Album release show featuring special guests!
The amazing old-time multi-instrumentalist from Corn Potato String Band in a solo show celebrating the release of his debut banjo album, "Mozart of the Banjo: The Joe Morley Project," with piano accompaniment by Kevin Celestia and special guest appearances throughout the night, including Grace van't Hof on banjo-ukulele, Keaton Butler on cello, and others.
"Mozart of the Banjo is just spectacular! Aaron’s playing and overall musicality is just top notch. Bravo, what else can I say? His tone is fantastic, timing is spot on, just full of life. Piano playing is truly awesome. What a commitment … astounding."
"I’m hugely impressed. Aaron brings back these good old days … I’m just loving it. Aaron is so deep inside this style and his playing is great."
Aaron Jonah Lewis is a champion fiddler who has been elbow-deep in traditional American fiddle and banjo music since his first lessons at the age of five with Kentucky native Robert Oppelt. Lewis has taken blue ribbons at the Appalachian String Band Festival in Clifftop, WV, and at the Old Fiddlers Convention in Galax, VA, the oldest and largest fiddlers convention in the country. He is also noted for his mastery of multiple banjo styles. He spends most of his time touring as a solo performer and with the Corn Potato String Band, Lovestruck Balladeers, and other projects.
As a banjoist, Lewis explores some interesting veins in the roots of Old Time, Bluegrass, Ragtime and Jazz music through his newest recording, “Mozart of the Banjo: The Joe Morley Project.” This project is devoted to the music of the great English prodigy and virtuoso composer Joe Morley (1867-1937), who wrote a significant body of great banjo pieces in a technique that people today call “classic fingerstyle.”
Greg Adams, Archivist at the Smithsonian Center for Folklife and Cultural Heritage, says, “Lewis is one of the few performing musicians with the facility to build compelling musical bridges between the printed banjo music and techniques of the 19th century and the instrument’s journey into recorded sound by the turn of the 20th century.”