Podcast appearances and mentions of phil wiggins

This week's podcast is a heartfelt remembrance of blues harmonica master and 2017 National Heritage Fellow Phil Wiggins, who passed away last month. Phil Wiggins was celebrated for his extraordinary skill and soulful music, deeply rooted in the Piedmont blues tradition. In this interview, he shared his journey from his early days in Washington, D.C., playing with renowned bluesmen, to his long-standing partnership with 1989 National Heritage Fellow guitarist John Cephas—a collaboration that brought them international acclaim and numerous awards. Phil Wiggins also discusses the distinct characteristics of Piedmont and Delta blues, his musical influences, and his love for the harmonica. We explore his experiences performing globally, his insights on music and culture, and his reflections on a lifetime dedicated to the blues. This episode is filled with Phil's music and stories, offering a fitting tribute to his enduring legacy.  This 2017 podcast is hands-down one of my favorite interviews—not only because of Phil's extraordinary musicianship and thoughtful storytelling, but also because he was a true gentleman with a warm presence that drew people to him. He was deeply admired, respected, and loved. 

This week's podcast is a heartfelt remembrance of blues harmonica master and 2017 National Heritage Fellow Phil Wiggins, who passed away last month. Phil Wiggins was celebrated for his extraordinary skill and soulful music, deeply rooted in the Piedmont blues tradition. In this interview, he shared his journey from his early days in Washington, D.C., playing with renowned bluesmen, to his long-standing partnership with 1989 National Heritage Fellow guitarist John Cephas—a collaboration that brought them international acclaim and numerous awards. Phil Wiggins also discusses the distinct characteristics of Piedmont and Delta blues, his musical influences, and his love for the harmonica. We explore his experiences performing globally, his insights on music and culture, and his reflections on a lifetime dedicated to the blues. This episode is filled with Phil's music and stories, offering a fitting tribute to his enduring legacy.  This 2017 podcast is hands-down one of my favorite interviews—not only because of Phil's extraordinary musicianship and thoughtful storytelling, but also because he was a true gentleman with a warm presence that drew people to him. He was deeply admired, respected, and loved. 

This week, we're revisiting 2017 National Heritage Fellow Phil Wiggins, a true master of the blues harmonica. In this music-filled podcast, Phil discusses the significance of Piedmont blues, the art of blues harmonica, and his own commitment to preserving and passing down the blues heritage to future generations.  He recounts how his passion for the instrument grew, meeting legendary guitarist and 1989 National Heritage Fellow John Cephas and partnering with him to become the iconic duo "Cephas & Wiggins." Throughout the podcast, Phil talks about (and demonstrates) the art of blues harmonica, sharing insights about mastering various techniques, the importance of improvisation in blues music, mentoring aspiring musicians, and playing out with The Phil Wiggins Blues House Party featuring dancer Junious Brickhouse. Let us know what you think about Art Works—email us at artworkspod@arts.gov. And follow us on Apple Podcasts  

This week, we're revisiting 2017 National Heritage Fellow Phil Wiggins, a true master of the blues harmonica. In this music-filled podcast, Phil discusses the significance of Piedmont blues, the art of blues harmonica, and his own commitment to preserving and passing down the blues heritage to future generations.  He recounts how his passion for the instrument grew, meeting legendary guitarist and 1989 National Heritage Fellow John Cephas and partnering with him to become the iconic duo "Cephas & Wiggins." Throughout the podcast, Phil talks about (and demonstrates) the art of blues harmonica, sharing insights about mastering various techniques, the importance of improvisation in blues music, mentoring aspiring musicians, and playing out with The Phil Wiggins Blues House Party featuring dancer Junious Brickhouse. Let us know what you think about Art Works—email us at artworkspod@arts.gov. And follow us on Apple Podcasts  

Intro Song –  Gabe Stillman & The Nighthawks, “Flying High”, Flying High First Set - 2:30-3:30pm
 Ken Farmer & The Authenticators, “Walking Blues”, Self-Titled
 Ken Farmer & The Authenticators, “Sugar Shaker”, Self-Titled

 Second Set – 3:45-5:00pm
 Mike Goudreau, “Got Your Letter”, Alternate Takes, Vol. 1
 Mike Goudreau, “She Talks Too Much”, Acoustic Sessions

 Third Set – 5:15-6:30pm
 Sol Roots w/ Phil Wiggins, “Forgiveness”, Forgiveness Sol Roots, “St James Infirmary”, Live At The Hamilton

 Fourth Set – 6:45-8:15pm
 The Nighthawks, “Matchbox”, Back Porch Party (Acoustic)
 The Nighthawks, “Poor Me”, Slant Six
 The Nighthawks, “Welcome To The Club”, Slant Six

 Fifth Set – 8:30-10:00pm
 Gabe Stillman, “Give Me Some Time”, Just Say The Word 
 Gabe Stillman, “No Peace For The Soldier”, Just Say The Word 
 Gabe Stillman, “Susquehanna 66”, Just Say The Word This year's festival is dedicated to Mark Chandler, who recently passed away. He was a bass player, friend and mentor to many, and Groove Master Extraordinaire! 

This episode was recorded on September 18th, 2022, in Harrisonburg, VA. The lineup includes Joy Oladokun, Karan Casey Trio, The Heavy Heavy, Michaela Anne, and Phil Wiggins & The Chesapeake Sheiks. Podcast support is provided by Diversified Energy. https://bit.ly/3fwRCJ0

Bad Daddy (Left Me With The Blues); The Duke Robillard Band (Fools Are Getting Scarcer); Phil Wiggins and The Chesapeake Sheiks (No Fools No Fun); Beth Hart (Soulshine); Nolan Struck (You Been Cheating On Me); King Edward (You Don't Love Me); Bo Weavil Jackson (Why Do You Moan?); Texas Alexander (Awful Moaning Blues Pt. 1); Fonky Donkey (White River Blues); John Jackson (Red River Blues); Clarence "Gatemouth" Brown (You Can Disagree); Willie Farmer (Come Back Home); T-Model Ford and GravelRoad (Comin' Back Home); Dan Patlansky (Snake Oil City); Shoji Naito (Don't Go No Further).

It's the delightfully delicious "Frim Fram Sauce" on this episode of Same Difference! John AJ and Johnny as they listen to and discuss versions by Nat King Cole, Ella Fitzgerald and Louis Armstrong, Diana Krall, John Pizzarelli, Down For The Count, and new-to-us artist Phil Wiggins and The Chesapeake Sheiks!

Phil Wiggins joins me on episode 41.Phil  was one half of one of the best known blues duos around, Cephas and Wiggins, playing with John Cephas for over thirty years. They progressed from their early recordings in Germany to go on to tour the world, and even played at the White House to the Clintons. They played in the Piedmont blues style, Phil being one of its rare masters on harmonica, picked up from the guitar players who developed this approach.A native of Washington D.C., Phil wrote a book about the blues scene in the city, and went on to use his music to steer some of the troubled youth of the city onto a better path.Since John Cephas passed in 2009, Phil has continued his musical career by playing with various artists. Always sticking to his philosophy to play music for people to dance to.Links:Website: https://www.philwiggins.com/ Washington DC blues scene book:https://sweetbitterblues.com/Music & conversation with Joe Filisko and Eric Norden:https://34lounge.com/Videos:National Folk Festival 2020: https://www.youtube.com/watch?v=POEo8vxU2e8With Ben Hunter:https://www.youtube.com/watch?v=n4f-9OMLmOAChesapeake Sheiks: Struttin' With Some Barbequehttps://www.youtube.com/watch?v=KjqIVZoCQ2gAlso check out the Spotify Playlist, which contains many of the songs discussed in the podcast:https://open.spotify.com/playlist/5QC6RF2VTfs4iPuasJBqwT?si=M-j3IkiISeefhR7ybm9qIQ

Salty Dog's BIGSBY Podcast, May 2021 Visit: www.salty.com.au In honour of the famous Bigsby guitar tailpiece we have a show called, well - bigsby! Heaps of guitar and fabulous tracks to keep you cookin'. We even explain what a bigsby is! Great cuts from Mike Flaningin, Gatemouth Brown, Mike Morgan, Kurt Vile, James Harman, Frank Sultana, Ally Venable, Julian James, Turnpike Troubadours, Widespread Panic, MonkeyJunk, Lavelle White, Melody Moko, Nick Charles, Eric Burdon, Blind Willie Johnson, Bob Dylan, Don Turner, Phil Wiggins, Rodney Crowell, Steve Strongman, Sturgill Simpson, Stovetop. ----------- ARTIST / TRACK / ALBUM ** Australia 1. Mike Flaningin / West Texas Blues / West Texas Blues 2. Roy Clark N Gatemouth Brown / Caldonia / Makin' Music 3. Mike Morgan and the Crawl / I Cried For My Baby / Stronger Every Day 4. Kurt Vile / Speed of the Sound of Loneliness / Speed Sound Lonely 5. James Harman / Helsinki Laundromat Blues / Blues Harp Meltdown 6. ** Frank Sultana N Sinister Kids / Summer Blues / Greetings From Deviltown 7. Ally Venable / Careless Love / Texas Honey 8. ** Julian James and Moonshine State / Devil Town / Devil Town 9. Turnpike Troubadours / Gin, Smoke, Lies / Goodbye Normal Street 10. Widespread Panic / North / Dirty Side Down 11. MonkeyJunk / See The Sign / Time To Roll 12. Lavelle White / Livin' For The City / Into The Mystic 13. ** Melody Moko / Truth About It / The Wreckage 14. ** Nick Charles / Wild Dog Hill Lament / Guitar Music 15. Eric Burdon / Soul Of A Man / Soul Of A Man 16. Blind Willie Johnson / Soul of A Man / The Soul of A Man 17. Bob Dylan / Visions of Johanna / Blonde on Blonde 18. Bob Dylan / Just Like Thumb's Blues / Highway 61 Revisited 19. ** Dom Turner N Phil Wiggins / Cool Down / Wolf Tickets 20. Rodney Crowell N Ringo Star / You're Only Happy When You're Miserable / Texas 21. Steve Strongman / Tired of Talkin' / Tired of Talkin' 22. Sturgill Simpson / Keep It Between The Lines / Cuttin' Grass Vol 2 23. ** Stovetop / Ain't No Love / There There

Show 68 – Recorded 2-22-20 This podcast provides 12 performances of blues songs performed by 12 blues artists or groups whose tremendous talent is highlighted here. Performances range from 1978 to 2018. The blues artists featured are: Maria Muldaur, John Sabastian, Drink Small, John Cephas, Phil Wiggins, Muddy Waters, Luther “Guitar Jr” Johnson, Bob Margolin, Calvin “Fuss” Jones, Pinetop Perkins, Willie “Big Eyes” Smith, Jerry Portnoy, Cora Fluker, Earl Hooker, Johnny “Big Moose” Walker, J W Warren, Elmore James, Mary Lane, Captain Luke, Guitar Gabriel, Algia Mae Hinton, Taj Mahal.  

Show 68 – Recorded 2-22-20 This podcast provides 12 performances of blues songs performed by 12 blues artists or groups whose tremendous talent is highlighted here. Performances range from 1978 to 2018. The blues artists featured are: Maria Muldaur, John Sabastian, Drink Small, John Cephas, Phil Wiggins, Muddy Waters, Luther “Guitar Jr” Johnson, Bob Margolin, Calvin “Fuss” Jones, Pinetop Perkins, Willie “Big Eyes” Smith, Jerry Portnoy, Cora Fluker, Earl Hooker, Johnny “Big Moose” Walker, J W Warren, Elmore James, Mary Lane, Captain Luke, Guitar Gabriel, Algia Mae Hinton, Taj Mahal.  

Junious Brickhouse is a dancer, choreographer, and executive director of two cultural organizations—Urban Artistry and Next Level . He's a powerhouse who is on a mission to teach and preserve urban dance traditions. There's no question that urban dance is a vibrant and creative art form, and it's one that's deeply rooted in community. It is extremely democratic allowing people to tell their own stories through dance. Brickhouse sees hip-hop as modern folk art, and he is clear about its connection to the blues. As he says, like the blues, hip hop ”is rooted in our communities about things that makes us laugh and things that make us cry.” His realization of that connection brought Brickhouse to NEA Heritage Fellow and Piedmont Blues harmonica player Phil Wiggins. And he is now also dancing to the blues as part of Wiggins' House Party. I spoke with Brickhouse backstage at an urban dance competition that he was hosting. It was a perfect setting for a dynamic conversation about urban dance both in community and around the world, his own experiences as a dancer, and his dedication to documenting hip hop's deep value to American culture.

Junious Brickhouse is a dancer, choreographer, and executive director of two cultural organizations—Urban Artistry and Next Level. He’s a powerhouse who is on a mission to teach and preserve urban dance traditions. There’s no question that urban dance is a vibrant and creative art form, and it’s one that’s deeply rooted in community. It is extremely democratic allowing people to tell their own stories through dance. Brickhouse sees hip-hop as modern folk art, and he is clear about its connection to the blues. As he says, like the blues, hip hop ”is rooted in our communities about things that makes us laugh and things that make us cry.” His realization of that connection brought Brickhouse to NEA Heritage Fellow and Piedmont Blues harmonica player Phil Wiggins. And he is now also dancing to the blues as part of Wiggins’ House Party. I spoke with Brickhouse backstage at an urban dance competition that he was hosting. It was a perfect setting for a dynamic conversation about urban dance both in community and around the world, his own experiences as a dancer, and his dedication to documenting hip hop’s deep value to American culture.

Junious Brickhouse is a dancer, choreographer, and executive director of two cultural organizations—Urban Artistry and Next Level. He’s a powerhouse who is on a mission to teach and preserve urban dance traditions. There’s no question that urban dance is a vibrant and creative art form, and it’s one that’s deeply rooted in community. It is extremely democratic allowing people to tell their own stories through dance. Brickhouse sees hip-hop as modern folk art, and he is clear about its connection to the blues. As he says, like the blues, hip hop ”is rooted in our communities about things that makes us laugh and things that make us cry.” His realization of that connection brought Brickhouse to NEA Heritage Fellow and Piedmont Blues harmonica player Phil Wiggins. And he is now also dancing to the blues as part of Wiggins’ House Party. I spoke with Brickhouse backstage at an urban dance competition that he was hosting. It was a perfect setting for a dynamic conversation about urban dance both in community and around the world, his own experiences as a dancer, and his dedication to documenting hip hop’s deep value to American culture.

Junious Brickhouse is a dancer, choreographer, and executive director of two cultural organizations—Urban Artistry and Next Level. He’s a powerhouse who is on a mission to teach and preserve urban dance traditions. There’s no question that urban dance is a vibrant and creative art form, and it’s one that’s deeply rooted in community. It is extremely democratic allowing people to tell their own stories through dance. Brickhouse sees hip-hop as modern folk art, and he is clear about its connection to the blues. As he says, like the blues, hip hop ”is rooted in our communities about things that makes us laugh and things that make us cry.” His realization of that connection brought Brickhouse to NEA Heritage Fellow and Piedmont Blues harmonica player Phil Wiggins. And he is now also dancing to the blues as part of Wiggins’ House Party. I spoke with Brickhouse backstage at an urban dance competition that he was hosting. It was a perfect setting for a dynamic conversation about urban dance both in community and around the world, his own experiences as a dancer, and his dedication to documenting hip hop’s deep value to American culture.

Ben Hunter & Joe Seamons are songster revivalists who perform acoustic blues, field hollers, fiddle & banjo breakdowns, and early jazz that delights audiences in concerts and workshops nationwide. For seven years, their tours have extended their work as teachers and community organizers in their home of Seattle, Washington. With their unique integration of performance, education and modern-day folklore, this duo redefines the role of a songster in the 21st century. In 2016, they earned 1st place in the International Blues Challenge’s solo/duo category. In July, they released a new album with harmonica master Phil Wiggins entitled “Black & Tan Ball.” Today, Ben & Joe chat with Steven about their music, influences and the importance of tough conversations in the time we live in.

ESPECIAL JOHN CEPHAS John Bowling Green Cephas nació un 4 de diciembre de 1930 en Washington DC, en el distrito del barrio de Foggy Bottom aunque tomó su apodo del pueblo de Virginia "Bowling Green" en el cual pasaba los veranos junto a su abuelo. En 1977 comenzó a tocar junto al armonicista Phil Wiggins después de que se conocieran en el Festival de Washington y a principios de los 80 comenzaron a ser conocidos tomando el relevo del célebre dúo formado por Brownie Mc Ghee y Sonny Terry.

ESPECIAL JOHN CEPHAS John Bowling Green Cephas nació un 4 de diciembre de 1930 en Washington DC, en el distrito del barrio de Foggy Bottom aunque tomó su apodo del pueblo de Virginia "Bowling Green" en el cual pasaba los veranos junto a su abuelo. En 1977 comenzó a tocar junto al armonicista Phil Wiggins después de que se conocieran en el Festival de Washington y a principios de los 80 comenzaron a ser conocidos tomando el relevo del célebre dúo formado por Brownie Mc Ghee y Sonny Terry.

Nina Casey had music in her house growing up and always loved singing; then she found the blues and it changed her life.  Transformative moments included hearing Joe Filisko perform a train song on the harmonica, and Phil Wiggins sing "Roberta." Her purpose in singing is connecting with people. "I have to sing because I feel so much."  She believes we can change the world even through small things, like singing a song.

Bringing It All Home.

Bringing It All Home.

Bringing It All Home.

Bringing It All Home.

Phil Wiggins continues the Deeper Series with the solution for how to go deeper in fellowship

Feb. 18, 2015. A tour of Norwegian and Swedish fiddle styles with Andrea Hoag (violin) and Loretta Kelley (violin & Hardingfele/Hardanger fiddle). Andrea Hoag and Loretta Kelley are among the United States' foremost performers of Scandinavian traditional music. Each of them has spent years studying with tradition-bearers in Scandinavia, and honing their own techniques at home. Speaker Biography: Andrea Hoag, as the recipient of a fellowship from the Skandia Music Foundation, studied at Sweden's respected Malungs Folkhogskola, becoming the first non-Swede to earn the certificate in Folk Violin Pedagogy, in 1984. Her program included in-depth study with elder tradition-bearers Pekkos Gustaf and Nils Agenmark, masters of the complex, demanding Bingsjo fiddling dialect; Leif Goras and Jonny Soling of Orsa; singers Maria, Britta, and Anna Rojas of Boda; Kalle Almlof and Ville Toors of Malung; and Pahl Olle of Ostbjorka, who is acknowledged as the foremost creator of the Swedish close-harmony playing style. Since that time, Andrea has taken every opportunity to work with several generations of fiddlers from many parts of Sweden, and has been called "like Pekkos Gustaf come to life again" for her faithfulness to the elder generation's style. Hoag has long been acknowledged as a stateside expert of Swedish fiddle tradition. Her teaching credentials include the Festival of American Fiddle Tunes, Ashokan Fiddle & Dance Weeks, the Swannanoa Gathering, and the Berklee College of Music. She was director of the Seattle Skandia Spelmanslag for seven years, and led the group on an acclaimed performing tour to Sweden. She has been featured on NPR's All Things Considered and Performance Today, at the Kennedy Center and Library of Congress, and at numerous venues around the U.S., Sweden, and beyond. With a particular interest in in-depth musical conversations, She has collaborated across genres with many respected artists, from blues harmonica virtuoso Phil Wiggins to Kathak dancer Brinda Guha. Speaker Biography: Loretta Kelley has made over twenty-five trips to Norway to study with master hardingfele players. In 1979, while attending the Folk High School in Rauland in West Telemark, she studied privately for six months with Arne Oygarden, the leader of the Falkeriset Spelemannslag (fiddler's group) and a bearer of West Telemark tradition. In 1993 she received a grant from the American-Scandinavian Foundation to study for six weeks with the Londal-Fykerud tradition bearer Einar Londal of Tuddal, Telemark, and in 2001 she spent eight weeks in Tinn, Telemark, studying the Dahle tradition of hardingfele playing with the master fiddler Olav Oyaland, sponsored by a grant from the Norway-America Association. In addition she has studied intensively with the important tradition bearers Hauk and Knut Buen in Telemark, Jens A. Myro in Hallingdal, and Olav Jorgen Hegge of Oystre Slidre, Valdres, as well as made numerous study visits with Gunnar Dahle, Leif Rygg, Hallvard Bjorgum, Knut Myrann, and many others. In cooperation with Knut Buen, the Telemark virtuoso hardingfele player, Loretta has authored a booklet, "Knut Buen's Telemarkspel," of transcriptions of the tunes from Buen's teaching cassette. She has contributed two chapters to books published in Norway, "Hardingfela i Amerika" in Hardingfela, Det norske nasjonalinstrumentet by Halvard Kaasa and Astrid Versto (Grondahl Dreyer, 1997), and "Feleambassadoren Knut Buen", in Mellom hjertets slag og felas drag, Festskrift til Knut Buen (ed. Eivind Blikstad, Telemarksavisa, 1998). She has also written articles in print and online, and served as consultant and wrote extensive liner notes for an anthology of Knut Buen's playing, As Quick as Fire, published on CD by Rounder Records in 1996. For transcript, captions, and more information, visit http://www.loc.gov/today/cyberlc/feature_wdesc.php?rec=6714

April 15, 2015. In this concert, Sherman Holmes and Brooks Long are joined by the great blues harmonica player Phil Wiggins. Speaker Biography: Wendell and Sherman Holmes grew up playing the same mixture of music they draw from today: gospel, soul, R&B, country, and blues. In the 1970s, Wendell met and performed with drummer Willie "Popsy" Dixon, who was also a native Virginian. The brothers and Popsy formed the Holmes Brothers band. The group performed to national, and later international, audiences and recorded with stars such as Van Morrison, Peter Gabriel, Odetta, Phoebe Snow, Willie Nelson, Freddie Roulette and Rosanne Cash. Speaker Biography: In late 2013, Wendell Holmes began working with young Baltimore rock'n'soul musician Brooks Long, and for the past year, Holmes has been formally mentoring Brooks with the assistance of a Maryland Traditions Apprenticeship Award. Speaker Biography: A native of Washington, D.C., Phil Wiggins spent most of his career playing as a duo with the late John Cephas. Besides being a renowned harmonica player, he is also a gifted songwriter and singer. As a harmonica-guitar duo, Cephas & Wiggins were uniquely able to exemplify the synthesis of African and European elements which co-exist in the blues. For more information, visit http://www.loc.gov/today/cyberlc/feature_wdesc.php?rec=6711

Joe Lewis Band (Stuck On Stupid); Hambone Wilson (Run To The River); Delta Moon (Down In The Flood); Kellie Rucker (Blues Is Blues); Hans Theessink and Terry Evans (Delta Time); Johnny Shines (Delta Pine); Carey and Lurrie Bell (When I Get Drunk); Phil Wiggins and The Chesapeake Sheiks (Let The Mermaids Flirt With Me); Mississippi John Hurt (Avalon Blues); Dan Treanor's Afrosippi Band (Ernestine); Joe Evans and Arthur McClain (Shook It This Morning); Barbecue Bob (She Shook Her Gin); Saffire - The Uppity Blues Women (T'ain't Nobody's Business); Rory Block (Maggie Campbell); Poplar Jake and The Electronic Delta Review (Big Road Blues); Larry Griffith (Blues Is Callin' My Name).

Aug. 6, 2014. A concert by Phil Wiggins and Friends, an all-star blues and dance group including Phil Wiggins (harmonica), Rick Franklin (guitar and vocals) Marcus Moore (violin) and Junious Brickhouse (dance). Speaker Biography: According to the National Council for Traditional Arts, "Phil Wiggins is arguably America's foremost blues harmonica virtuoso. While rooted in the melodic Piedmont or 'Tidewater' blues of the Chesapeake region, his mastery of the instrument now transcends stylistic boundaries. Born in Washington D.C. in 1954, Phil Wiggins achieved worldwide acclaim over three decades as one half of the premier Piedmont blues duo of Cephas & Wiggins. Since the death of guitarist and singer John Cephas in 2009, Phil has brought his harmonica wizardry to bear in a variety of musical collaborations." Speaker Biography: Rick Franklin has been entertaining D.C.-area audiences with his own mixture of traditional Piedmont blues and early commercial "hokum" blues for over thirty years, and is one of the area's favorite blues musicians. Speaker Biography: Marcus Childs Moore is a Marion, Alabama, native who earned his bachelors in jazz violin performance from City College of New York in 2009, has performed with numerous musical greats and legends, and was a member of the Harlem Symphony Orchestra for two years. Speaker Biography: Junious "House" Brickhouse is an award-winning urban dance educator, choreographer, community leader and cultural preservationist, whose latest project is called "The Meaning of Buck Dance." For transcript, captions, and more information, visit http://www.loc.gov/today/cyberlc/feature_wdesc.php?rec=6557

Phil Wiggins brings our attention to the aspect of being commited and to staying commited in light of Jesus' soon comming return.

Phil Wiggins challenges us to reach out to each other in true authentic love for one another. But it requires all of us to put forth effort to reach the goal of fellowship and receive full measure of God's blessing for our church.

We check out some historical duet performances from old-time music virtuosos Doc Watson and Bill Monroe, Piedmont Blues legends John Cephas and Phil Wiggins, and women bluegrass pioneers Hazel Dickens and Alice Gerrard and the hypnotizing sounds of Indian Tabla Tarang master Pandit Kamalesh Maitra.

Piedmont blues from John Cephas and Phil Wiggins, the poetry of Sterling A. Brown, and Civil Rights singers Bernice Johnson Reagon, Reverend Frederick Douglass Kirkpatrick, and Paul Robeson. Plus, a Baltimore sea chantey, a Canadian land prospector’s lonely ballad, and a song learned in a dream.