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Jed, Dolly Parton's America, so, um, I did say last week that the next episode would be in two weeks and that is true. She and I are working on Episode seven as we speak.


But consider this a bonus, because during the course of producing and recording this series, we collected a lot of music.


A lot of people came in and performed songs for us. Actually, a lot of people we were interviewing suddenly broke into song and we ended up having a lot of music and we've been getting a lot of emails saying play more music. OK, so here we go in this bonus EP. I'm going to present to you guys some of the musicians that we encountered, most of whom were interpreting Dolly's music, a bit later, I'm going to play you selections from a live event that I hosted that was loosely inspired by the series and by the music in the series.


But for the moment, I just want to play you some stuff that people have asked for starting with. Well, you know, last episode we did Episode six about Joline, we featured a guy named Justin Giltner playing a song. His song Silver to actually wasn't his song.


It was an old British ballad that he heard Dolly cover on one of her bluegrass albums that became very important to him. It's a song called Silver Dagger, and he played that. We had a lot of people asked to hear the whole thing. So here it is. And I'll tell you, when he first played this song for us, it stuck so deep in my head.


Maybe we would want to reset for that. Yeah, let's reset. OK, so you don't have the two mikes and everything.


Justin was recorded by Tasha Lemley. All right here, Silver Dagger.


Don't sing love songs. You always think my mother. She's sleeping. Right by my side. In her right here. Here's the Silver Dagger. She says that. Canthe be your. Oh, Manolopoulos, so says my mother, they'll tell you making love in my. And then they found. And could somebody leave you? To in. My daddy. A handsome devil. He's got a change. Five miles long. And on every lead. How does Dango of another make peace loving?


Go on. Tender made and in hopes that she might be Mumbai for Ivan. And deciding how steep a long.


All my life. Don't sing love songs, you wink my mind, she's laying. Right by my side and in her right hand is a silver dagger. She says that. Can't be your. That's Justin Hitler with Silver Dagger, that song Kills Me. Recorded by Lemley You can check out more of his stuff at Justin Giltner Dotcom. All right, next, I'm invited to perform my Kikuyu gospel songs, which I also now blend with country. I carry my guitar to country songs and I do my other gospel songs.


For Episode three, we interviewed a woman named Esther Conquerer, who's known as the Kenyan Dolly Parton. She performed over Skype for us from Kiambu County just outside of Nairobi, Kenya. And she sang a bunch of stuff for us, some gospel songs in her native Kikuyu and also some Dolly songs were Crossfade from one to the other night.


And that guy was shot. All right. Yeah. Why are you like. Na na, na na, my and young. Oh, no, I only. A. Parachinar and. So just to translate, the song says. I will sing this song to praise you, God, because you have always been my great deliverer, despite the many battles in my life, you have always made me. But I love the only song that say that when I grow old can always survive.


I grew older and also liked what song is there enough to grow. And you wrote a song. It's called Wildflower I.


Our days were like we were alive and the Wild, You Wild. And they came for at this time. Right. They just. And I refuse to just the just the way Montoneros needed freedom to grow. So I ran flurrying not far out. When a flower was, it can always survive what? I don't care where they grew. I grew up fast, too, and I never felt right. You know why I'm so different from me? I just never belonged.


I just want to be gone so that dad in one day set me free. I hitched a ride with the Queen and since she was my friend, I just let him decide where I go. When a flower, but it can also write what flower don't care where to go. It's alongside. No, it's good. Beautiful. That's Esther Conquerer singing a bit of Dolly Parton song Wildflowers, which is all for her album Trio. Esther was recorded in Nairobi by Thomas Brickhill.


Speaking of trios. We actually got a trio to come in and play some scoring music for us, three amazing musicians, Steph Jenkins, Steph Coleman and Courtney Hartman. Here's a little something they played for us. Mean, that's a beautiful. We connected with Stefan, Stefan, Courtney through an event we hosted at Radiolab and then got them in a studio to record during that session, which we recorded at WNYC and which was engineered by the amazing Alex Overington.


Courtney, who plays guitar, just sort of spur the moment, shredded through this instrumental cover of Dollis Marry Me, total earworm.


That's all she played, but I have listened to that one minute, like 70 times. We'll be featuring more from that trio, Steph Jenkins, Stephanie Coleman and Courtney Harman in the next few episodes. Could take a short break now and then we'll be back with a very different kind of music that I presented at a live event in Brooklyn that was loosely inspired by the series.


That's coming up. Hello, hello. Hi, everybody. Thank you, Eleanor. Thank you, national authorities, for getting me back here and creating a place where I can do a weird thing.


Hey, I'm Jad Abumrad, back with a bonus of music we recorded live as part of the series Dolly Parton's America. About two weeks before we released the series Into the Wild, I hosted an event in Brooklyn that was sort of inspired by that visit that she and I took to Dolly's Tennessee Mountain home, which I described in episode for how we went up there to see the home.


And it reminded me very strongly of my dad's Lebanese mountain home. And so when we came back, I got to thinking about all the songs that we sing about home and how as we leave home, we carry those songs with us. We morph them and transform them.


And so I ended up hosting this event at National Stardust in Brooklyn as part of the National Sardars Plus series curated by Eleanor Park, where I got together three incredible musicians, Shelly Washington, Borallon and Caroline Shaw, who all played traditional music that they connect to that reminds them of home that is from their home. But they all took that music and gave it a new spin. We called the event covering home like covers of traditional songs of home. And I'll play some excerpts.


Please give it up for Shelly Washington. Shelly, Washington was the first one up. She's a composer at Princeton University. Her work has been performed all around the world.


Hello, everyone. So I will be playing this large tube. This is a baritone saxophone if you have not seen one before. It's also the one that Lisa Simpson plays and it isn't.


Shelly explained that her traditional music was actually a record that her parents gave her when she first started playing the sax. When she was about 12.


My parents gave me one of the Mingus big band like Essential Albums that I immediately just tried to memorize every single line, which is obsessed with that entire album. So like every solo line, I could sing all of them. And you can hear, like, the band chattering in the background and making these little, like, horns like different exciting moments that you might hear that in the piece about what Shelly did.


She took all her favorite Mingus lines, put them all together in the same piece, and then played it on her gigantic baritone sax that she's named Titan. Here's an excerpt of that piece called Mogis.


Uh. And. And at. And. And. That was an excerpt of Monice from composer Shelly Washington. You can check out more of her work at Sheli Washington Dotcom. That's Laowai Washington dot com. Next up with composer Borra Yoon.


It's a piece that is called The Houses We Carry Within, and it was actually in response to an exhibit at the Smithsonian American Art Museum in D.C. last spring, it's a Korean artist named Hoshide who makes these really beautiful fabric houses made of actually Korean humble material, which is just kind of like stiff crinoline that's translucent. And he literally makes exact replicas of his Berlin apartment, his Lower East Side apartment, the house he grew up in Korea, but they're all reconstructed from his memory.


So there is these fabric houses that just hang in space and you get to walk through them. Well, I mean, it's really OCD to the hilt. I mean, like radiators, like crocheted together. So these are all kind of these suspended times and spaces because he talks about how as a as an expat from Korea, he goes to all these different cities and lives in all these different places. But his accent's too thick. So they always say he's not from there.


But when he goes home to Korea, they're like, well, you're not from here either. You left. It's this constant theme. And his work is this is so the exhibit was called Almost Home. And this idea of home existing in your memory or in your mind or kind of that the houses that we carry inside of us and that this architecture is live in our memories and our archetypes.


For the performance, Borra played about a dozen different instruments and found percussion objects and very strange things like Astro violin, which is a violin with a horn on it.


And she played electronics and saying, here's an excerpt. That was an excerpt of Borra Yoon performing her multimedia piece, The Houses We Carry Within. It's it it's a beautiful piece that you really kind of need to see as well as here.


So I would urge you to go to Bora Yoon Dotcom. That's B or a y o n dotcom. You can see a lot of her multimedia stuff there here, a lot of her music.


OK, the final performer of the evening was Caroline Shaw, Pulitzer Prize winning performer, composer, collaborate with pretty much everybody from Kanye to the Brooklyn Youth Chorus. And she did a duet with cellist Andrew Yeager. A series of duets actually going to play you two of them.


OK, but so maybe just set up that set up the next song. And then I think the our fellow composers performers to join me on the stage because we're going to be Caroline's backup band. Sure. So what are we about to hear?


The next tune is called And Jordan's Stormy Big Banks. I stand at least that's the first line. It's not really a title. And that was written the words written by Samuel Stennett of England in 1787. But it also is essential, you know, this essential exodus narrative of leaving a place searching for freedom, crossing the River Jordan and the function of the River Jordan is strong. And a lot of these songs and the last one is a very famous I'll Fly Away, which is also written by Albert Brumley in 1932 during all the history.


It's an interesting history. The song, though, because he himself is kind of covering other songs that have to do with the Exodus narrative in the South.


So there's I find the song kind of interesting and problematic, and I keep trying to find what it means to go home in that song. Caroline, you give it up. I'm very happy to be joined by Shelly and Barbara and Elena and Jad here to.


On Jordan, stormy banks are still. And castaways full of. To canings Fair and Happy Love. And where my. Don't you think? Don't you feel? My home is in the promised land and I feel like going. Oh, that transport of Robshaw scene that rises to my. Radelet angry. And rivers of. Don't you feel?


Don't you feel like. Go in. Mike. Some bright morning when this life is over. To that home on God's celestial shore. Gloria, I love my way when I don't. And. When my shadows of life are over. Glory, I'll fly away with a. By the way. Oh, glad and happy when we meet.


I. No more called iron shackles on your feet.




Just a few more weary days and then. Two of Landwehr toys will never. Fire away. I fly away and Laurie. Those are excerpts from a night at National Sardis and Brooklyn Night I put together with curator Eleanor Park, loosely inspired by Dolly Parton's America, all those Dolly songs like Tennessee Mountain Home that are about trying to hold a feeling of home even while you're wandering far, far away.


This is part of the National Sardars Plus series that Eleanor curates. I want to thank Jeff Tang, Charles Hagman, Garth McKelvy, who is the mix engineer for the night. Thank you to Jeremy Bloom for helping to mix this episode and all the musicians who appeared in this bonus EP, Justin Giltner, Conqueror, Steph Schenkkan, Steph Coleman, Courtney Hartman, Shelley Washington, Brian Caroline Shaw and Andrew Sheema. And I will be back in one week with another episode of Dolly Parton's America.


Until then, I'm Jad Abumrad. Thanks for listening.