Following his self-titled record, CRK, Knowler shares East of the Gilas (Lagniappe Session), a four song covers EP. Steeped in tradition but not beholden to it, reverent but never imitative, Knowler does more than just pay respect to his heroes—instead, he creates a dialogue with them, putting his interpretive flavor on canonical tunes, or shining a light on unheralded gems that document forgotten traditional lineages.
1. Knowler, for example, describes an initial resistance to John Fahey’s “Sunflower River Blues” due to its pervasiveness in the acoustic guitar world, calling it an “immovable chestnut.” In Knowler’s deft hands, the piece becomes anything but, with string arrangements by Matt Combs offering an unexpected levity and sophistication.
2. On “The Gardenia Flower”, an instrumental take on the Hawaiian mele “Pua Sadinia”, Knowler sought to highlight the intersection of various musical traditions, and uphold the originators whose work has often been borrowed or lifted, uncredited, in broader popular culture. Knowler’s playfulness shines through so vibrantly that even in his wordless version, you can almost hear the lyrics of the original: “Love is a great treasure / that is held within me.”
3. For his take on Elizabeth Cotton’s “Wilson Rag”, Knowler chose sounds that originated from Cotten's lifetime, performing on an Antonio Grauso acoustic guitar, and accompanying himself with a Lyon & Healy kick drum, both from the early 1900’s. He also enlisted pedal steel player Will Ellis, who provides melodic accompaniment so vital that it’s almost easy to forget this was not part of the original.
4. Perhaps the most interesting tune is Knowler’s take on Norman Blake’s “Shallegra”. As a longtime (and recovering, he jokes) Blake devotee, Knowler lists “Shallegra” as perhaps the only Norman tune he never connected with. It takes courage to confront your musical heroes, and even more so to question your own artistic instincts and first impressions. Knowler expands the piece to include “Steamboat Around The Bend” by Blake’s longtime collaborator James Bryan — in the spirit of collaboration, Knowler invites the largest ensemble to feature on the EP to join him, including Brittany Haas, Jordan Tice, as well Matt and Rachel Combs (James’ daughter).
They say to never meet your heroes, but in every sense, Knowler has done just that here. He pays his respects, without shying away from challenging them and himself too—he dances around their melodies with reharmonized figures, and spars with them in his reimagined compositions. His impressive range as both player and composer certainly lifts him onto their echelon, but it is his simultaneous humility and innovation in the face of tradition that lets him truly meet them as equals.
A cover song may be many things: an impression, a homage, a thank you. In Knowler’s hands it’s all of these and more—never merely an artifact, but a representation of a tradition very much still alive, a conduit for its continued breathing.
Following his self-titled record, CRK, Knowler shares East of the Gilas (Lagniappe Session), a four song covers EP. Steeped in tradition but not beholden to it, reverent but never imitative, Knowler does more than just pay respect to his heroes—instead, he creates a dialogue with them, putting his interpretive flavor on canonical tunes, or shining a light on unheralded gems that document forgotten traditional lineages.
1. Knowler, for example, describes an initial resistance to John Fahey’s “Sunflower River Blues” due to its pervasiveness in the acoustic guitar world, calling it an “immovable chestnut.” In Knowler’s deft hands, the piece becomes anything but, with string arrangements by Matt Combs offering an unexpected levity and sophistication.
2. On “The Gardenia Flower”, an instrumental take on the Hawaiian mele “Pua Sadinia”, Knowler sought to highlight the intersection of various musical traditions, and uphold the originators whose work has often been borrowed or lifted, uncredited, in broader popular culture. Knowler’s playfulness shines through so vibrantly that even in his wordless version, you can almost hear the lyrics of the original: “Love is a great treasure / that is held within me.”
3. For his take on Elizabeth Cotton’s “Wilson Rag”, Knowler chose sounds that originated from Cotten's lifetime, performing on an Antonio Grauso acoustic guitar, and accompanying himself with a Lyon & Healy kick drum, both from the early 1900’s. He also enlisted pedal steel player Will Ellis, who provides melodic accompaniment so vital that it’s almost easy to forget this was not part of the original.
4. Perhaps the most interesting tune is Knowler’s take on Norman Blake’s “Shallegra”. As a longtime (and recovering, he jokes) Blake devotee, Knowler lists “Shallegra” as perhaps the only Norman tune he never connected with. It takes courage to confront your musical heroes, and even more so to question your own artistic instincts and first impressions. Knowler expands the piece to include “Steamboat Around The Bend” by Blake’s longtime collaborator James Bryan — in the spirit of collaboration, Knowler invites the largest ensemble to feature on the EP to join him, including Brittany Haas, Jordan Tice, as well Matt and Rachel Combs (James’ daughter).
They say to never meet your heroes, but in every sense, Knowler has done just that here. He pays his respects, without shying away from challenging them and himself too—he dances around their melodies with reharmonized figures, and spars with them in his reimagined compositions. His impressive range as both player and composer certainly lifts him onto their echelon, but it is his simultaneous humility and innovation in the face of tradition that lets him truly meet them as equals.
A cover song may be many things: an impression, a homage, a thank you. In Knowler’s hands it’s all of these and more—never merely an artifact, but a representation of a tradition very much still alive, a conduit for its continued breathing.
