the archives of Harry Smith, a 78rpm collector, and Anderson's own traditional and improvisational style. This album is a testament to the interconnectedness of global musical cultures, as Anderson delves into compositions from Southeast Asia, Soviet Russia, and the Islamic and Arabic worlds, all shaped by significant US conflicts since her birth in 1970. Her interpretation of these tunes is both respectful and innovative, blending traditional instruments with modern techniques.
One standout track is 'Quodlibet', a beautiful medley of Uzbek tunes originally performed on the dambura, a fretless lute. Anderson adds her own touch by incorporating bluegrass techniques, countering her inability to play quarter-tones on her guitar. Another highlight is her rendition of 'Hamd', a qawwali vocal tune, where her stacked guitar layers create a warm and emotional atmosphere. The album also features 'Sarvi Simin', a shimmering tune from Soviet-era Afghanistan, with the addition of violin by Gisela Rodríguez Fernández, and 'Zar', a Yemeni tune intended to exorcise evil spirits, where Anderson and Fernández experiment with constant rearrangements of five notes without repetition.
'Pair of Duduk' showcases Anderson's ability to shift the drones of Armenian woodwinds onto reverb-heavy guitar and bassy synths, creating dark ambient moods. The Vietnamese tune 'Whistle Song', transferred from bamboo flutes to electric piano, is a minimalist masterpiece. Anderson's liner notes are equally fascinating, as she questions the influence of these far-flung musical cultures on contemporary classical composers, highlighting the album's magical ability to bridge musical gaps.
In addition to Anderson's album, the article also mentions other releases, such as the third album by the Occitan French female duo Cocanha, titled 'Flame Folclòre', and the debut album by Sgo, 'Eòlas-Charm'. These releases showcase the diversity and richness of global folk music, with a focus on storytelling and traditional instruments. The article concludes by emphasizing the importance of exploring and preserving these diverse musical cultures, as they offer a deeper understanding of our interconnected world.
