Jayme Stone's Lomax Project ventures into the Arden

As a two-time Juno-winning banjoist and singer-songwriter, it was inevitable Jayme Stone would at some point gravitate to Alan Lomax’s collection of songs.

Considered the dean of American folk field recorders, Alan Lomax spent a large part of the 20th century recording and documenting songs from the so-called rougher edges of life, songs that offered up an alternative, harsher view of the world.

He climbed mountains, tramped through fields and waded along rivers to record the oral singing traditions of folk, gospel, spiritual, blues, jazz and any roots tradition that stood in danger of being lost through time.

Roughly 35,000 songs were recorded and catalogued for the Library of Congress. Those songs are some of the most vital ever recorded reflecting an impoverished culture that felt weighed down by power, greed and injustice.

But the songs he compiled were just as much about dignity, joy, forgiveness and eternal love as they were about tyranny, intolerance, pain and suffering.

The great historical significance and power of this collection is unparalleled and in past decades the music industry has been bombarded with Alan Lomax tributes.

As one of Canada’s premiere string players and arrangers, Jayme Stone has made his mark in breaking down musical boundaries. Authenticity is key in his choices and Lomax’s collection proved to be an irresistible well of assortments.

“It was a chance for me to learn and be curious about new kinds of music I like and enjoy playing,” said Stone, who is performing at the Arden Theatre on Saturday, Nov. 12 with Joe Phillips (bass), Rachel Ries (lead singer-accordion) and Sumia Jackson (fiddle).

In 2015 the Toronto-based recording artist released the Jayme Stone Lomax Project. From Lomax’s entire collection, Stone shortlisted his selections to 100 and 20 of those landed on the album.

“Every song had its own story and it was always something different that called to us – the lyrics, the sheer beauty of the performance or just the potential for recording.”

The re-imagined traditional music included Bahamian sea shanties, African-American a cappella singing from the Georgia Sea Islands, ancient Appalachian ballads, fiddle tunes and work songs.

Most were collected from everyday working folk: sea captains, cowhands, fishermen, prisoners, sharecroppers, cleaning ladies and homemakers.

Stone did more than just release remakes of a field recording. He put his own spin on each song.

“It was as important to me as the music. I’m a contemporary artist, not a traditionalist. I’m perfectly happy putting on my stamp. But it was also important to study songs carefully and get a sense of who the people were who sang the songs originally.”

His instincts were bang on. Accolades for the 2015 rich, roots album poured in from every major news outlet in North America and music fans couldn’t get enough.

As the Huffington Post wrote, “This project is not about the collector – it’s about the songs and the way Stone and his musical team take them to new, often harmonious heights.

In his journey, Stone discovered the great voice of Bessie Jones, an African American gospel and folk singer credited with legitimizing slave and field songs.

“Her voice was so extraordinary – so honest. She just puts such feeling into it and she has such a wealth of songs – slave shouts, game songs, spirituals and so many traditionals.”

Stone is currently recording Jayme Lomax’s Folk Life, a continuation of the Lomax Project and he will perform several tunes from it at the Arden concert.

“Folk Life going to be three-quarters Allan and a few from the Smithsonian. In the process of discovering Allan, were also discovered other gems as well. We have plenty of new stuff.”