for Excellence in Banjo and Bluegrass.
Stuart Duncan and Noam Pikelny in concert
At the age of 33 Noam Pikelny has already amassed the sort of credentials typical of someone twice his age.
The term prodigy is often cavalierly tossed around to the point that it begins to lose all meaning but Pikelny is among those for whom it’s appropriate.
Winner of the 2010 first annual Steve Martin Prize for Excellence in Banjo and Bluegrass, Pikelny is a veteran of the progressive Bluegrass band Leftover Salmon (2002-2004), the John Cowan Band (2004-2006) before becoming a founding member of Punch Brothers. Over the last eight years with the band, his melodic and unique styling has helped redefine the role of the banjo, moving the instrument back to the forefront of modern music.
In addition to his band work, Pikelny has released an acclaimed trio of solo recordings, the second of which was nominated for a Grammy Award. But it is his current project of which he’s the most excited. Teaming with sideman extraordinaire and four time Grammy winner Stuart Duncan, whose own credentials are a veritable who’s who of contemporary Bluegrass; Pikelny has embarked on his latest musical journey.
The pairing of fiddle and banjo in duet is hardly unique but it has commonly been used within the context of a larger band, surrounded by guitar and anchored by upright bass. It has rarely been placed center stage. Both Pikelny and Duncan are undeniably among the foremost players on their respective instruments, often blurring the lines of what constitutes roots music in the 21st century. Before them lies an unfolded carpet, an open road that is theirs to travel as they wish.
James Cassara: As of this writing your current tour hasn’t yet started but am I correct in thinking you and Stuart have done this before?
Noam Pikelny: We played a few dates together in March and continued on into the summer, mostly hitting the festival circuit and things of that sort. It was a great experience, which is what inspired us both to continue working together.
JC: How did the pairing of you two initially come about? Was this something that had percolated in the back of your minds and finally presented itself, or was it more of a spontaneous meeting of the minds?
NP: The pairing with Stuart was something I’d been thinking about for a long time. I was obviously familiar with his work, especially the acoustic stuff he’d done with Bela Fleck, and readily admit to being in awe of his playing. When I was putting together a band for the Plays Kenny Baker Plays Bill Monroe project I kept thinking he’d be perfect for it. Luke Bulla, who plays fiddle in my band, was producing the album and he’s also a fan of Stuart’s. In fact Stuart had been a mentor of sorts to him, so that pretty much sealed it.
JC: You’re both known for your virtuosic skills on your instruments, yet looking at a few of the live music clips I was sent, there’s a lot of playful improvisation going on. How important is that to you?
NP: It’s vital. The more we played together the more comfortable we got, and we began to really challenge one another. I’m not putting myself in Stuart’s league (writer’s note: I would) but playing with him pushed me to work harder. There’s a lot of dynamic stuff going on, a lot of counter rhythms and such that the audience might not hear or be tuned into. But we know it’s there, and try to keep finding new ways to move it.
JC: I’ve seen performers who are so skilled on their instruments it almost comes across as an instructional video. But with you there’s a lot of interchange with the audience. Did that develop during the Leftover Salmon days?
NP: That was one of the great things about playing with the Salmon. We played a lot of festivals and such but, while the band really grew in popularity, we never lost touch with the audiences. And Salmon was never so big that it played the huge halls that make it easy to become disconnected with the fans. We played a lot of shows and still took audience requests and chatted back and forth.
JC: Talk a bit about playing with John Cowan. I’m pretty sure the band played Asheville during the time you were with them.
NP: We did, and since then I’ve made it my mission to come back. Being part of the John Cowan band was never less than great. I was surrounded by first class musicians and played venues big and small. I also met so many musicians I had long looked up to. I wouldn’t have traded that for anything.
JC: The Altamont is a fantastic acoustic venue, intimate in size and just aesthetically gorgeous. I suspect you don’t choose the venues in which you perform but it must be a delight to show up and discover a location tailored for your music.
NP: Actually when it’s just Stuart and me we have the luxury of choosing the venues we want. I had heard of the Altamont and while we usually play the Grey Eagle, if I remember right they were booked. So the Altamont seems a great fit. When I pull into an unfamiliar venue, one that looks and sounds great, it just inspires me. I take it as a challenge to do that venue proud. Of course there is also the economics. If a venue only seats a hundred or so then things get scaled back. It might just be the two of us, rather than a full band.
JC: Your session work, which has included Wilco, Fiona Apple, Norah Jones, as well as a fair amount of soundtracks, has taken you well outside what some might think of as your province. What do you look for in deciding on which projects to take on?
NP: Often it’s a matter of scheduling, trying to balance touring with staying in town for a few days. I now live in Los Angeles which makes it easier for me to do some session stuff. I look for projects that sound interesting or people I just admire and want to play with. It’s not a big part of my work and I suspect it never will be, but when the right opportunity comes my way and it fits my schedule I grab it.
JC: Any plans to record again with Stuart?
NP: We’d love to but again it’s a matter of scheduling. We’re both incredibly busy, and he’s one of the most in demand musicians around. We’re tentatively looking at late fall, but the first thing is to wrap up this tour. Anytime I can work with a musician as great as Stuart I am going to do so. This has been the best year of my career and I can only see it getting better.
If You Go: Stuart Duncan and Noam Pikelny in concert, Sunday, October 5, 2014 at 7 p.m.. Tickets are priced at $30 adv. / $35 day of show for this all ages seated event att The Altamont Theatre, 18 Church St., Asheville. For more information call (828) 270-7747 or visit www.myAltamont.com.
