Goodness gracious me, talk about a peculiar sense of place. Samamidon (spelled Sam Amidon in the phone book) wanted to create an utterly new, completely engrossing record of old Appalachian folksongs, and so he obviously wanted to record it . . . where? Well where else? Reykjavik. And then he called it All Is Well, and it was well. Actually, this record–which succeeds in just about every conceivable way–was a collaborative effort of the Bedroom Community collective, composed in this case of Amidon, producer Valgeir Sigurdsson and arranger Nico Muhly — whose own new record of chamber music compositions, entitled Speaks Volumes, was created with Sigurdsson at about the same time and released by the self-same Bedroom Community.
Amidon’s singing voice is a bit tremulous and reserved, but in a decidedly good way. To my ear his voice compares favorably with those of fellow old souls Will Oldham and Matthew Houck, and its delicacy is beautifully well-suited to these songs. Nico Muhly’s orchestrations are likewise perfectly adapted to the material, sweeping but intimate, and he seems to have taken a few of the best pages from Sufjan Stevens’ songbook, particularly in his horn arrangements. There is something deeply unsettling about this record, and I like it more every time I listen to it.
Of course the star of the show is the songs themselves. “Little Johnny Brown” is a “game song” or “dance song” with roots in West Africa, and it is typically sung by a group, standing in a circle around a scarf or blanket that has been placed on the ground (“lay your comfort down”). As the song progresses, each member of the circle steps to the center, folds a corner of the scarf/blanket, and performs some improvised repetitive motion in time to the rhythm that is imitated by the rest of the circle. The song was popularized in America in the early 1970s by the children’s music pioneer Ella Jenkins, but her version bears scant resemblance to Samamidon’s treacle-dipped affair. “Saro,” the other track posted here, is apparently an adaptation of a couple of old folksongs, “Pretty Saro” and “In Eighteen-Forty-Nine,” which tell the heartbreaking story of an immigrant’s longing for his lost love back home. Muhly’s horn, woodwind, and string arrangements on this one are just stunning. It’s a very moving record. You need to hear it. ‘Nuff said.
Samamidon – Little Johnny Brown
Samamidon – Saro
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Well, that’s it. I’m through. No, no, don’t try to dissuade me. I understand your sorrow at this our first parting, but I’m a ramblin’ man, and Matthew and Kate keep insisting that it’s time for me to return the key and stop riffling through the drawers. Fine. I’ll be damned if I pay them for the water damage, though. Oh, and Matthew? I’d run the potato peeler through the dishwasher a few times before using it again. You know the one I mean. With the oversized handle?  It got, um, dirty. Adieu.
