Imagine blending the timeless rhythms of Old Time folk with the spark of fresh innovation – that's the electrifying synergy of fiddle virtuoso Kate Gregory and cellist Brendan Hearn, whose debut album is shaking up traditional music! But here's where it gets intriguing: how do two friends turn centuries-old tunes into something undeniably modern? Dive in to discover their journey, and you might just rethink what 'traditional' really means.
Fiddle player Kate Gregory and cellist Brendan Hearn infuse folk music with a vibrant, inventive spirit. Inspired by American Old Time, Irish, and various other folk styles, the duo skillfully merges the comfort of familiar melodies with bold, forward-thinking arrangements. Kate's rhythmic and melodic fiddle work dances alongside Brendan's powerful, propulsive cello, resulting in compositions that feel rooted in history yet adventurous and exploratory.
Their story begins as friends, having crossed paths at fiddle camps along both coasts of the United States, where late-night jam sessions ignited a deep bond. Debuting at the 2023 Boston Celtic Music Festival, they've toured nationwide, crafting a setlist that weaves classic pieces with their own originals. Recorded in Portland, Oregon, their album One Year Since – available through Adhyâropa Records – encapsulates this ongoing musical conversation, exploring themes of time, separation, and a shared language of sound. Kate and Brendan chatted with The Strad's US correspondent Thomas May about the birth of their duo's unique voice and the creation of the album.
When asked how they selected the tunes and songs for this initial chapter of their collaboration, Kate and Brendan explained that over recent years, they've explored music from diverse traditions. Irish and Old Time dominate, but they've experimented with Swedish and Scottish styles too. They've also composed original pieces inspired by those traditions, sometimes co-writing or bringing individual creations to the group. This mix of playing inherited tunes with fresh compositions has defined their partnership. For the album, however, they chose to spotlight their original works to offer listeners something innovative. Their sound crystallized through Old Time music, so the tracks highlight where their compositions intersect with that genre.
And this is the part most people miss: the duo sees playing traditional tunes beside originals as the cornerstone of their dynamic. Their approach and creative process developed from crafting tunes in the Old Time fiddle style. The title track, 'One Year Since,' is one such piece, penned by Kate during the pandemic. When Brendan joined in, his chordal and rhythmic additions added that elusive magic, convincing them it was studio-worthy.
Other originals include 'Goodbye Ruby' and 'Fiddle in the Attic,' both by Kate, along with 'Sing a While Longer,' a song Brendan adapted from a poem. These resonated perfectly with their rhythmic and melodic compatibilities. 'Warm Grey Day,' co-composed, showcases another facet of their songwriting, bridging into wider traditional realms. The sole cover is 'Little Bird' by Emmylou Harris and the McGarrigle Sisters, which they rearranged with a custom fiddle solo. It, too, sparked that recording urge.
Their connection deepened at Valley of the Moon fiddle camp in 2016, but it took years for a musical synergy. In 2019 and early 2020, regular playing sessions built momentum, and during the pandemic, their involvement in the Ministry of Folk – providing online gigs and teaching – revealed aligned work styles. Emerging from lockdown, their friendship and collaboration naturally evolved into a duo.
Key moments solidified this. In summer 2021, Kate's visit to Brendan's saw them experimenting across traditions, discovering a rhythmic harmony in Old Time. Arranging 'Reasonland' by Antje Duvekot, with vocal harmonies, excited them about their blended voices and expanded their repertoire to include more songs.
Fiddle and cello form an unusual yet compelling folk pairing. Kate notes Brendan's innovative backup, effortlessly shifting between chords and harmonies while maintaining rhythm, grounding the duo. As treble and bass counterparts, the instruments naturally enhance each other, with Brendan using low and high notes to enrich the narrative behind Kate's melodies.
Brendan describes playing with Kate like navigating a shared rhythmic framework effortlessly, freeing them to improvise melodies, chords, and solos. He watches her bowing for cues on support, likening it to a dance where soaring fiddle lines alternate with his chordal backing, all in perfect sync.
Kate's path started with classical violin, transitioning to Irish and folk styles, while Brendan's cello voice draws from folk cellists. For Kate, a sociable childhood friend introduced her to duets, sparking motivation to practice. Orchestral and ensemble experiences in school fueled her love for instrumental dialogue.
In college, meeting Irish fiddler Adam Agee reignited her passion during a violin hiatus. Attending sessions and camps exposed her to the social, responsive nature of traditional music, captivating her with rhythmic possibilities. Adapting Old Time bowings – aided by Natalie Padilla – helped her develop a distinctive drive, which she brings to the duo, building rhythms that evolve into intricate conversations.
Brendan, raised in a musical family, attended Irish pub sessions as a child, often the lone cellist, feeling pathless. A 2008 camp with his family introduced him to folk cellists like Natalie Haas and Tristan Clarridge, shaping his 'chop' technique – a percussive bowing mimicking other instruments. This allows him to adapt, filling roles like guitarist or banjo in various styles, supporting Kate's fiddle across Old Time, Irish, originals, and songs.
Their music fuses Old Time, Irish, and more with originals, balancing tradition and innovation. Kate and Brendan view new creation as a tribute to tradition. Styles preserve elements like tune types (jigs, reels, breakdowns), forms, ornaments, and bowings, yet evolve with new tunes and instruments. Composing fits perfectly; choosing a style provides a framework to innovate within, using techniques like Old Time shuffles.
But here's where it gets controversial: is composing new tunes truly 'traditional,' or does it risk erasing the purity of passed-down music? They embrace 'crooked' meters in Old Time, deviating from standard structures for rhythmic play, a feature in most One Year Since tracks. This nods to tradition while pushing boundaries, a challenge they relish.
Looking ahead, November brings Oregon and Colorado shows for their album tour's first leg, followed by East Coast dates in February. They're thrilled to perform One Year Since live.
Adhyâropa Records releases One Year Since on 14 November.
What do you think – does evolving folk music with originals honor the past or overshadow it? Is there a 'right' way to blend old and new, or should musicians always stick to tradition? Do you agree that friendship is the secret ingredient in great duos, or is technical skill enough? Share your opinions in the comments and let's discuss!
