Súle Greg Wilson loves to help folks love the banjo--that misunderstood, multi-function instrument so tied up with U.S. history. One reason he loves the banjo is because--for all its rich history--there is still so much more to be written. For example, there are some many ways to play. His funky playing encompasses clawhammer, one- or three-finger up-picking, strumming, thumb lead, stroke, or even a mix of forms in the same tune. That's fun, to be sure. What's your fave?
What got D.C.-born Súle interested in the banjo? 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—all infused Súle Greg Wilson with banjo fever.
It just made sense. 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 Time Machine into that Mystery.
Súle purchased his first 'jo--aluminum-body, plastic-head (and neck!) open-back--in the early ‘80s, while a student at New York University. After moving back home to D.C. in 1990, Súle connected with—and learned from—greats such as Debbie McClatchie, Bruce Hutton, and Cathy Fink. Fired up, Súle hunted down all the info he could on banjo, which led to working and recording with more greats: Tony Trischka, Mike Seeger, Clarke Buehling, Joe Ayers, Joe Thompson, John Jackson, Taj Mahal, and more, as well as co-creating the historic 2005 Black Banjo Gathering, which birthed the Grammy award-winning African American string band, the Carolina Chocolate Drops. It has truly been amazing!!
His banjo has contributed to the soundtracks of the jug band saga, Chasin' Gus' Ghost, The Librarian and the Banjo, and others; he 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.
Súle is currently expanding his 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.
What got D.C.-born Súle interested in the banjo? 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—all infused Súle Greg Wilson with banjo fever.
It just made sense. 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 Time Machine into that Mystery.
Súle purchased his first 'jo--aluminum-body, plastic-head (and neck!) open-back--in the early ‘80s, while a student at New York University. After moving back home to D.C. in 1990, Súle connected with—and learned from—greats such as Debbie McClatchie, Bruce Hutton, and Cathy Fink. Fired up, Súle hunted down all the info he could on banjo, which led to working and recording with more greats: Tony Trischka, Mike Seeger, Clarke Buehling, Joe Ayers, Joe Thompson, John Jackson, Taj Mahal, and more, as well as co-creating the historic 2005 Black Banjo Gathering, which birthed the Grammy award-winning African American string band, the Carolina Chocolate Drops. It has truly been amazing!!
His banjo has contributed to the soundtracks of the jug band saga, Chasin' Gus' Ghost, The Librarian and the Banjo, and others; he 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.
Súle is currently expanding his 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.
