Sadie Compton: reviews

Sadie Compton is not your typical old-time fiddler. She plays string band style music on a Norwegian hardanger fiddle, a relatively rare and seldom heard instrument even within fiddle circles. Also, she plays with little apparent concern for fitting into the constraints of a genre, flavoring her music with Cajun, bluegrass, and old-time sounds. Finally, Compton thanks her tattoo artist within the liner notes, possibly a first for an old-time musician!
I'm not going to pretend I could tell the difference between Norwegian and Appalachian fiddle styles at first listen. However, after listening to Compton's earthy, sensuous debut album, one is cognizant that one is hearing a very special talent, the likes of which are seldom encountered.
Compton makes truly beautiful fiddle music that is augmented by some of the finest, and most selective, acoustic musicians working today including Bruce Molsky, James Bryan, Mike Compton, and Candace Randolph. Featuring various alignments, from duos to quintets, the haunting music produced by Compton's fiddle unites the range of sounds contained within several original and traditional numbers.
Compton's voice is striking but, unfortunately, only one vocal piece is included; Compton's pure mountain voice brings stark reality to Ola Belle Reed's "When I Can Read My Titles Clear." Produced by Alan O'Bryant, some of this music was captured at a "pickin' party" in Alabama while the remainder was more formally recorded. The music is delightfully loose and spontaneous, warmed with a spirit of friendship that is audible.
An inspiration to non-musicians everywhere, Compton didn't pick up the fiddle until age 26. Embracing the enticing exoticness of Trouble Come Knockin' makes one very pleased that she has chosen to pursue her artistic Muse. If one enjoys eclectic music artists such as Red Clay Ramblers, Jody Stecher, and the Reeltime Travelers, Sadie Compton's version of old-time music is sure to be appreciated. (DT)

This collection of American Old Time music is the debut album for Ms. Compton, featuring her Norwegian hardanger fiddle, and a very handsome instrument it looks too. Various fiddles, guitars and banjos are along for the ride, and husband Mike, who played on the "O Brother, Where Art Thou?" soundtrack, plays mandolin and tenor guitar. There is only one vocal track to break up the instrumentals, but all the musicians seem very capable, and it's easy to listen to. They all appear to be having a good time, which makes a pleasant change, and there's none of the frenetic, million notes a minute, self-indulgence which often plagues this type of recording. In fact it's very cosy, and makes you want to join in, which should be the defining feature of any good session. Her website www.fiddola.com has photographs of hirsute people in check shirts and dungarees, and even fiddle-playing in a rocking chair on the back porch, of all things! I did check, but I couldn't see a spittoon! There is also a photograph of a violin-shaped tattoo, which Sadie displays proudly on her back, and which I'm sure will be de rigeur for all aspiring fiddlers, come next year's festival season. Not for everybody, but check it out, you may be pleasantly surprised. BJ

Sadie Compton plays the hardanger fiddle, though the CD cover tells us nothing about the instrument beyond its partial appearance in a photo. Research revealed that it's called the national instrument of Norway, and is typically beautifully carved and ornamented with inlay and painting. It has eight strings, four of five that are sympathetic and run underneath the fingerboard to add echoing overtones and drone. The instrument's richness and Compton's skill are best displayed here on the three cuts that feature simply her fiddle with guitar. Though it's always a pleasure to hear the stellar fiddling of Bruce Molsky and James Bryan, I was left wanting to hear the hardanger more on its own. Its sound is intriguing, with nearly the fullness of two fiddles, one high and accordion-like, and one low and mesmerizing.

The tunes are a mix of Appalachian, Cajun, and originals by Compton. My only objection is that their tempo doesn't vary much, ranging from easygoing two-steps to languid waltzes. A few rousing tunes and more singing (there is only one song) would have broken the feeling of sameness. But Compton writes beautiful melodies, and the sassy, droney "Trouble Come Knockin'" track was the CD's highlight for me. Recommended for those most interested in fiddling, particularly Cajun and the hardanger.

The worst that can be said about Sadie Compton's debut CD is that all the performances are professional and the sound quality is good. On the other hand, if it wasn't for the inclusion of four tracks out of eleven--Compton's originals "Mamie's Waltz" and "Trouble Come Knockin'," the Cajun tune "Happy One Step" and the album's only vocal recording "When I Can Read My Titles Clear"--"professional" would also have been the best one could say for this somewhat buttoned-down outing. Although the cover art and title suggest otherwise, the offbeat is almost nowhere to be found.
Even with a lineup of fine musicians including Bruce Molsky on fiddle and banjo, mandolinist Mike Compton and Grammy-winning Candace Randolph, the playing on the majority of this CD can only be described as formal and studied. Even recording it live did little to loosen up the players. It's on the four stand-out tracks mentioned above that we get a sense of how lively and even offbeat Compton and friends could have been on the others had they unbuttoned their shirts and gotten down to business. Still, this is a CD worth listening to for the sheer quality of musicianship.
"Mamie's Waltz," has a strong Cajun accent as Sadie's cross-tuned hardanger fiddle meshes nicely with Mike's mandolin. The title tune, like many of the tunes, conveys her southern Louisiana upbringing and admiration for stellar Cajun bands. Likewise, "Happy One Step" seems ideal for the minimalist combination of hardanger fiddle and tenor guitar. "When I Can Read My Titles Clear," is the album's standout track and makes us want to hear more of her oddly mannered voice doing ballads and hymns.
Hopefully, we'll be hearing more from Sadie Compton. She's a fine and tasteful musician. Next time, perhaps, Compton will sing more and insist that everybody loosen up mightily.--MC

Trouble Come Knockin' is a wonderful solo project released by Sadie Compton, who is known as a supportive wife of Mike Compton and has been active as a highly-talented artist by herself. This fiddle album, filled with good taste and great ideas, is produced in collaboration with the first-class musicians in the bluegrass, old-time and other related music like Alan O'Bryant, Bruce Molsky, Mike Compton and others.
``Candy Gal'' is a tune from Bill Monroe's {Uncle Pen}, in which Sadie plays her feature, Norwegian Hardanger fiddle, Candace Randolph plays the banjo, Bruce Molsky plays the fiddle, and Mike Compton plays the mandolin. ``Cruel Willie'' is a repertoire from Ramona Jones. ``Little Dutch Girl'' is recorded in a ``living room'' session. This cut captures each player's concentration and feel. You can feel how Sadie, Mike (m), Alan O'Bryant (g), and James Bryan (a fiddler who has fine recordings with Norman Blake) are getting into the music. The Cajun number ``Happy One Step'' is a perfect ensemble with Sadie's fiddle and Mike's rhythm play using the tenor guitar.

Sadie, your CD is wonderful; spirited and beautiful!

I finally had the chance to sit down and listen to your record. Very nice! You have a nice light touch with the bow and that is how to get the tone out of a
fiddle. So many of them grind down too hard on it but your tone is smooth
and sweet. You have a good sense for arranging too. I like what instruments you use with what for the different sounds. Your original pieces are great, nobody could tell them from ones you learned from the old folks. Thanks very much for trading records. I look forward to listening more.

... I visited your website and played some tunes and [Art] came out and danced a little. I was so impressed.

Wow. Great stuff! What a cool idea. And you've certainly found some great partners in crime.

I just received your CD. Great fiddling...with great feeling.
All songs unique. I enjoyed playing banjo and guitar with them.
... "When I Can Read My Titles Clear" was a real surprise!
I didn't expect to hear your vocals. You sounded like an old black woman in the deep south who's probably seen it all. (and I mean this as an extreme compliment)!

You have such a wonderful voice.... you should be singing the blues. It is a terrific CD.

Mike brought my copy of your disc to Rosine yesterday, and I've played it pretty much nonstop since. The strains of "Candy Gal" sent our unborn baby (due this Tuesday) into a dancing, kicking fit of joy-even more so than Monroe's version.
The arrangements and song selection are perfect. This is the best new old-time (I hate to label it "old time", the whole disc is much more than that) I've heard in a long time. The hardanger has such a voice, and to hear it used outside of Scandinavian music is really refreshing.
Your guests on the CD even make it more of a jewel.
I hope the CD does well for you. It's already a classic here.
Can't wait for your next effort!

I got to listen to the CD! I love it! I love your sound, the tunes, the vibe..... and the singing is great! I had to listen to that song a few times!

I just got through listening to your great, wonderful, moving CD. Wow!
Thanks much for sending me a promo.

Hey fans of new recordings of old time fiddle music, some comments on the surprising new CD "Trouble Come Knockin'" by Sadie Compton. She and Mike Compton are husband and wife.

Sadie Johnson was born in Louisiana and grew up in Alabama and is really into old time and Cajun fiddling. On this, her first CD, she sings one tune, and plays 10 pieces, 4 of which she wrote, on the Norwegian "Hardanger" fiddle. Although this is the folk instrument of Norway, Sadie applies hers to GREAT American old time southern fiddling. The CD opens with the magnificent and stately "Candy Gal" from Monroe's Uncle Pen repertoire. She is joined by some real heavyweights of old time fiddling! Bruce Molsky seconds Sadie on many of the tunes, including Candy Gal. Mike Compton plays very subtle and supportive old time mandolin or tenor guitar chording and simple runs and 3rd intervals in the background. Sadie's friend Candace Randolph plays EXCELLENT 3 finger banjo on Candy Gal and gets that old Rual Yarborough sound from the Uncle Pen album, and guitar on other tunes. This Hardanger fiddle concept might spook some readers, but Sadie wields it in "cross-keyed", "open" or "sawmill" tunings on all 10 instrumental numbers, and it sounds as natural as Art Stamper jamming in the lobby of the Galt House. You can't tell from its sound or how she plays it that it's an unusual instrument, except maybe it's a little "richer" sounding than usual. This instrument has 8 strings, 4 above the fingerboard are played just like any fiddle, and the other 4 are suspended BENEATH the fingerboard and are tuned to sympathetic drone notes; they're never touched by the bow. Makes a glorious and rich, full old time sound on these great songs. Luscious is the word.

It just gets better, the second tune is Cruel Willie from Ramona Jones' playing (Grandpa Jones' wife). Sadie, Bruce and Candace on guitar this time.

It keeps getting better, the third tune is "Last of Callahan", and none other than the sainted (sainted to me anyway), long-missed James Bryan himself joins Sadie for the smoothest old time sound! Bruce Molsky plays wonderful clawhammer banjo on this one. If you're like me, and you keep your two vinyl Rounder LP's by James Bryan with Norman and Nancy Blake from 20 years ago in a safe deposit box, you'll think you've died and gone to heaven!

Then Sadie plays sort of a Cajun-rhythm original piece "Mamie's Waltz" with Bruce and James. Followed right up by an astounding old time piece "Little Dutch Girl". This one has Alan O'Bryan on subtle rhythm guitar, and just Sadie and James playing a fine rhythmic piece that's too slow to clog to, but just right for the old Chick Stripling "butter paddle buck and wing" dance. This tune will get in your feet! Indescribably pleasurable fiddling. It's the kind of stuff that makes you want to pick up your fiddle and learn it. Also, as James often does, some of these pieces are pitched down in an open G tuning.

Sadie must have got some exercise retuning those 8 strings for all the variety in keys on this album, G, D, A, B(!), etc. All in "open" tunings with lots of drones in there. Unlike a lot of old time fiddling, I don't think any two tunes back to back are in the same key on this CD. Nice variety.

A very "edgy" original tune follows, "Screamer", named for the Alabama town of the same name. Sadie tunes way up to an open B chord (the Norwegians apparently tune their hardangers high up to open B and open C usually!) and with just her brother Steve Johnson accompanying on finger-picked guitar, she plays an air that could be theme music for a horror movie. The tune will grow on you though! It haunts you. The high pitch of her fiddle reminds me of the difference between the ancient Highland "small pipes" or Breton pipes, and the more modern martial "great pipes". Lots of extra "tension" in the feel of the song due to the high pitch, and it fits the melody she's written. Then a nice Cajun-ish piece with James and Bruce again, "Brother Eli", named for Sadie and Mike's little boy (tune named by his sister).

Then, an actual tune straight from James Bryan's first Rounder LP, "Tombigbee Waltz" by Sadie and James. Just achingly lovely.

Sadie then has a vocal duet with herself, supported by an extremely subdued melody line from Bruce Molsky's fiddle, on "When I Can Read My Titles Clear", an Ola Belle Reed piece. Sadie's voice doesn't have an "edge" like Ola Belle, but is a subdued, effective and understated rendition all the same. Sounds like someone talking to themself at a graveyard....

Next another original "Trouble Come Knockin' " with Sadie supported by Oscar Rice on guitar.

The CD closes with the Cajun-ish "Happy One Step" from Dennis McGee, just Sadie accompanied by Mike on tenor guitar rhythm.

Great photos, jacket design, liner notes, brief explanation and references on hardanger fiddles, and there's even something for those who like extreme tattoos.

Stately, luscious, rich American roots fiddle music played extremely effectively on Norway's folk instrument. But you can only tell this from the pictures and liner notes, it sounds completely American and "right". If you like Candy Gal, old style Cajun fiddling, Bruce Molsky and James Bryan, GET THIS CD. County Sales or direct from Sadie or Mike.

Standard disclaimers. I bought this because I've never heard Sadie play, and I've only met her once, but I was curious. I was STUNNED with joy with the first notes of Candy Gal, and my grin just got wider and wider as the tunes played on!