We are thrilled to officially share the grand news that we’re working with the brilliant Jake Xerxes Fussell on his debut album, produced by and featuring our friend William Tyler, as well as a killer Nashville band, to be released this winter. (We’re also excited that he’s moving from Oxford, Mississippi to Durham, North Carolina, so we’ll be able to see him play more often.) Stay tuned for more news about this soon, but in the meantime, you can check out Jake’s artist page and read on for a bio and some reflections from Dudes Who Know. You are going to flip when you hear these tunes. RIYL Michael Hurley, Dave Van Ronk, Jim Dickinson, Raccoon Records, and associated critters.
Jake isn’t just a rare bird, he’s the professor you always wished you had, the friend you never get tired of epic hangs with, the human jukebox, the guitar player and singer who makes any band that he’s in better. He’s a southern scholar and gentleman in the tradition of Jim Dickinson, George Mitchell, and Les Blank. He’s a Dave Van Ronk for SEC country.
– William Tyler
Jake is one helluva bluesman: my favorite of his generation, in fact; and, in my opinion, the best young traditional blues artist performing today.
– George Mitchell
Jake X. Fussell is certainly one of America’s finest young tradition-based songsters and guitar pickers. He had an ideal start: as a kid traveling the back roads of Georgia, Alabama, and even out to the Indian regions of Oklahoma with his folklorist dad, hearing and absorbing not only the vocal styles and guitar licks of such greats as Precious Bryant, but also developing a sure sense of the expressive core of Southern roots music. From Georgia’s Sea Islands and Chattahoochie Valley to the Mississippi Delta to the Blue Ridge Mountains, Jake is still listening and learning, and coming up with music that takes us to a deep place in the American spirit.
– Art Rosenbaum
Durham, North Carolina singer and guitarist Jake Xerxes Fussell’s self-titled debut record, produced by and featuring William Tyler, transmutes ten arcane folk and blues tunes into vibey cosmic laments and crooked riverine rambles. Jake Xerxes (yes, that’s his real middle name, after Georgia potter D.X. Gordy) grew up in Columbus, Georgia, son of Fred C. Fussell, a folklorist, curator, and photographer who hails from across the river in Phenix City, Alabama (once known as “The Wickedest City in America” for its rampant vice, corruption, and crime.) Fred’s fieldwork took him, often with young Jake in tow, across the Southeast documenting traditional vernacular culture, which included recording blues and old-time musicians with fellow folklorists and recordists George Mitchell and Art Rosenbaum (which led Jake to music, and to some of the songs herein) and collaborating with American Indian artists (which led Jake eventually to his graduate research on Choctaw fiddlers.)
As a teenager Jake began playing and studying with elder musicians in the Chattahoochee Valley, apprenticing with Piedmont blues legend Precious Bryant (“Georgia Buck”), with whom he toured and recorded, and riding wild with Alabama bluesman, black rodeo rider, rye whiskey distiller, and master dowser George Daniel (“Rabbit on a Log”). He joined a Phenix City country band who were students of Jimmie Tarlton of Darby and Tarlton; he accompanied Etta Baker in North Carolina; he moved to Berkeley, where he hung with genius documentary filmmaker Les Blank and learned from Haight folkies like Will Scarlett (Jefferson Airplane, Hot Tuna, Brownie McGhee) and cult fingerstyle guitarist Steve Mann (“Push Boat”); he appeared on A Prairie Home Companion. He did a whole lot of listening, gradually honing his prodigious guitar skills, singing, and repertoire. In 2005 he moved to Oxford, Mississippi, where he enrolled in the Southern Studies department at Ole Miss, recorded and toured with Rev. John Wilkins, and, last year, met up with acclaimed artist William Tyler to begin recording his first solo album.
Collaborating with Tyler and engineer Mark Nevers in Nashville was a conscious decision to depart cloistered trad scenes and sonics for broader, more oblique horizons. Tyler, a guitar virtuoso known for his own compositions that untether and reframe traditional six-string forms and techniques, helmed the push boat in inimitable fashion, enlisting crack(ed) Nashville session vets Chris Scruggs (lap steel, bass, mandolin: Bonnie “Prince” Billy, Marty Stuart), Brian Kotzur (drums: Silver Jews), and Hoot Hester (fiddle Bill Monroe, Ray Charles) to crew.