VARIOUS ARTISTS: Dear Jean

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Various Artists
Dear Jean: Artists Celebrate Jean Ritchie
Compass Records #7 4631 2
There are two things any and every true aficionado of folk music should know full well about Jean Ritchie: First that she is one of the most important and influential tradition bearers to bring the essential and keenly beautiful rooted music from the Appalachians deep into the folk revival ⦠a bridge for many revivalists who came to champion this music in the decades that followed. And, second, that she is one of the most profoundly talented songwriters-within-the-tradition that emerged in the early years of the revival. She created a large body of new compositions that so seamlessly blend with the best traditional songs that they are often mistaken as such. Jean was also always a wonderful, honest, haunting performer whose simple, heartfelt soprano, pinned by her trademark dulcimer easily transported listeners right inside the material ⦠be it a āgreatā ballad, a simple folk song, or her own sharp, insightful compositions.
It should come as no surprise, then, that this 2-CD, 37-track celebration of Jeanās work, performed by several dozen of her contemporaries, and contemporary-carriers of her torch, came eagerly anticipated. At its peaks, this collection is a terrific reminder of just how wonderful this material is ⦠and an inspiration to go back to Jeanās own five decades of recorded work (much of which is, happily, readily available on all your usual CD, download and streaming sources these days).
Producers Mick Lane, Charlie Pilzer and Dan Schatz took a mostly orthodox path in selecting artists to participate on the project, and I think that was mostly a smart way to go. This is not material that would benefit from hipster, ultra-contemporary re-imagining ⦠and the kind of reworking youāll find here comes from folks who really understand and love Jean and her repertoire.
The artists contributing to the project come primarily from the first and second generation of artists that immediately followed Jeanās emergence. The CD opens with a terrific take on Jeanās pointed pleading āBlack Waters,ā taking sharp aim at the regional ecological damage done by coal mining, and a terrific collaboration between John McCutcheon, Tim OāBrien, Suzy Bogguss, Kathy Matea, Stuart Duncan and Bryn Davies that sets a high bar for the recording. Itās followed by a wonderful, stripped-down reading of āNow is the Cool of the Dayā by Appalachia singer Molly Andrews who sounds uncannily like Jean at times; and then a very strong reading of what is probably Jeanās best known (and most recorded) composition āThe L&N Donāt Stop Here Anymoreā by the incomparable Robin and Linda Williams.
All in all, there really are quite a few incredible performances here. Bluegrass singer Dale Ann Bradleyās mournful take on the Ritchie repertoire trad āGo Dig My Graveā is stellar. Elizabeth LaPrelle (accompanied here by her mom) delivers a powerful āFair Nottamun Townā that confirms her to be one of the finest next-gen traditional singers out there. The Starry Mountain Singers choral take on āIāve Got a Motherā is truly ethereal in the best sense of that word. Sam Amidonās deliciously crooked take on āThe Cuckooā brought a wide grin to my face. I loved Lorraine and Bennett Hammondās take on āBest and Brightest,ā Lorraine remains one of the best lap dulcimer accompanists out there and a natural āchildā of Jeanās. And Judy Collins delivers a really terrific performance of Jeanās āOne I Loveā simply backed by her piano and Eric Weissberg on guitar that is as good as Judy has every sounded! Other contributions from Janis Ian, Sally Rogers and Howie Bursen, Archie Fisher, Kim and Reggie Harris, Atwater-Donnelly and Rachael Davis are also particularly deserving of note.
All those high points aside, Iāve got to admit that there were a number of performances that I just didnāt get in this context. I understand the enthusiasm and interest in inclusion for this kind of a tribute ⦠but I simply found some of the performances below a quality that should have a bar for making such a long recording. Pete Seegerās spoken word reading of āI Celebrate Lifeā seems more like a name check than contributing something valuable to the recording. Same with Kathy Matteaās very rough live take on āJubilee,ā and an archival āouttakeā-sounding live performance by Oscar Brand and Jean. (I admit to liking the idea of including Jeanās own terrific performances ⦠but this one, with tons of messed up lyrics, just doesnāt bear up to repeated listening. Surely there must have been a stronger recording of Jean and her close friend Oscar that would have made more sense?) Some other performances, mercifully not name-checked here, might be fine (and welcome) āopen micā-level performances, but just donāt do this tribute or the listener much benefit. I think a long, single-disc release would be been much, much more powerful ⦠and there is, without a doubt, a five-star recording mixed in here with just a few too many two- and three-star tracks.
My bottom line is this: More than half of whatās here is undeniably terrific ⦠dare I say, āessential and well-worth the investment.ā Dear Jean easily urges any listener who hasnāt returned to Jeanās own recordings recently ā or, gasp, ever given Jean the listen sheās due ā cause to do so. And thatās at least one of the jobs of any proper tribute album.
ā Mark D. Moss