just that, from playing and singing with Jewish and world music ensembles at school to sitting in on wildly unpredictable live jams with the Punch Brothers and Mumford & Sons.
Jarosz makes the most out of her immersion in new flavors. “It’s all so fun and exciting,” she shares. “That’s not to say that I’m going to become a world music musician. But being exposed to all of that and learning it and absorbing it, it
becomes part of your musical language and something that you can use in your own way to make what you do more unique.”
That keen,
open-minded attitude speaks volumes about her maturity.
In the two years since Jarosz’s first album came out, the wider world has discovered what plenty of old-time and bluegrass luminaries and festival-going fans already knew—that she
is a formidable
talent. There have been GRAMMY and Americana Music Award nominations, a trio of Austin Music Awards, invitations to perform on “Austin City Limits” and “A Prairie Home Companion” and at Bonnaroo, Newport and Telluride.
For Jarosz, all this has meant lugging around four instrument cases—one holding her mandolin, another her octave mandolin and the final two her clawhammer banjo and acoustic guitar—while keeping up with her tonal harmony and American lit classes. It was in the midst of this heady, buzzing season that she once again teamed up with acoustic guru Gary Paczosa (Alison Krauss, Chris Thile) as co- producer.
They did a session with the Punch Brothers
in
New York, covering alt- rock band Radiohead’s “The Tourist”, a musical influence that is felt throughout the record. A session
in Boston
featured her talented young trio mates
Alex Hargreaves and Nathaniel Smith; the bulk of the recording was done in Nashville with some of the acoustic world’s finest pickers and singers, including Béla Fleck, Jerry Douglas, Stuart Duncan, Edgar Meyer, Viktor Krauss, Dan Tyminski, Shawn Colvin, Vince Gill and Darrell Scott among others. Somewhere in between writing, arranging and recording the songs, Jarosz finally found time to learn how to drive and got her license, something that had taken a backseat to sharpening her musical skills at old-time jams and mandolin camps in her mid-teens. “I did realize that driving would be a necessary thing to be able to tour,” she adds amusedly.
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