Súle Greg Wilson, the banjoist with a funky playing style that encompasses clawhammer, one- or three-finger up-picking, strumming, thumb lead, stroke, or even a mix of forms, has recorded with Mike Seeger, the Carolina Chocolate Drops, Tony Trischka, Ronstadt Generations, John Sebastian, and more. He has contributed to the soundtracks of the jug band saga, Chasin' Gus' Ghost, as well as The Librarian and the Banjo, and others; appeared in PBS' Give Me the Banjo documentary; and he works to expand folks’ perception of the once-maligned New World African instrument, the banjo.
How did that happen? What got D.C.-born Súle interested in that marginal instrument? A kiddie record of cowboy songs with a four-string sound; the blazing notes of the Ballad of Jed Clampett and Hee Haw on TV; the majesty of Central and West African strings on numerous LPs; and the only African American banjo player in plain sight in that day—the legendary Taj Mahal—infused Súle Greg Wilson with banjo.
It was a natural progression. After years of studying and presenting African music, dance, and culture, Súle had to ask, “What became of all that richness over here, across the waters?” The banjo, with ancestors in Africa, and played in the Islands as well as on the Mainland, was Sule’s key into that mystery.
Súle purchased his first 'jo in the early ‘80s, while a student at New York University. Back home in D.C. in 1990, Súle connected with—and learned from—greats such as Debbie McClatchie, Bruce Hutton, and Cathy Fink. This led to stints with Tony Trischka, Mike Seeger, Clarke Buehling, Joe Ayers, Joe Thompson, John Jackson, and more.
More than two decades of study and networking culminated in 2005, when Súle co-created the historic Black Banjo Gathering in Boone, NC. From this grew the 2010 Grammy Award-winning ensemble, the Carolina Chocolate Drops, with whom Súle toured and recorded.
In 2006, Súle was blessed to appear side by side with his inspiration, Taj Mahal, for the Congressional Blues Festival in Washington, DC. Amazing!
Súle is currently expanding banjo repertoire to include traditional African melodies and sweet soul R&B, and he invokes the "ol' cremona's" ancient power in his music and story concerts, workshops and instructional appointments.
How did that happen? What got D.C.-born Súle interested in that marginal instrument? A kiddie record of cowboy songs with a four-string sound; the blazing notes of the Ballad of Jed Clampett and Hee Haw on TV; the majesty of Central and West African strings on numerous LPs; and the only African American banjo player in plain sight in that day—the legendary Taj Mahal—infused Súle Greg Wilson with banjo.
It was a natural progression. After years of studying and presenting African music, dance, and culture, Súle had to ask, “What became of all that richness over here, across the waters?” The banjo, with ancestors in Africa, and played in the Islands as well as on the Mainland, was Sule’s key into that mystery.
Súle purchased his first 'jo in the early ‘80s, while a student at New York University. Back home in D.C. in 1990, Súle connected with—and learned from—greats such as Debbie McClatchie, Bruce Hutton, and Cathy Fink. This led to stints with Tony Trischka, Mike Seeger, Clarke Buehling, Joe Ayers, Joe Thompson, John Jackson, and more.
More than two decades of study and networking culminated in 2005, when Súle co-created the historic Black Banjo Gathering in Boone, NC. From this grew the 2010 Grammy Award-winning ensemble, the Carolina Chocolate Drops, with whom Súle toured and recorded.
In 2006, Súle was blessed to appear side by side with his inspiration, Taj Mahal, for the Congressional Blues Festival in Washington, DC. Amazing!
Súle is currently expanding banjo repertoire to include traditional African melodies and sweet soul R&B, and he invokes the "ol' cremona's" ancient power in his music and story concerts, workshops and instructional appointments.
