The US guitarist, Marisa Anderson, delves into the less-explored corners of the renowned collector Harry Smith’s work, offering a striking and beautiful reinterpretation of songs from regions impacted by significant US conflicts. This stunning compilation of folk melodies from Southeast Asia, Soviet Russia, and the Islamic and Arabic worlds is rooted in the legacies of two Americans: Harry Smith, the influential collector of 78rpm records (whose 1952 “Anthology of American Folk Music” showcased recordings from the 1920s and 1930s in folk, blues, and country genres), and the innovative guitarist Marisa Anderson, whose previous work blends tradition with improvisation.
In 2023, Anderson gained access to Smith’s closed archives, uncovering hours of international music. She then dedicated herself to learning and performing these pieces. This collection features Anderson’s interpretation of nine such tunes, specifically chosen from areas that have experienced major US conflicts since her birth in 1970. While her insightful liner notes thoughtfully examine the challenges and discoveries encountered in translating these compositions, the inherent universality of their music remains profoundly resonant.
The opening track, “Quodlibet,” is particularly exquisite. It’s an intricate medley in a minor key, inspired by Uzbek tunes originally performed on the dambura, a fretless lute. Anderson artfully incorporates bluegrass techniques to compensate for her inability to accurately reproduce quarter-tones on her guitar. Another standout is her rendition of “Hamd,” a qawwali vocal piece, where her layered guitar work emanates a profound warmth and emotional depth.