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Miscellaneous - Released June 23, 2014 | Love Army Records

Folk - Released December 15, 2014 | Nonesuch

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Folk - Released January 21, 2015 | Nonesuch

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Pop - Released January 30, 2015 | Nonesuch

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Folk - Released February 6, 2015 | Nonesuch

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Listening to Rhiannon Giddens' debut solo album a few years after its original 2015 release, one can easily see how Tomorrow Is My Turn makes sense both as part of her larger oeuvre and as the opening statement for a solo career that would be defined by a creative tension between the past and the present. After her buzzy success with the Carolina Chocolate Drops' old-timey revivalism, Giddens' first solo outing shifts toward dramatic arrangements of some relatively unheard folk, blues, and country songbook treasures to showcase her clear, powerful voice. Takes on Elizabeth Cotten's "Shake Sugaree" and Sister Rosetta Tharpe's "Up Above My Head" call most clearly back to the vibe of Carolina Chocolate Drops, but for the most part, the album is pointing forward to the rich textural diversity Giddens would explore on future albums. Most of the songs here, ranging from traditional numbers like "O Love Is Teasin'" and a Dolly Parton deep cut "Don't Let It Trouble Your Mind" to more well-known songs like "She's Got You" (made famous by Patsy Cline), evoke the era from which they hail, but the production and arrangements (crafted by Giddens and producer T-Bone Burnett), for the most part, displace them from their origins, turning Giddens into both an interpreter and a new owner. Only one track—"Black is the Color"—fumbles the approach by trying to explicitly merge contemporary production touches with a swinging backing arrangement, but it's followed immediately by a strong, sparse take on "Round About the Mountain" that is emotionally riveting and one of the album's best. Clean, clear production throughout correctly focuses the listener's attention on Giddens' voice, but also allows plenty of room for the organic instrumentation that supports it. © Jason Ferguson/Qobuz
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Folk - Released February 9, 2015 | Nonesuch

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Listening to Rhiannon Giddens' debut solo album a few years after its original 2015 release, one can easily see how Tomorrow Is My Turn makes sense both as part of her larger oeuvre and as the opening statement for a solo career that would be defined by a creative tension between the past and the present. After her buzzy success with the Carolina Chocolate Drops' old-timey revivalism, Giddens' first solo outing shifts toward dramatic arrangements of some relatively unheard folk, blues, and country songbook treasures to showcase her clear, powerful voice. Takes on Elizabeth Cotten's "Shake Sugaree" and Sister Rosetta Tharpe's "Up Above My Head" call most clearly back to the vibe of Carolina Chocolate Drops, but for the most part, the album is pointing forward to the rich textural diversity Giddens would explore on future albums. Most of the songs here, ranging from traditional numbers like "O Love Is Teasin'" and a Dolly Parton deep cut "Don't Let It Trouble Your Mind" to more well-known songs like "She's Got You" (made famous by Patsy Cline), evoke the era from which they hail, but the production and arrangements (crafted by Giddens and producer T-Bone Burnett), for the most part, displace them from their origins, turning Giddens into both an interpreter and a new owner. Only one track—"Black is the Color"—fumbles the approach by trying to explicitly merge contemporary production touches with a swinging backing arrangement, but it's followed immediately by a strong, sparse take on "Round About the Mountain" that is emotionally riveting and one of the album's best. Clean, clear production throughout correctly focuses the listener's attention on Giddens' voice, but also allows plenty of room for the organic instrumentation that supports it. © Jason Ferguson/Qobuz
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Folk - Released November 27, 2015 | Nonesuch

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Folk - Released November 27, 2015 | Nonesuch

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Folk - Released February 24, 2017 | Nonesuch

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Folk - Released February 24, 2017 | Nonesuch

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Classical - Released January 3, 2018 | Sony Worldwide

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Folk - Released March 20, 2019 | Nonesuch

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Folk - Released May 3, 2019 | Nonesuch

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“It’s the diversity in America that makes the music so powerful!”. Rhiannon Giddens, Gaelic first name, white father, mother of black and Native American (Occaneechi) ancestry, embodies the melting pot that is North American culture. The coloratura soprano that delivers an impenetrable folk, soul, blues, and bluegrass voice more than an opera one, has released her third record. She was discovered by the Coen brothers (Inside Llewyn Devis alongside Elvis Costello) and has collaborated with T-Bone Burnett. She has passed by Carolina Chocolate Drops and the White House and is the author of two acclaimed solo albums and one as Our Native Daughters (with Leyla McCalla, Allison Russell and Amythyst Kiah). The forty-year-old has, indeed, already done a lot. In collaboration with multi-instrumentalist Francesco Turrisi and produced by the excellent Joe Henry in 5 days in Dublin, There Is No Other combines original compositions with covers of classics, over a background of traditional Arabic music with Celtic and Italian influences. Within, one can find I’m Gonna Write Me A Letter by Ola Belle Reed, Brown Baby by the activist Oscar Brown Jr, or (from another genre) the Pizzica di San Vito or the Black Swan by Menotti. A diverse success. © Charlotte Saintoin/Qobuz
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Folk - Released May 3, 2019 | Nonesuch

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“It’s the diversity in America that makes the music so powerful!”. Rhiannon Giddens, Gaelic first name, white father, mother of black and Native American (Occaneechi) ancestry, embodies the melting pot that is North American culture. The coloratura soprano that delivers an impenetrable folk, soul, blues, and bluegrass voice more than an opera one, has released her third record. She was discovered by the Coen brothers (Inside Llewyn Devis alongside Elvis Costello) and has collaborated with T-Bone Burnett. She has passed by Carolina Chocolate Drops and the White House and is the author of two acclaimed solo albums and one as Our Native Daughters (with Leyla McCalla, Allison Russell and Amythyst Kiah). The forty-year-old has, indeed, already done a lot. In collaboration with multi-instrumentalist Francesco Turrisi and produced by the excellent Joe Henry in 5 days in Dublin, There Is No Other combines original compositions with covers of classics, over a background of traditional Arabic music with Celtic and Italian influences. Within, one can find I’m Gonna Write Me A Letter by Ola Belle Reed, Brown Baby by the activist Oscar Brown Jr, or (from another genre) the Pizzica di San Vito or the Black Swan by Menotti. A diverse success. © Charlotte Saintoin/Qobuz
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Pop - Released May 7, 2020 | Nonesuch

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Folk - Released August 23, 2020 | Nonesuch

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Folk - Released February 10, 2021 | Nonesuch

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Folk - Released March 3, 2021 | Nonesuch

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Folk - Released April 6, 2021 | Nonesuch

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Folk - Released April 9, 2021 | Nonesuch

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It seems a long time ago that Rhiannon Giddens was exploring the history of old-timey black American music with the Carolina Chocolate Drops. With success and the passing of the years, it has in a way freed itself from the history that makes it up, but only in part. We are not going to confuse Rhiannon and Rhianna yet: it is still traditional music that interests her, but no longer only that of the USA. A meeting with Francesco Turrisi, who became her partner, was surely decisive here. Italian living in Ireland, Turrisi is a multi-instrumentalist with a contemporary and panoramic view of traditional music. In 2019, Francesco and Rhiannon released their first album together, There Is No Other. Fast forward to 2021 and they are pleased to announce the birth of the second, They're Calling Me Home.Conceived in Ireland during confinement, They're Calling Me Home is the album of a couple-duet deprived of travels, but not of dreams. The repertoire consists partly of traditional American and Irish songs, polyphonic Italian songs and original compositions. But it is above all Ireland that sings and enchants here. We hear its landscapes and its culture in a flute, a drum, a bagpipe, a violin. Neither Rhiannon Giddens nor Francesco Turrisi are from Irish stock themselves, yet they are at home here, perfectly at ease on the invisible border between traditional and world music. © Stéphane Deschamps/Qobuz