Many people play roots music, but few modern musicians live those roots like Minnesota’s Charlie Parr. Recording since the earliest days of the 21st century, Parr’s heartfelt and plaintive original folk blues and traditional spirituals don’t strive for authenticity: They are authentic.  It’s the music of a self-taught guitarist and banjo player who grew up without a TV but with his dad’s recordings of America’s musical founding fathers, including Charley Patton and Lightnin’ Hopkins, Woody Guthrie and Leadbelly. With his long scraggly hair, father-time beard, thrift-store workingman’s flannel and jeans, and emphatic, throaty voice, Parr looks and sounds like he would have fit right into Harry Smith’s “Anthology of American Folk Music.”

Parr’s forthcoming album, Barnswallow will be his eleventh studio release.  Most of his recordings, including Roustabout (2008), Jubilee (2007), Rooster (2005), King Earl  (2004), 1922 (2002) and Criminals and Sinners (2001) eschew typical studio settings.  His inspiration is drawn from the alternately fertile and frozen soil of Minnesota. Parr grew up in the Hormel company city of Austin, Minnesota (population 25,000) where most of the world’s favorite tinned meat, Spam, is still manufactured. And he hasn’t moved far, drawing sustenance from the surprisingly large, thriving and mutually supportive music scene of Duluth: Parr’s 2011 album of traditional songs, Keep Your Hands on the Plow features locals including Charlie’s wife, Emily Parr; old-timey banjo/fiddle band Four Mile Portage; and Alan Sparhawk and Mimi Parker of the renowned alternative rock band Low.