Brown plays a variety of unique instruments on the record, too, including an 1888 Luscomb banjo owned by her great-great-grandfather, a fretless tack head banjo built by her dad, and an historic 5-string banjo that belonged to one of her mentors, New Lost City Ramblers member John Cohen (the instrument was played by Roscoe Halcomb on his iconic High Lonesome Sound album and is now in the permanent collection of the Library of Congress).īorn and raised in Brooklyn, Brown first began learning stringed instruments at the age of six from the late Shlomo Pestcoe, who instilled a belief that music is meant to be shared. The songs draw on the lived experiences of a broad swath of Americans, keeping their stories and spirits alive with reverence and vitality. ![]() This album offers a snapshot of a remarkable young artist, showcasing both her instrumental abilities and her poignant, understated vocal delivery. ![]() When you listen, you can hear the expanse of the space pretty clearly, which was really important to our approach on these recordings.” “I recorded my last project in an underground tunnel,” says Brown, “but this time we were working in a cavernous church, which allowed us to really experiment with all the sounds that different locations in the sanctuary and different mic configurations could produce. Ann’s Church in Brooklyn Heights, this mesmerizing collection of traditional tunes and songs follows her performance on NPR’s Tiny Desk Concert series, where she was lauded for bringing “incredible, surprising depth to the Appalachian music she plays” and 2021’s Sidetrack My Engine, which debuted at #6 on the Billboard Bluegrass Chart. Nora Brown returns with her third full-length album, Long Time To Be Gone (out 8/26 on Jalopy Records). ![]()
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