Genuine Negro Jig (Remastered 15th Anniversary Edition) Carolina Chocolate Drops

• 1 Peace Behind the Bridge 02:34
• 2 Trouble in Your Mind 02:56
• 3 Your Baby Ain't Sweet Like Mine 03:00
• 4 Hit 'Em up Style 03:57
• 5 Cornbread and Butterbeans 03:10
• 6 Snowden's Jig (Genuine Negro Jig) 03:52
• 7 Why Don't You Do Right? 03:37
• 8 Cindy Gal 02:28
• 9 Kissin' and Cussin' 03:21
• 10 Sandy Boys 02:25
• 11 Reynadine 02:37
• 12 Trampled Rose 04:35
• 13 Avalon 03:32
• 14 Georgie Buck 02:51
• 15 City of Refuge (2025 Remaster) 02:50
• 16 Will Adams Breakdown 02:58
• 17 Jack O’ Diamonds 03:11
• 18 Bring It Home 01:28
• 19 Here Rattler 02:48
• 20 Little Rabbit 03:19
• 21 Memphis Shakedown (2025 Mix) 03:11
• Total Runtime 01:04:40

Info zu Genuine Negro Jig (Remastered 15th Anniversary Edition)

Nonesuch Records releases a fifteenth anniversary edition of Carolina Chocolate Drops' 2010 Grammy Award-winning album Genuine Negro Jig on January 23, 2026. The reissue, featuring founding band members Dom Flemons, Rhiannon Giddens, and Justin Robinson, includes the original album and nine bonus tracks: seven previously unreleased tracks plus a 2025 remaster of “City of Refuge” and a 2025 mix of “Memphis Shakedown.” This release marks the album’s first time on vinyl since its original pressing in 2010. The bonus track “Here Rattler,” a traditional tune that Justin Robinson learned from Grand Ole Opry star Grandpa Jones and African American banjoist John Snipes, is available today.

Genuine Negro Jig was released on February 16, 2010, reaching the top ten on the Billboard Folk chart and the top of the Bluegrass chart. It won the 2011 Grammy Award for Best Traditional Folk Album. Produced by Joe Henry, it was the first of three releases on Nonesuch followed by the Carolina Chocolate Drops / Luminescent Orchestrii EP (2011) and the Grammy nominated album Leaving Eden (2012), produced by Buddy Miller. Widely acclaimed as one of 2010’s best, Genuine Negro Jig appeared in year-end lists of NPR, Paste, and more, and was featured in Rolling Stone’s 25 Best Country-Soul Albums in 2024.

“Marvelous … exuberant," Rolling Stone said of the album. “This striking North Carolina trio brings a modern sizzle to the legacy of classic African American string bands," said SPIN. The Washington Post called it “a smart and snappy collision of traditional and contemporary." No Depression declared: “Genuine Negro Jig is easily one of the best albums I have heard in thirty some odd years … I literally cannot stop listening to this record.”

“Genuine Negro Jig remains fresh fifteen years later not only because of the Carolina Chocolate Drops’ influence on American popular culture but also because it’s an excellent record in itself,” says Dr. Dwandalyn Reece and Dr. Steven Lewis of the Smithsonian National Museum of African American History and Culture in the album’s liner notes.

Carolina Chocolate Drops formed after band members Dom Flemons, Rhiannon Giddens, and Justin Robinson met at the Black Banjo Gathering in Boone, NC in 2005. All three trained in the Piedmont banjo and fiddle musical tradition under the tutelage of Joe Thompson, who was one of the last musicians of his era and his community to carry on the southern Black string band tradition. While old-time Southern string music is often associated with Caucasian musicians from Appalachia, Giddens pointed out in an NPR interview that “it seems that two things get left out of the history books. One, that there was string band music in the Piedmont, period. [And that] Black folk was such a huge part of string tradition.” Carolina Chocolate Drops sought to not only correct this misunderstanding but also to keep the centuries-old string music tradition alive and developing.

In addition to his Grammy Award with the Chocolate Drops, Flemons has been nominated for Best Folk Album for his Smithsonian Folkways releases Black Cowboys (2018) and Traveling Wildfire (2023). Flemons was nominated for two Emmy Awards; he is an International Acoustic Music Award Grand Prize Winner, and a 2020 United States Artists Fellow. Flemons received an Honorary Doctorate from Northern Arizona University and was inducted into the American Banjo Museum Hall of Fame in 2025. He is a songwriter, multi-instrumentalist, music scholar, historian, actor, narrator, host, slam poet, record collector, podcaster, and the creator, host, and producer of The American Songster Radio Show on WSM in Nashville. He has immersed himself in the music of the past, with a prodigious record collection and an immense knowledge of the different playing styles of the blues, country, old-time, bluegrass, and string band traditions that is showcased on his social media accounts @domflemons. His solo albums include Prospect Hill: The American Songster Omnibus (2020) and Ever Popular Favourites (2016) with Martin Simpson, Buffalo Junction (2012) with Boo Hanks, and American Songster (2009).

Giddens—a Piedmont native—is a two-time Grammy Award–winning singer and instrumentalist, 2023 Pulitzer Prize winner, MacArthur “Genius” Fellow, and composer of opera, ballet, and film. Giddens has centered her work around the mission of lifting up people whose contributions to American musical history have previously been overlooked or erased, and advocating for a more accurate understanding of the country’s musical origins through art. She is also the Artistic Director of Silkroad Ensemble, and a fellow of the American Academy of Arts and Sciences. Her post-Chocolate Drops solo albums with Nonesuch include Tomorrow Is my Turn (2015), Freedom Highway (2017), there is no Other (2019), They’re Calling Me Home (2021), You’re the One (2023), American Railroad (2024) with Silkroad Ensemble, and What Did the Blackbird Say to the Crow (2025) with Justin Robinson. As Pitchfork once said, “few artists are so fearless and so ravenous in their exploration”—a journey that has led to NPR naming her one of its 25 Most Influential Women Musicians of the 21st Century and to American Songwriter calling her “one of the most important musical minds currently walking the planet.” Her most recent album, What Did the Blackbird Say to the Crow, is currently nominated for a GRAMMY.

Robinson, the group’s main fiddler, also plays banjo; he grew up in a house full of musicians—his mother is a classically trained opera singer and cellist, his sister a classical pianist and his grandfather a harmonica player. He has used his wide range of interests and talents to preserve North Carolina’s African American history and culture, connecting people to the past and to the world around them. Robinson continued to write music after leaving the group in 2011, releasing the album Bones for Tinder as Justin Robinson and the Mary Annettes in 2012. In addition to preserving African American musical traditions, Robinson is known for his work as a culinary historian. He is an eighth generation Afro-Carolinian and is the descendant of sharecroppers and large landowners. He is constantly exploring the complex relationship that people have with our plant relatives, including through his social media account, @CountryGentlemanCooks, and through the formation of the Earthseed Land Cooperative. Robinson has a Master of Science degree in Forestry from North Carolina State University and carries on the ethnobotany work of his grandfather, J.G. Johnson.

The Carolina Chocolate Drops:
Dom Flemons, vocals (tracks 2, 3, 8, 10, 12), throat singing (track 2); bones (tracks 1, 5, 6, 8), four-string banjo (tracks 3, 4, 12), jug (tracks 3, 5, 12), bass drum (track 9), "foot" percussion (track 12)
Rhiannon Giddens, vocals (tracks 2–7, 10, 11); five-string banjo (tracks 1, 2, 5, 8–10), kazoo (track 3), fiddle (tracks 4, 6)
Justin Robinson, vocals (tracks 2, 3, 5, 9, 10), beatbox (track 4); fiddle (tracks 1, 2, 5, 8, 10, 12), handclaps and foot percussion (track 6), autoharp (track 9)
Súle Greg Wilson, tambourine (track 3, 4), frame drum set (track 4), computer hard drive "triangle" (track 6), "leg" percussion (track 7), percussion (track 10)

Digitally remastered

Carolina Chocolate Drops
In early 2012, Grammy award-winning Carolina Chocolate Drops released their studio album Leaving Eden (Nonesuch Records) produced by Buddy Miller. The traditional African-American string band's album was recorded in Nashville and featured founding members Rhiannon Giddens and Dom Flemons, along with multi-instrumentalist Hubby Jenkins and cellist Leyla McCalla, already a familiar presence at the group's live shows. With Flemons and McCalla now concentrating on solo work, the group's 2014 lineup will feature two more virtuosic players alongside Giddens and Jenkins - cellist Malcolm Parson and multi-instrumentalist Rowan Corbett -- illustrating the expansive, continually exploratory nature of the Chocolate Drops' music. Expect a new disc from this quartet in 2015.

The Chocolate Drops got their start in 2005 with Giddens, Flemons and fiddle player Justin Robinson, who amicably left the group in 2011. The Durham, North Carolina-based trio would travel every Thursday night to the home of old-time fiddler and songster Joe Thompson to learn tunes, listen to stories and, most importantly, to jam. Joe was in his 80s, a black fiddler with a short bowing style that he inherited from generations of family musicians. Now he was passing those same lessons onto a new generation. When the three students decided to form a band, they didn’t have big plans. It was mostly a tribute to Joe, a chance to bring his music back out of the house again and into dancehalls and public places.

With their 2010 Nonesuch debut, Genuine Negro Jig—which garnered a Best Traditional Folk Album Grammy—the Carolina Chocolate Drops proved that the old-time, fiddle and banjo-based music they’d so scrupulously researched and passionately performed could be a living, breathing, ever-evolving sound. Starting with material culled from the Piedmont region of the Carolinas, they sought to freshly interpret this work, not merely recreate it, highlighting the central role African-Americans played in shaping our nation’s popular music from its beginnings more than a century ago. The virtuosic trio’s approach was provocative and revelatory. Their concerts, The New York Times declared, were “an end-to-end display of excellence... They dip into styles of southern black music from the 1920s and ’30s—string- band music, jug-band music, fife and drum, early jazz—and beam their curiosity outward. They make short work of their instructive mission and spend their energy on things that require it: flatfoot dancing, jug playing, shouting.”

Rolling Stone Magazine described the Carolina Chocolate Drops’ style as “dirt-floor-dance electricity.” If you ask the band, that is what matters most. Yes, banjos and black string musicians first got here on slave ships, but now this is everyone’s music. It’s okay to mix it up and go where the spirit moves.

“An appealing grab-bag of antique country, blues, jug band hits and gospel hollers, all given an agreeably downhome production. The Carolina Chocolate Drops are still the most electrifying acoustic act around.” (The Guardian)

“The Carolina Chocolate Drops are...revisiting, with a joyful vengeance, black string-band and jug-band music of the Twenties and Thirties—the dirt-floor dance electricity of the Mississippi Sheiks and Cannon’s Jug Stompers.” (Rolling Stone, Michael Hill)

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