By Grant Alden, Peter Blackstock
From its debut in 1995 as a 32-page quarterly journal to its zenith ten years later as a 180-page bimonthly, No melancholy journal grew from humble beginnings. It grew to become the main in demand book masking American roots song, ranging from the purpose the place kingdom mixed with rock 'n' roll and tracing the typical bonds via genres that come with bluegrass, people, blues, gospel, soul, jazz, indie, Cajun, conjunto, and past. alongside the way in which, No melancholy became said as one of many most interesting tune magazines ever released, usually in comparison to the Nineteen Sixties origins of Rolling Stone or the Seventies heyday of Creem, receiving awards from the Utne Reader, ASCAP, and the foreign state track convention, and brought up by way of the Chicago Tribune in 2004 as one of many nation's most sensible 20 magazines in any class. In early 2008, No melancholy introduced that its May-June factor, ND #75, will be its finale as a bimonthly journal. To push back the disappearance of No melancholy in print, the collage of Texas Press stepped into the vacuum, arranging for a brand new semiannual ND ''bookazine'' to be released each one fall and spring. the 1st installment--to be known as No melancholy #76, reflecting continuity with the magazine's history--will be issued this autumn and may keep it up the publication's culture of remarkable long-form writing approximately significant and influential American roots musicians, in addition to caliber images and different components all provided through the picture layout imprint of ND artwork director furnish Alden. This book/magazine hybrid is largely groundbreaking territory in either one of these publishing worlds. Sharing the editorial imaginative and prescient for the bookazine might be Alden and Peter Blackstock, co-founders of No melancholy and its co-editors from the start. some of the senior editors and contributing editors who assisted in shaping the voice and tone of the journal will give a contribution to the bookazine, so one can characteristic totally new content material in each factor: not like ND's past undertaking with UT Press (2005's the easiest Of No melancholy: Writing approximately American Music), those aren't anthologies of formerly released works, yet quite solely clean creations each six months. in case you enjoyed No melancholy journal, this can be the place it lives on, in print.
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Additional resources for No Depression #76: Surveying the Past, Present, and Future of American Music
Folk, jazz, blues, rock, fusion, whatever: It all comes head-to-head with a traditional bluegrass sound, while keeping the distinctiveness of bluegrass intact, at least to some degree. Tim O’Brien, himself known for being a shape-shifter in acoustic music, knows their approach to musical synthesis firsthand, as he co-produced the new album with the band. “That’s part of who they are,” he ventures. “They’re younger guys. They didn’t grow up in the country, most of them. It’s today’s model of bluegrass bands.
His fingers are Twizzlers that contort across the neck of his Fender Strat like a Cirque du Soleil freakshow during a Chuck Berry-esque solo. He’s wearing a white V-neck Tshirt and sports the slightest afro. Flanking him are guitarist Derek O’Brien, whom Clark studies in order to pick up the rhythm, and bassist Ronnie James; behind him is drummer Jay Moeller, who also plays with Clark in his own band. ” — Gary Clark Jr. Clark looks like a natural because he is, and he’s played enough pickup games with pros like Pinetop to have the drill down pat.
At least, they haven’t yet. To them, the whole point of recording is to create a vibrant, original body of work that gives them space to use their unique voices — singing, songwriting, instrumental. There may be six of them, no small band by bluegrass standards, but they’re all hot, dynamic players, and together they have a sound with a great deal of range and depth, moving between straight bluegrass drive, funkier pulses and expansive instrumental work. Pandolfi’s banjo rolls incorporate jazz-tinged melodies, Hall’s dobro work is fiery and stately in turns, and Garrett’s fiddling cuts through with sharp, blue strokes.