Bluegrass

Tuesday

Jonathan Duke

When it comes to bourbon, provenance matters

My wife Amber and I returned home, to the heart of where it all began for me – the Bluegrass. A day at the races at Keeneland felt like stepping into a painting: the autumn sun catching the coats of the Thoroughbreds, the crowd humming with excitement. The next night, we watched on as the Kentucky Wildcats nearly toppled Texas under the lights at Kroger Field, the air electric with hope. But it was afterward, on the backroads, that Kentucky spoke loudest. Horses grazed behind old stone fences; the sweet, yeasty scent of mash rolled out of the distilleries that dot the countryside. In those quiet miles, I remembered how deeply I love this place and how fiercely I’ll defend her bounty, both her people and her goods.

Bourbon

Saturday

Dominic Green

Finger pickin’ good

The banjo was present at the creation of jazz but, like the clarinet and the fiddle, it fell from favor, and for similar reasons. The saxophone and the electric guitar were easier to play, more expressive and much, much louder. The banjo was on the way out even as it was on the way in — in the Hot Five recordings of December 1927 that instituted the jazz solo as we know it, Johnny St Cyr played both banjo and guitar — but the banjo had somewhere else to go. The fleet-fingered took their four-and fivestringers to the hills — the Appalachians, for instance. There, the banjo thrived with those other refugees from early jazz, the fiddle and the steel-strung guitar. Metropolitan contempt caught up with it in the Seventies.

banjo