Song of the Traveling Daughter  (Audio CD) 
by Abigail Washburn

On Song of the Traveling Daughter, Abigail Washburn sings simple haunting songs and plays the banjo. Musically, the album is one of the most bare-bones debuts in recent memory. Washburn and fellow producers Reid Scelza and Bela Fleck keep the focus where it belongs: on the singer and the song. The arrangements were built around Washburn's evocative vocals and clawhammer banjo style, and Ben Sollee's cello, an instrument that brings a dark, primeval feel to songs that sound like they're hundreds of years old. The sparse instrumental work of guitarist Jordan McConnell (of the Duhks), upright bass player Amanda Kowalski, fiddler Casey Driessen, percussionist Ryan Hoyle (of Collective Soul), keyboard and accordion player Tim Lauer, along with Fleck's national steel guitar and banjo, add subtle grace notes to Washburn's timeless tales.

Song of the Traveling Daughter is an old-fashioned album with a simple, textured beauty that unfolds with repeated listening. There's a flow to the music that draws you in and immerses you in Washburn's unique worldview. While the album is studded with gems, several tracks stand out. "Rockabye Dixie" is a brokenhearted lullaby full of loss and longing, co-written by Beau Stapleton of Blue Merle. "Coffee's Cold" is a jaunty ragtime blues, with a bouncy bass line and exuberant vocal delivery. "Eve Stole the Apple" is the most atypical tune on the album, full of odd rhythmic accents. Part field hollar, part old English folk song; the tune is marked by an impressionist lyric that blends Biblical and folkloric images. "Deep in the Night" is a poetic exploration of darkness that features one of Washburn's most stirring vocals and the accents of Tim Lauer's accordion. "Song of the Traveling Daughter," one of Washburn's Chinese songs, and another album highlight, was inspired by the classical Chinese poem "Song of the Traveling Son." "It's actually harder to put English words to music than Chinese," Washburn explained. "Chinese is all one- or two-syllable words and most have open vowels at the end of the word, so the language almost sings by itself. If it has a closed sound it's usually something soft like 'teng' or 'mang.' If you listen closely to 'Song of the Traveling Daughter,' you can hear how easy it is to put them to music."