A quick check of my email yesterday on my EVO phone found a note from Grimey’s that Frank Fairfield was doing an in-store appearance a couple of days after his Music City Roots set at The Loveless Barn at 6 pm. There is a lot of “roots” music lately but only a chance now and then to catch a true purist player.
Doyle and Mike and the rest of the Grimey’s crew were on hand offering Fat Tire brew to those over twenty one and a weird flavored water that tasted like Hot Buttered Popcorn, a free sample remnant from Record Store Day for those with a brave palate.
Frank was in no hurry prepping his violin, conjuring squeaks with a stroke of the cleaning cloth. Frank said he finds himself “talking to birds”. It was loud enough to conjure a dry track version of Paul’s “seagulls” from “Tomorrow Never Knows” in my brain.
Frank Fairfield’s one and only recording was released in 2009 on Tompkins Square Records out of New York City, a collection of songs older than my Grandparents with enough references to “John Hardy” and “John Henry” to find him bookended by Uncle Dave Macon and The Carter Family.
My new friendship with Blind Boy Paxton at the Folk Alliance prepared me for Frank’s mindset. You can’t really just call him an archivist, Frank dresses the part, talks the part and walks the walk as he resurrects long buried treasures performed on Banjo, Violin (Fiddle, whatever), and Guitar, a little gut box similar to Willie Nelson’s trigger. The instruments themselves were artifacts. In fact, Frank and the aforementioned Blind Boy Paxton are both a player’s player where everything needs to come from that era and bring it out live, unplugged.
The guys from Peelander-Z were busy rummaging through Used CD’s just prior to sound check for their show at Exit/In as Frank started a duet with music partner Daniel Frazier of Memphis, Tennessee’s Daniel Frazier & The Outlaws. Frank started out on Fiddle but moved to solo Banjo, Guitar and back to Fiddle. At one point, he put on a thumb pick and hit a couple of notes and said “no” to himself and put it back in his pocket. This was all done with hands showing deft tenacity, dynamics and finesse.
His voice would fit what you would expect on an old Carter Family record and more or less is an accompaniment to his playing much in the same way as Jimi Hendrix was, it does not detract but adds to the mood.
Frank often explained where the piece came from referring more than once to East Texas “where his people are from” especially an odd triplet rarity called a “Mazurka” that had come from the Spaniards that settled there probably in the 1800’s or before.
Frank called them popular pieces or dance pieces as he launched into “Poor Benny” and “Sally Goodin” punctuated by jokes from a pre-film era like “Why is kissing a girl like a dog sitting on a cake of ice?…Because kissing a girl is so dog-gone nice.”
Although many of the sets at Grimey’s are usually abbreviated to five songs or so, Frank came ready to do an hour or so. I picked up his CD and through it in the car stereo and heard what I expected to hear. A modern day field recording, not much different than what Robert Johnson sounded like recording in a Houston, Texas Hotel Room almost a hundred years ago. Although Frank is from Texas, he fits well with East Nashville’s Americana Scene or the Brooklyn, New York roots scene that has developed over the last few years.
Like Blind Boy Paxton, Frank knows his stuff both visually and sonically as he stomped his feet and moved to the beat in his chair, but the question still arises with me. Can you branch the tree out from a pre-rock period of time and deliver something new? A fresh take on a tribute to the past, before the term bluegrass or Chicago Blues, offers a lot for me, but, I would like to see a new song come out of this. Bob Dylan took an early Thirties and Forties feel on Modern Times and spun in it an up to date verbal onslaught. It can be done.
Frank Fairfield as well as Blind Boy Paxton, who runs with Hubby Jenkins and the Carolina Chocolate Drops, are a must see if you are a guitar or string player whether you are a Dimebag Darrell or Leo Kottke Disciple. Frank and Blind Boy both prefer guitars that you practically have to pull the strings into tune. There must be something about having a guitar that is hard to play like Jack White says.
Pick up the CD and take a listen to “Call Me a Dog When I’m Gone” and “Cumberland Gap”. In fact crank it up while you are driving down Lower Broad and really mess with people.
- Brad Hardisty, Nashville, TN email@example.com