Above is a modern rendition of the old classic 'Shady Grove' by our 'folk-chamber music' trio THROUGH the TREES. This performance was recorded live and later mixed-down by Logan Gambill in his 'Hear! Hear! Studios' in St. Albans, West Virginia, in Spring 2025. The trio, along with occasional guest artists, re-imagines and reinvents old standards and new classics, while showcasing its members’ original tunes. And this tune is a great one for raising a beautiful noise. ~Douglas John Imbrogno
'SHADY GROVE' | Recorded March 29, 2025 in St. Albans, West Virginia
RAY GARNETT: Violin
JIM PROBST: Lap dulcimer
DOUGLAS JOHN IMBROGNO: Vocals and acoustic guitar
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PERFORMANCE FOOTAGE: Logan Gambill
VIDEO PRODUCTION: Douglas John Imbrogno
A ‘SHADY’ LYRICAL EXPLOSION
If you sang on stage all the performed or published variations of the lyrics to “Shady Grove, “ you would be at it a looooooong time. As this Wikipedia page notes:
"Shady Grove" is a traditional Appalachian folk song, believed to have originated in eastern Kentucky around the beginning the 20th century. The song was popular among old-time musicians of the Cumberlands before being widely adopted in the bluegrass repertoire.. Many variants of "Shady Grove" exist (up to 300 stanzas by the early 21st century) ...”
So, any performer or band wishing to cover the song has a smorgasbord of lyrics from which to choose. Being the quatrain-picker for this TREES cover, I picked the ones that sounded like colorful paragraphs from a short story or are just plain fun to sing.
I must also lift up for your consideration as you listen: Ray Garnett’s muscular, yet nuanced interpretation o f 'Shady Grove’ is a master class in ‘folk chamber’ violin and a tour-de-force journey through multiple genres and timbres. Ray quotes and cross-references styles ranging from classical to Celtic to old-time, to a kind of high-intensity, violin-version of Django Reinhardt’s unconventional, bohemian guitar phrasings.
In creating this placeholder music video (we’d love to craft a storytelling short film to go with our ‘Shady Grove’, if a sugar-daddy or momma arts patron might like to step up), I have listened to the song umpteen times. I remain delighted by Logan’s crystalline recording and mix. And also by—if I do say so, myself—the interplay and sum total of Ray’s violin, Jim Probst’s finger-dancing dulcimer, and my own contributions in unison with them. A musical mentor of mine remarked at how surprised he was by the breadth and depth of sound produced by just three instruments and one voice.
Plus—and this is ever key—one great old song.
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