Earl Jam 2

March 24, 2026

Tony Trischka – Earl Jam 2
ALL RECORDINGS PRODUCED BY Tony Trischka
EXCEPT FOR: GENTLE ON MY MIND – Produced by Béla Fleck
ALL RECORDINGS CO-PRODUCED BY Lawson White
WITH THE ADDITION OF: MAPLE ON THE HILL – Co-Producer: Deanie Richardson
LOST JOHN – Co-Producer: Tammy Rogers
ALL ARRANGEMENTS by Tony Trischka
ALL RECORDINGS MADE at PARLOR STUDIOS, Nashville
EXCEPT FOR: DOWN IN THE WILLOW GARDEN – EastSideStudio – NYC
I WISH WE HAD OUR TIME AGAIN – Spillway Studios – NY
Engineer: Eli Crews
MIXING: Jim Robeson
MASTERING: Paul Blakemore
BOOKING AGENT: Lee Olsen – CMC Artists
MANAGEMENT: Ben Hershman – HERCO MANAGEMENT
LACQUER CUTTING: Carl Rowatti at Trutone
ART DIRECTION AND DESIGN: Nathan Golub and David Gorman
PHOTOGRAPHY: Greg Heisler
UPC Code: 708857001927
Billy Strings appears courtesy of Reprise Records
Molly Tuttle appears courtesy of Nonesuch Records
Sierra Ferrell appears courtesy of Rounder Records
Sister Sadie appears courtesy of Mountain Home Music

Liner notes:
How fortunate we are to have this new set of recordings revisiting the Earl Jam opus. For those unfamiliar with this iconic story, the brief recap is that during the darkest days of COVID, Tony Trischka received “the call,” a thumbdrive of tapes containing years worth of Earl Scruggs and John Hartford jamming at Earl’s house after his retirement from performing, later ascertained to be from 1987-1998.

A man on a mission, Tony – not unlike the late John Hartford – whose life by his own admission had been inspired and changed by Scruggs’ music, then set out to transcribe Earl’s solos note-for-note. Along the way, he found himself becoming further committed to finding a way for the larger community to hear these later Earl Scruggs efforts. It is hard to overstate the musical importance and historical significance of what Trischka has done with this canonical material.

As Neil Rosenberg stated in his liner notes to the previous set, themselves winners of the IBMA liner notes award, “Ultimately, Tony’s recreation of Scruggs’ solos reflect the same kind of intensive woodshedding that Glenn Gould did with Bach’s published scores.” These recordings occupy a unique place not only in Earl Scruggs’ and Tony Trischka’s music, but in bluegrass overall, due to the unusual story of this recorded contemporary output, in collaboration with previously unavailable Earl Scruggs music from the past.

Trischka has put all this incredible music together, from past and present, as both producer and musician, with meticulous respect and ability to replicate the original Earl Scruggs “jams,” or solos, and assembling top-notch musicians to breathe new life into classic material. With new jams from today’s musicians, sensitively and vibrantly recreated, featuring Tony’s inspired Scruggs work, this is a unique tribute to Scruggs’ music but also an equally unique manifestation of the historical continuity and originality of the bluegrass tradition in action.

With any luck, those with ears to hear will recognize this “Second Set” for what it is, not just what it represents: nothing less than Trischka’s own finest work to date, his magnum opus, without overstating or sounding too grandiose. It’s an astounding achievement, delivering Scruggs’s music in fresh and irresistible contexts, the best of old and new.

Both this set of Earl Jam, as well as the first, stands on its own. Though companion pieces in a sense, there is no overlap of material. While some of the special guests overlap, from Billy Strings, Del and Ronnie McCoury, the Gibson Brothers, Sierra Ferrell,, Molly Tuttle, and many more, new names were also added, like the SteelDrivers, Sister Sadie, and rising star Farayi Malek (from outside the bluegrass world). Tony’s song notes, which follow, contain all the details.

None of this material has been previously released and features different approaches and arrangements, while remaining faithful to Earl’s solos. The repertoire itself is all different, too, and some may prefer this set to the other, though completists may feel each set of recordings is incomplete without the other. Each offers something that the other does not.

This set perhaps offers more of a tip of the hat to John Hartford’s own music, and not just for the crucial role he played as musician/archivist in preserving these jam sessions on tape. In this set, Hartford’s classic original “Gentle On My Mind” is a welcome and much-loved addition, as is the little-known “I Wish We Had Our Time Again,” a later version or doppelganger, shadow song, of a 1933 Hatton Brothers tune. One could almost regard Hartford’s process with that tune, not to mention his efforts to revive the fiddle music of the late Ed Haley, as a kind of foreshadowing of Trischka’s own later mission with the Scruggs material.

In a larger sense, these recordings are a testimony to the contributions of all three of these musicians: the late Scruggs and Hartford, and Trischka himself, each regarded as major musical innovators and stars in their own right who also have played major roles, in different ways, in the preservation and dissemination of knowledge about the roots of the music they play — their own music. In so doing, they are all keepers of the flame, part of a deeper musical legacy.

In the process of proselytizing the gospel of Earl Scruggs, Trischka has given us not only that great gift but also his own most mature and distinguished music to date, the culmination of a lifetime of work. Though he is already highly-respected, highly-awarded, and well-loved, here he has put his own stamp on the music that inspired him, now carrying on that tradition himself.

Béla Fleck’s appreciation of Tony Trischka bears repeating: “I was fortunate to study with Tony Trischka. If Earl created the tradition single-handed, Tony developed a whole new set of strategies to use it for self-expression.” That capacity for self-expression, coupled with a musical intelligence capable of figuring out ways to make Earl’s jams live again in a new way, is literally extraordinary. In Picky Fingers: Earl Jam 2, Tony has made a wish come true: “I Wish We Had Our Time Again,” bringing together Earl Scruggs of the 1990s with the music of today.

–Marian Leighton Levy,
The Down the Road Folks
2025
Tony Trischka’s Song Notes:
Thanks to Katie Hogue, John Hartford’s daughter, a critical piece of information is now known – the jam tapes I received on a thumb drive back in the early days of Covid lockdown were dated from December 1987 through July 1998.

COLUMBUS STOCKADE BLUES
From a historical marker In Columbus, Georgia:
The “Columbus Stockade Blues” by Thomas Darby and Jimmie Tarlton, was written and recorded in 1927. Many famous artists have since played the song in band, jazz, blue grass, country, and blues arrangements. These two brick buildings served as jail and police headquarters from the 1850s to 1906. Then the buildings were joined and appear today much as they did when the song was written.
Del and Ronnie’s vocal duo on the chorus is profoundly mournful and though this isn’t technically a high lonesome tune, in their hands it becomes just that. Jason’s fiddling is exquisite and Ronnie’s Monrovian solo is deep as the ocean. Earl’s solo and Ronnie and Del’s harmony create the sound of a tonic chord against the V chord, and result in a beautiful tension. Earl’s flatted seventh backward rolls between his verse and chorus come from a different jam on the same song, but so blew me away that I had to fly them into this one. Alan has open space to shine on the bass.

Track Details:
Columbus Stockade Blues Public Domain Del McCoury – lead vocal & guitar Ronnie McCoury – mandolin & harmony vocals Jason Carter – fiddle Alan Bartram- bass  Tony Trischka – banjo
UPC Code: 708857001927
ISRC: QZR8K2560000 From a historical marker In Columbus, Georgia:
The “Columbus Stockade Blues” by Thomas Darby and Jimmie Tarlton, was written and recorded in 1927. Many famous artists have since played the song in band, jazz, blue grass, country, and blues arrangements. These two brick buildings served as jail and police headquarters from the 1850s to 1906. Then the buildings were joined and appear today much as they did when the song was written.
Del and Ronnie’s vocal duo on the chorus is profoundly mournful and though this isn’t technically a high lonesome tune, in their hands it becomes just that. Jason’s fiddling is exquisite and Ronnie’s Monrovian solo is deep as the ocean. Earl’s solo and Ronnie and Del’s harmony create the sound of a tonic chord against the V chord, and result in a beautiful tension. Earl’s flatted seventh backward rolls between his verse and chorus come from a different jam on the same song, but so blew me away that I had to fly them into this one. Alan has open space to shine on the bass.
Way down in Columbus Georgia
Lord I wish I was back in Tennessee
Way down in that old Columbus Stockade
My friends all have turned their back on me.
Go and leave me if you wish to
Never let me cross your mind
In your heart you love another
Leave me, little darling, I don’t mind
Many a night with you I’ve rambled
Honey, countless hours with you I’ve spent
Thought I had your sweet love and your little heart forever
But I find it was only lent.
Go and leave me if you wish to
Never let me cross your mind
If in your heart you love another
Leave me, little darling, I don’t mind
Last night as I lay sleeping
Oh, I dreamd that I was you in my arms
When I woke I was mistaken
Lord, I was still behind these bars
Go and leave me if you wish to
Never let me cross your mind
If in your heart you love another
Leave me, little darling, I don’t mind
Lord, I’ve got the walking blues

Red River Valley 3:34
(Public Domain/Traditional)
UPC Code: 708857001927
QZR8K2560001
MOLLY TUTTLE appears courtesy of Nonesuch Records
CO-PRODUCED BY Lawson White
PRODUCED BY Tony Trischka
ARRANGEMENTS by Tony Trischka
RECORDINGS MADE at PARLOR STUDIOS, Nashville
ENGINEER: Eli Crews
MIXING : Jim Robeson
MASTERING: Paul Blakemore
ART DIRECTION AND DESIGN: Nathan Golub and David Gorman
PHOTOGRAPHY: Greg Heisler
STUDIO MUSICIANS:
Molly Tuttle lead vocal & guitar
Bronwyn Keith-Hynes fiddle, high & low harmony vocals
Sam Bush mandolin
Mark Schatz bass
Tony Trischka banjo
This song may have been composed in 1870 in Manitoba’s Red River Valley, and the first commercial recording was waxed by Hugh Cross and Riley Puckett in 1927. Most importantly, in 1939, The Three Stooges sang the song in the short film Yes, We Have No Bonanza. Here, Molly’s beautiful vocal carries the listener, body and soul, to that distant valley, and Bronwyn’s harmony makes the song all the more poignant. Earl’s solo is a paradigm of creative simplicity.

From this valley they say you are goin’
I will miss your bright eyes and sweet smile
For they say you are takin’ the sunshine
That has brightened our pathway the while

Do you think of the valley you’re leavin’
Oh, how lonely and dreary it will be
Do you think of the fond heart you’re breakin’
And the sadness you’ve cast over me

For a long time my dear, I’ve been waiting
For the words that you never would say
And alas my poor heart you are breakin’
For they tell me you’re goin’ away

As you go to your home by the ocean
May you never forget those sweet hours
That we spent in the Red River Valley
And the love we exchanged mid the flowers

Come and sit by my side if you love me
Do not hasten to bid me adieu
But remember the Red River Valley
And the one that has loved you so true

Old Cacklin’ Hen 2:40
(John C. Hartford – Music By Walnut Creek Publishing, BMI / John Hartford Enterprises, BMI) QZR8K2560002
UPC Code: 708857001927
CO-PRODUCED BY Lawson White
PRODUCED BY Tony Trischka
ARRANGEMENTS by Tony Trischka
RECORDINGS MADE at PARLOR STUDIOS, Nashville
ENGINEER: Eli Crews
MIXING : Jim Robeson
MASTERING: Paul Blakemore
ART DIRECTION AND DESIGN: Nathan Golub and David Gorman
PHOTOGRAPHY: Greg Heisler
STUDIO MUSICIANS:
Stuart Duncan fiddle
Michael Daves guitar
Dominick Leslie mandolin
Mike Bub bass
Tony Trischka banjo
Fiddlin’ John Carson recorded this tune in 1923. Grayson and Whitter in 1928. It can also be found in the black, Mid-South string band tradition. Old time fiddler JE Mainer also recorded it, with this lyric:
Old hen cackled, cackled in the lot
Next time she cackled, cackled in the pot
Love it! Didn’t find out about Mainer’s version until after we recorded it so I guess we’ll just have to make EJ3. Earl wasn’t often taken to imitations, though he did personify with his banjo a little boy talking to his father in “Mama Blues.” On this tune, in the jams, he recreates the cluck of the old cacklin’ hen to good effect. Stuart’s bodacious fiddling also features a righteous chicken sound. Dominick’s rendition bespeaks an out of control clucker.

Mom and Dad’s Waltz, Featuring Farayi Malek
3:46
(Lefty Frizzell – APRS, BMI)
QZR8K2560003
UPC Code: 708857001927
CO-PRODUCED BY Lawson White
PRODUCED BY Tony Trischka
ARRANGEMENTS by Tony Trischka
RECORDINGS MADE at PARLOR STUDIOS, Nashville
ENGINEER: Eli Crews
MIXING : Jim Robeson
MASTERING: Paul Blakemore
ART DIRECTION AND DESIGN: Nathan Golub and David Gorman
STUDIO MUSICIANS:
Farayi Malek vocal
Sam Bush mandolin
Jerry Douglas Dobro
Bryan Sutton guitar
Todd Phillips bass
Tony Trischka banjo
This song by Lefty Frizzell reached #2 on the country charts in 1951. Lefty apparently wrote it in his car one night by the dashboard light. He gave all the royalties to his mom and dad. In this iteration, I’m joined by some of Nashville’s finest. Jason Carter stepped in at the last minute when another fiddler was suddenly unable to make it. I loved the track, but hadn’t settled on a vocalist yet. I was unfamiliar with Farayi Malek’s music before this all came together. Through Ken Irwin, and unbeknownst to me, Farayi recorded a demo over the basic track and sent it to me. I was blown away, and said, yes please, let’s do this. Her incredible multi-tracked vocal is the result.

Mom And Dad’s Waltz”
I’d walk for miles, cry or smile
For my mama and daddy
I want them
I want them to know
Now I feel my love is real
For my mama and daddy
I want them to know
I love them so

In my heart joy tears start
‘Cause I’m happy
And I pray every day
For mom and pappy

And each night
I’d walk for miles, cry or smile
For my mama and daddy
I want them to know
I love them so

I’d fight in wars, do all the chores
For my mama and daddy
I want them to live on
Till they’re called
I’d work and slave and never rave
To my mama and daddy
Because I know
I owe them my all

In my heart joy tears start
‘Cause I’m happy
And I pray every day
For mom and pappy

And each night
I’d walk for miles, cry or smile
For my mama and daddy
I want them to know
I love them so, I love them so

Gentle on My Mind 6:18
(John C. Hartford – Music By Walnut Creek Publishing, BMI / John Hartford Enterprises, BMI)
UPC Code: 708857001927
EXTENDED VERSION:
ISRC: QZR8K2560004
RADIO VERSION:
ISRC: QZR8K2560015
Tony Trischka: Banjo
Billy Strings: Vocal & Guitar
Michael Cleveland: Fiddle
Sam Bush: Mandolin
Mark Schatz: Upright Bass
Billy Strings appears courtesy of Reprise Records
Produced by Béla Fleck
Arrangements by Tony Trischka
Recorded at Parlor Studios, Nashville, TN
Engineered by Eli Crews
Mixing by Jim Robeson
CO-PRODUCED BY Lawson White
PRODUCED BY Tony Trischka
ARRANGEMENTS by Tony Trischka
RECORDINGS MADE at PARLOR STUDIOS, Nashville
ENGINEER: Eli Crews
MIXING : Jim Robeson
MASTERING: Paul Blakemore
ART DIRECTION AND DESIGN: Nathan Golub and David Gorman

John Hartford once told me that this tune bought him his bus. He apparently was inspired to write it after watching Dr. Zhivago in 1966. Béla produced the track and came up with the great fiddle/Billy vocal intro and the unexpected outro. The modulation for the banjo break
was necessitated by the need for Billy’s poignant vocal to be in his range and for Earl’s recreated solo to be where Earl originally played it.

It’s knowing that your door is always open and your path is free to walk
That makes me tend to leave my sleeping bag rolled up and stashed behind your couch
It’s knowing I’m not shackled by forgotten words and bonds
And the ink stains that have dried upon some line
That keeps you in the back roads by the rivers of my mem’ry
That keeps you ever gentle on my mind
It’s not clinging to the rocks and I’d be planted on their columns now that bind me
Or something that somebody said because they thought we fit together walkin’
It’s just knowin’ that the world will not be cursing or forgiving
When I walk along some railroad track and find
You’re movin’ on the back roads by the rivers of my mem’ry
And for hours you’re just gentle on my mind
Though the wheat fields and the clotheslines
And the junkyards and highways come between us
And some other woman’s cryin’ to her mother
Cause she turned and I was gone
I still might run in silence, tears of joy might stain my face
And the summer sun might burn me ’til I’m blind
But not to where I cannot see you walkin’ by the backroads
Of the rivers flowing gentle on my mind
I dip my cup of soup back from a gurglin’
Cracklin’ cauldron in some train yard
My beard a rough’nin’ coal pile
And a dirty hat pulled low across my face
Through cupped hands ’round a tin can
I pretend to hold you to my breast and find
You’re waitin’ from the backroads by the rivers of my memories
Smilin’, ever gentle on my mind

Maple on the Hill
3:36 Public Domain/Traditional) First Successful African American Composer and songwriter, Gussie Lord Davis (1863-1899) Born in Dayton, OH. ISRC: QZR8K2560005  UPC Code: 708857001927 CO-PRODUCED BY Lawson White PRODUCED BY Tony Trischka ARRANGEMENTS by Tony Trischka ENGINEER: Eli Crews MIXING : Jim Robeson MASTERING: Paul Blakemore Sister Sadie appears courtesy of Mountain Home Music
STUDIO MUSICIANS:
Tony Trischka banjo
Featuring Sister Sadie
Gena Britt banjo & vocals
Deanie Richardson fiddle
Dani Flowers guitar & vocals
Jaelee Roberts guitar & vocals
Katie Blomarz-Kimball bass & vocals
Rainy Miatke mandolin & vocals
“Maple” is based on a 1939 original Carter Family version for radio broadcasts on Mexican border stations. It was written by Gussie Lord Davis in 1880. Sister Sadie are one of the finest bluegrass groups out there today. Their vocals here are searing and heart-rending and their instrumental prowess is up there with the best. Gena’s an incredible banjo player, and though she’s laying down rock solid rhythm guitar here, I couldn’t let the opportunity slip by without her playing the five-string. That’s all Gena, grooving the back-up behind the vocals. I replicate Earl’s solos at the beginning and end. Deanie, in addition to providing a wonderfully lush double fiddle break, was hugely helpful in producing the vocals.

In a quiet country village stood a maple on the hill Where I sat with my Geneva long ago As the stars were shining brightly we could hear the whippoorwill As we sat beneath the maple on the hill
We would sing love songs together when the birds had gone to rest We would listen to the murmur o’er the hill Will you love me, little darling as you did those starry nights As we sat beneath the maple on the hill
Don’t forget me, little darling when they lay me down to die Just one little wish, my darling, that I pray As you linger there in sadness thinking darling of the past Let your teardrops kiss the flowers on my grave
I will soon be with the angels on that bright and peaceful shore Even now I hear them coming o’er the hill So goodbye, my little darling It is time for us to part I must leave you ‘neath the maple on the hill

Lost John
2:37
(Public Domain/Traditional)
Tony Trischka banjo
Featuring The SteelDrivers
Matt Dame vocal & guitar
Tammy Rogers fiddle & vocal
Brent Truitt mandolin
UPC Code: 708857001927
QZR8K2560006 CO-PRODUCED BY Lawson White PRODUCED BY Tony Trischka ARRANGEMENTS by Tony Trischka DOWN IN THE WILLOW GARDEN – EastSideStudio – NYC  ENGINEER: Eli Crews MIXING : Jim Robeson MASTERING: Paul Blakemore
Though not a Beatles tune, John Lennon recorded a demo of this, similar to an earlier recording by one of his inspirations, skiffle master Lonnie Donegan. The song goes way back, and Earl and John must’ve really liked it because they played it multiple times over the years during their jams. This arrangement is based on a conflation of those. So glad to have The SteelDrivers on this song because they blew it out of the water. Matt Dame’s vocal is a tour de force with an urgency, propelling the song forward. Tammy Rogers’ sinewy fiddling, doubled and otherwise, is a perfect complement. Thanks to Tammy for her insightful production ideas.
Long John walkin’ around in the rain He’s long gone Lost John Long gone Lost John No hat on his head no shoes on his feet He’s a beggin the women for his meat I had an ol’ dog and his name was like a rabbit through Bowlin’ Green Lost John walked around in rain Around the corner left him sittin’ by the ol’ railroad

I Still Miss Someone, Featuring Sierra Ferrell
3:22
(John R. Cash / Roy Cash, Jr. – House of Cash/Southwind Music, BMI / Unichappell Music Inc, BMI)
QZR8K2560007
UPC Code: 708857001927
CO-PRODUCED BY Lawson White
PRODUCED BY Tony Trischka
ARRANGEMENTS by Tony Trischka
RECORDINGS MADE at PARLOR STUDIOS, Nashville
ENGINEER: Eli Crews
MIXING: Jim Robeson
MASTERING: Paul Blakemore
ART DIRECTION AND DESIGN: Nathan Golub and David Gorman
Sierra Ferrell appears courtesy of Rounder Records
Sierra Ferrell vocal
Oliver Craven guitar
Josh Rilko mandolin
Geoff Saunders. bass
Bryan Sutton guitar
Tony Trischka banjo
Johnny Cash first recorded this song, which he co-wrote with his nephew Roy, in 1958. In one of the multiple recordings of the song, Johnny’s band came in on the chorus, and I just loved it. Sierra sings the song beautifully, with her band joining in on the refrain.

At my door the leaves are falling
The cold wild wind will come
Sweethearts walk by together
And I still miss someone
I go out on a party
And look for a little fun
But I find a darkened corner
Because I still miss someone
No, I never got over those blue eyes
I see them everywhere
I miss those arms that held me
When all the love was there
I wonder if she’s sorry
For leaving what we’d begun
There’s someone for me somewhere
And I still miss someone
No, I never got over those blue eyes
I see them everywhere
I miss those arms that held me
When all the love was there
I wonder if she’s sorry
For leaving what we’d begun
There’s someone for me somewhere
And I still miss someone

That’s Alright Mama, Featuring Dudley Connell
3:04
(Arthur Crudup – Crudup Music, BMI / PW Ballads, BMI / Unichappell Music Inc, BMI)
QZR8K2560008
UPC Code: 708857001927
CO-PRODUCED BY Lawson White
PRODUCED BY Tony Trischka
ARRANGEMENTS by Tony Trischka
RECORDINGS MADE at PARLOR STUDIOS, Nashville
ENGINEER: Eli Crews
MIXING: Jim Robeson
MASTERING: Paul Blakemore
ART DIRECTION AND DESIGN: Nathan Golub and David Gorman
Dudley Connell. vocal, guitar
Jacob Jolliff mandolin
Michael Cleveland fiddle
Jared Engel bass
Sally Love harmony vocals
Tony Trischka banjo
Elvis Presley’s debut single on Sun Records in 1954 (backed by “Blue Moon of Kentucky”), this was originally recorded in 1946 by its composer Arthur Crudup. Dudley was the perfect fit for this song with his swaggering vocal. And I love the glissy double stop that Michael came up with to enter and depart the tune.

Well, that’s all right, mama
That’s all right for you
That’s all right, mama, just anyway you do
Well, that’s all right, that’s all right
That’s all right now, mama, anyway you do
Well, mama, she done told me
Papa done told me too
“Son, that gal you’re foolin’ with, she ain’t no good for you”
But that’s all right, that’s all right
That’s all right now, mama, anyway you do
I’m leavin’ town, baby
I’m leavin’ town for sure
Well, then you won’t be bothered with me hangin’ ’round your door
But that’s all right, that’s all right
That’s all right now, mama, anyway you do
Ah, da-da-dee, dee, dee-dee
Dee, dee, dee-dee
Dee, dee, dee-dee, I need your lovin’
That’s all right
That’s all right now, mama, anyway you do

Bill Cheatham
3:17
Public Domain / Traditional
QZR8K2560009
UPC Code: 708857001927
CO-PRODUCED BY Lawson White
PRODUCED BY Tony Trischka
ARRANGEMENTS by Tony Trischka
RECORDINGS MADE at PARLOR STUDIOS, Nashville
ENGINEER: Eli Crews
MIXING : Jim Robeson
MASTERING: Paul Blakemore
ART DIRECTION AND DESIGN: Nathan Golub and David Gorman
Brittany Haas fiddle
Darol Anger fiddle
Mike Bub bass
Bryan Sutton guitar
Tony Trischka banjo
When I bought Flatt and Scruggs’ album Strictly Instrumental with Doc Watson back in the ‘60s I was excited to see this tune on the track listing. Finally, I would know the correct way to play this iconic fiddle tune. Instead, I became lachrymose when I spun the platter to find, instead of a break by Earl, a harmonica solo. In the Earl/John jams there were five or six versions from various dates. Listening through the first five or so revealed only fiddle lead with Earl doing back-up. Finally, on the last rendering, jumpin’ Jehosaphat!, there were two wonderful banjo solos. The fourth measure of Earl’s A part features a quirky Eb note on the second string. He plays it multiple times, so he surely meant it to be that way. The B parts are wonderfully syncopated with either all backward rolls, or backward rolls interspersed with a forward roll. Brittany and Darol’s fiddles dance with splendid, free form, contrapuntal abandon. And Bryan’s brilliant solo will lift you out of your seat!

Down In the Willow Garden, Featuring the Gibson Brothers
4:21
(Public Domain/Traditional)
QZR8K2560010
UPC Code: 708857001927
Eric Gibson lead vocal
Leigh Gibson guitar & harmony vocal
Jacob Jolliff mandolin
Michael Cleveland fiddle
Mike Barber bass
Tony Trischka banjo
CO-PRODUCED BY Lawson White
PRODUCED BY Tony Trischka
ARRANGEMENTS by Tony Trischka
DOWN IN THE WILLOW GARDEN – EastSideStudio – NYC
ENGINEER: Eli Crews
MIXING: Jim Robeson
MASTERING: Paul Blakemore
ART DIRECTION AND DESIGN: Nathan Golub and David Gorman
Probably originating in 19th century Ireland, this tune was originally recorded by Grayson and Whitter in 1927, but Charlie Monroe’s 1947 version gained it more popularity. There are multiple versions of this sorrowful tune in the Earl/John jams, both fast and slow. I decided to combine both on this track. The Gibson Brothers’ searing harmonies drive this tune and Eric’s lead on the verse carries the dark nature of the lyrics. Michael’s solo creates a delicious I against IV tension. Jake turns in a fantastic solo and Earl’s playing is filled with some unusual moments in the opening ¾ section.
Down in the willow garden where me and my love did meet There we sat a-courting my love fell off to sleep I had a bottle of burgundy wine which my true love did not know And there I poisoned that dear little girl down by the banks below
I drew my saber through her which was a bloody knife I threw her in the river which was an awful sight My father often told me that money would set me free If I would murder that dear little miss whose name was Rose Connelly
Now he sits by his old cabin door a wiping his tear-brimmed eyes Mourning for his only son out on the scaffold high My race is run beneath the sun the devil is waiting for me For I did murder that dear little girl whose name was Rose Connelly

Boil Them Cabbage Down
1:05
(Public Domain/Traditional)
Tony Trischka banjo
QZR8K2560011
UPC Code: 708857001927
CO-PRODUCED BY Lawson White
PRODUCED BY Tony Trischka
ARRANGEMENTS by Tony Trischka
DOWN IN THE WILLOW GARDEN – EastSideStudio – NYC
ENGINEER: Eli Crews
MIXING : Jim Robeson
MASTERING: Paul Blakemore
ART DIRECTION AND DESIGN: Nathan Golub and David Gorman

This is one of only a handful of solo performances by Earl from these jams (another being “Shout Little Lulu,” which we recorded for the first Earl Jam album). Listening casually, it sounds like Earl is playing pretty much the same notes five times in a row, but listening at half speed reveals many subtle delights. Drop C tuning (gCGBD) is always nice to hear for its richness and that delicious low C on the fourth string. The second time he played through the form, Earl deployed an inverted alternating thumb roll (TMTI instead of TITM). Having spent my entire banjo life anchored to the latter, the inverted feels plain weird, and this may be the only time Earl used it. On the second to last solo, Earl was hitting his fifth string with greater emphasis. I’m not sure why, though it might have been to accentuate the syncopation. I tried, but don’t think I adequately recreated that aspect in this recording.

Here Comes the Bride, Featuring Sam Bush
1:42
(Public Domain/Traditional)
QZR8K2560012
UPC Code: 708857001927
Michael Cleveland fiddle
Mark Schatz feet
Sam Bush vocal
Tony Trischka banjo
CO-PRODUCED BY Lawson White
PRODUCED BY Tony Trischka
ARRANGEMENTS by Tony Trischka
DOWN IN THE WILLOW GARDEN – EastSideStudio – NYC
ENGINEER: Eli Crews
MIXING : Jim Robeson
MASTERING: Paul Blakemore
ART DIRECTION AND DESIGN: Nathan Golub and David Gorman
While scanning the alphabetical list of tunes on the thumb drive, much to my bemusement, I found this gem. Just John and Earl, fiddle and banjo….and John’s buck and wing. No audience. John just felt like dancing. For this recording, wIth the esteemed help of Michael’s fiddle, Mark’s fleet feet and Sam’s incomparable channeling of Harry Carey, the former voice of the Chicago Cubs, you’re getting a lot for your entertainment dollar.

Chicken Reel
0:34
(Public Domain/Traditional)
QZR8K2560013
UPC Code: 708857001927
CO-PRODUCED BY Lawson White
PRODUCED BY Tony Trischka
ARRANGEMENTS by Tony Trischka
DOWN IN THE WILLOW GARDEN – EastSideStudio – NYC
ENGINEER: Eli Crews
MIXING : Jim Robeson
MASTERING: Paul Blakemore
Tony Trischka banjo
This novelty tune was composed and published in 1910 by Joseph M. Daly, with lyrics by Joseph Mittenthal. You owe it to yourself to listen
to Les Paul’s swingy and tonally delicious recording, replete with realistic chicken sounds. This is another of the very few tunes from the jams that Scruggs played solo. He just plays it once through, out of the “Sally Goodin” position, the same area of the banjo neck where the other poultry themed tune on this album, “Old Cacklin’ Hen,” roosts. Earl finishes off with a great, snappy ending, one of many that he seems to have concocted on the spot.

Wish We Had Our Time Again, Featuring Bruce Molsky
4:27
QZR8K2560014
UPC Code: 708857001927
CO-PRODUCED BY Lawson White
PRODUCED BY Tony Trischka
ARRANGEMENTS by Tony Trischka
DOWN IN THE WILLOW GARDEN – EastSideStudio – NYC
ENGINEER: Eli Crews
MIXING : Jim Robeson
MASTERING: Paul Blakemore
Bruce Molsky lead vocal, fiddle
Jared Engel bass
Dudley Connell vocal
Sally Love vocal
Tony Trischka banjo
Another tune penned by John Hartford. We honored the simple trio format featured in many of the Earl and John jams with just me, Bruce, and the more than capable hands of Brooklyn’s bassist extraordinaire Jared Engel. Bruce and I have been musical partners for many years and it’s nice to have a chance to combine Earl’s bluegrass with Bruce’s finger picked guitar and old time fiddling. Bruce ends with a glorious version of “Wish I Had My Time Again,” originally recorded in 1933 by the Hatton Brothers. John used the melody and title of this fiddle tune as the inspiration for his song.
Wish that it was me, Lord,
Wish that it was me.
I wish I had my time again,
Wish I had my time, time.