Skip to content
Register |
Lost your password?
Subscribe
logo
  • Magazine
  • The Tradition
  • The Artists
  • The Sound
  • The Venue
  • Reviews
  • Podcasts
  • Lessons
  • Jam Tracks
  • The Archives
  • Log in to Your Account
  • Contact
  • Subscribe
  • Search
  • Login
  • Contact
Search
  • Magazine
    • Current Issue
    • Past Issues
    • Festival Guide
    • Talent Directory
    • Workshops/Camps
    • Our History
    • Staff
    • Advertise
    • Contact
  • The Tradition
  • The Artists
  • The Sound
  • The Venue
  • Reviews
  • Podcasts
  • Lessons
  • Jam Track
  • The Archives

Home > Articles > Reviews > AARON JONAH LEWIS

RR-Mozart-of-the-banjo-aaron-jonah-lewis

AARON JONAH LEWIS

Bluegrass Unlimited|Posted on July 1, 2020|Reviews|No Comments
FacebookTweetEmailPrint

Mozart-of-the-banjo-aaron-jonah-lewisAARON JONAH LEWIS
THE JOE MORELY PROJECT: MOZART OF THE BANJO

Old Time Tiki Parlour
017

The level of banjo playing here is phenomenal. While some bluegrass banjo players try to tackle classical music on the banjo, this project exudes it. This is a tribute to Joe Morley, a composer of classic banjo pieces, a style that was prevalent among the middle and upper-middle classes with men and women during the later part of the nineteenth century and in to the twentieth. Morley is compared to Mozart for some compelling reasons. Both were child prodigies that died penniless.

The American Banjo Fraternity is a group that has long held the few players of this style together. Greg Adams may be one of the most influential exponents of this style. Lewis gives him kudos here for his guidance. While the music is not classical in quite the same sense as Mozart’s, Morley’s compositions tend to sound similar and present a good deal of challenge to those who think they are up for it. Lewis is up to it. His accompanists include Tessa Hartle on piano, Rachel Pearson on bass, and Ben Belcher on second banjo on “Freckles.” All are up to the task as well.

Many of the pieces on this project have a light classical feel to them. The banjo style here is that of fingerstyle or “classic” (nylon/gut strung) banjo, tracing a direct link back to the earliest professional banjoists. To tie this to more modern banjo, these players highly influenced Charlie Poole, and Uncle Dave Macon demonstrated an awareness of this style of playing on his many recordings.

This music is from another era. This music is a precursor to ragtime, and we know where that led. Just listen to “Clematis Waltz.” It may remind some of the music on a merry-go-round—another relic from that bygone era. Interspersing the pieces are demonstrations of exercises written by Morley to help the banjoist learn and eventually be able to execute these demanding pieces. This recording is recommended to all serious students of the banjo.(www.oldtimetikiparlour.com)RCB

FacebookTweetEmailPrint
Share this article
Facebook
Twitter
Linkedin

Leave a Comment Cancel Reply





This site uses Akismet to reduce spam. Learn how your comment data is processed.

March 2023

Flipbook

logo
A Publication of the Bluegrass Music Hall of Fame & Museum / Owensboro, KY
  • Magazine
  • The Tradition
  • The Artists
  • The Sound
  • The Venue
  • Reviews
  • Survey
  • New Releases
  • Online
  • Directories
  • Archives
  • About
  • Our History
  • Staff
  • Advertise
  • Contact
  • Subscriptions
Connect With Us
Facebook
Instagram
Twitter
YouTube
bluegrasshalloffame
tannerpublishing
tannerwest
Subscribe
Give as a Gift
Send a Story Idea

Copyright © 2023 Tanner Publishing Co. All Rights Reserved. Privacy Policy
Website by Tanner+West

Subscribe For Full Access

Digital Magazines are available to paid subscribers only. Subscribe now or log in for access.

Share this ArticleLike this article? Email it to a friend!

Email sent!