The river's rising at BotR

A true festival pleasure is the chance to hear bands both young, up-and-coming and established acts that you might know only by reputation. For me, an additional buzz comes from that early glimpse of a band destined for fame.

They tell me the weather in Pueblo today was hot and dry, but on the river the breezes were cool and the music sizzling.  Anne & Pete Sibley graced the River stage with a pleasant set that found a ready audience in the early day crowd. The Wyoming couple's easy stage manner and well-crafted original tunes fit nicely with their guitar & banjo instrumentation. 

Next in the lineup, fresh from an extended stay in Missouri was Foxfire, a young band featuring siblings and a burgeoning family harmony. The elements for a solid unit are all there - but, typical with young bands, missing only the years of experience needed to cement the musical relationships. 

Meanwhile, at the unplugged Pickin' Parlor, purists High Plains Traditions entertained an appreciative crowd eager for the genuine high, lonesome sound. These guys might not be the next incarnation of the Monroe Brothers but they do add an authentic tone the younger generation of players can't quite deliver.

The day's schedule moved into an alternative acoustic reality with the BGotR debut of the Hot Club of Santa Fe, seriously talented musicians recreating the 1920's Parisian jazz of Django Rheinhardt & Stephane Grappelli interspersed with swinging interpretations of pop classics. "Route 66" sounds natural in swing tempo thanks to Asleep at the Wheel, but "Don't Think Twice, It's Alright" might make even the most jaded Dylan fan perk up and pay attention. The Hot Club was also the first band of the day to offer OBC - Obligatory Bluegrass Content - with its set closer, Bill Monroe's "It's Mighty Dark to Travel."

In the Pickin' Parlor, a stellar quartet from New Mexico made its BGotR debut. Raising Cain has been gathering positive reviews from respected musicians and has just released its second CD, produced by the estimable Sally Van Meter.  RC's set in the close quarters of the unplugged tent was a tour de force of  well-crafted original tunes blended with covers drawn from the West Coast school of hippie grass, including "Dark Hollow" and "Know You Rider." (We understand that a China => Rider segue may be in the works). The original songs, products of three strong writers in the band,  stand out as clean, sophisticated works. Guitarist Aimee Hoyt's powerful contralto easily filled the Parlor tent while Greg Daigle's vocals, banjo, and lead guitar embellished inventive chord progressions and Trischka-esque banjo rolls. Mandolinist Don Grieser, although not a vocalist, emanates an engaging stage presence that draws the audience into the sort of relaxed receptivity that makes the band's originals, including the addictive "Tango in Durango", especially effective. Watch for these folks - they are bound to be a powerful and influential unit on contemporary acoustic music.

The River Stage was host to a pair of Festival favorites, the Hot Strings (formerly the Pagosa Hot Strings) and the Hickory Project.

The musicians in Hot Strings have played together nearly a decade, even though  the oldest member is in his early 20's. Yes, this is one of those precocious child bands that seem particularly popular in bluegrass circles. Sometimes this works really well, as in the spectacular success of Nickel Creek. In this case, the lineup has hardly changed, giving the Strings an obvious chemistry and intuitive anticipation, both essential elements in the sort of freewheeling jamgrass these guys seek to create. The problem is that despite their years together, the Hot Strings have not yet found the one clear motif that could unite their impressive but disparate skills and talents. Today's set, for instance, launched with a sprightly fiddle original, "Ghost of the Leopard", but then descended into a grassified version of Peter Frampton's "Do You Feel Like I Do?" The set revived with the reggae-flavored "We Will March" and then wrapped up with the OBC of "Little Maggie." I like these guys, and I do expect them to  grow into their potential, which is considerable.

I want to talk about two bands that seem, to me at least, representative of twin currents in the contemporary acoustic music scene.

The Hickory Project, of Penn Hills, Pennsylvania, delivers an expert, passionate mix of folk and swing salted with driving acoustic breakdowns and perfectly-balanced vocals. Their seamless, professional sets make effective use of a twin guitar attack and exquisitely blended harmonies that take special advantage of fiddler Sue Cunningham's vocal subtleties. There is no doubt in the mind of any listener that the Hickory Project loves its work. Solidly based in the fundamentals of the craft, Hickory Project expands into satisfying original compositions, such as "Satisfaction Guaranteed", and "Run, Rachel, Run." This is the sort of band that can expect a lengthy, artistically rewarding career and adequate revenue streams to support its members. But you sure won't hear them on the radio.

And then there's Cadillac Sky. If any band on this weekend's schedule is poised to "hit the big time", here they are. More on them in the next post. -- Zen Curmudgeon

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Strawberry gallery (Sunday)

Ruthie Foster at the Revival

Bearfoot

Austin Lounge Lizards

Willy Porter and Joe Craven

Patty Griffin

Strawberry gallery (Saturday)

Martha Scanlan

Brother

Ray Benson of Asleep At the Wheel

John Hiatt

Strawberry gallery (Friday)

The Stairwell Sisters

Eric Merrill and Adrienne Young

Patty Larkin of La Guitara

Bluegrass on the River

Astronomers have some sort of agreement that summer begins late in June each year. They have got to get out more.

Today marks the first day of summer as the 17th annual Bluegrass on the River festival kicked off this evening on the banks of the Arkansas River in Pueblo, Colorado. A down home event in my hometown, BGotR emphasizes traditional bands and a family atmosphere. A dual-stage arrangement comfortably accomodates the attentive crowds sheltering from the high plains sun beneath majestic cottonwoods. The River Stage offers the only amplification to performers standing over the fast-running river while the  unplugged, intimate Pickin' Parlor tent seats perhaps 150 music lovers  on folding chairs and hay bales.

The highlight of tonight's opening lineup was Sons and Brothers, a quartet that has found its stride through plenty of solid touring. The setlist included previews of tracks from their upcoming CD, "Count The Score Even" as well as crowd-pleasing standards delivered with classic mando chops and tight four part harmony. 


BGotR has offered a nurturing place for young bands seeking a place to hone their skills, a list that includes Ryan Shupe and the Rubber Band, Broke Mountain Bluegrass Band, and the brilliant Hit and Run Bluegrass Band. This year will be no exception, as the weekend kicks into high gear tomorrow with Skaggs Family Records artists Cadillac Sky, the youthful exuberance of Pagosa Hot Strings and BGotR favorite Hickory Project.

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Strawberry gallery (Thursday)

Homespun Rowdy

Justin Perkins of Toubab Krewe

Ryan Shupe & The Rubber Band

Patty Larkin on "gender bending"

One of the more intriguing acts of the Strawberry festival was the so-called "gender-bending strings" of La Guitara, the touring version of singer-songwriter Patty Larkin's showcase of female guitar stylists.

At Strawberry, La Guitara consisted of Larkin, classical guitarist Muriel Anderson and jazz player Mimi Fox. The trio played both as an ensemble and in serial solo minisets during their main stage appearance. They also traded off on numbers and took questions from the audience at a Friday afternoon workshop appearance.

My daughter Twyla and I got a chance to chat with Larkin after the workshop. We started by asking about the origin of the La Guitara project.

"A few years back Rolling Stone had an article listing the top 100 guitarists of all-time, and they included Joan Jett and Bonnie Raitt, which is fantastic. But it was only two out of 100," Larkin said.

"That got me thinking about getting a bunch of my singer-songwriter friends--Jonatha Brooke, Shawn Colvin, Mary Chapin Carpenter, and others--to do instrumentals on a record. They are all great guitar players, but their guitar work tends to get buried and goes unsung.

"But then my co-producer, Bette Warner, suggested that we should go broader into other genres of music. As we did the research, tons of new names started coming in. People playing classical, rock, blues, everything. It was hard to narrow it down."

In the end, the album that emerged featured 14 performers, including some well-known artists, two "archival" musicians no longer living, and others who are up-and-coming.

Larkin insists that it is not meant to be the complete picture, but an initial sampling. She also said there would be follow-up CDs that emerge from the project, including the singer-songwriter one that was her original vision.

"It's not like we've found something and we're marking it and peeing in every corner. It's like we're marking something that has already transpired, that's already up and gone, and we just want to talk about it. And we want to open up the potential for discussion in an interesting way," Larkin said.

Twyla was especially interested in the rationale behind the notion of "gender-bending strings," and whether there is really anything especially distinct about female guitar styles.

"I think there's a sensibility of how women approach the music. I know that when I produce records with people, it's circular. I want everybody to tell me where they're coming from, what they're thinking, and what they think their contribution could be. And then I tell what to do," she said with a laugh.

"I think it's the same way [with how female musicians interact]. Sue Foley, who's a great blues player from Canada, told me that she did a workshop stage with six women blues guitarists, and instead of 'Step aside, I'm taking the next solo,' it was more like, 'You go? No? Okay, I'll go.' And then they would wail."

I noted the that the guitar can be a phallic image. Larkin agreed that "it often is in our society. I liken it to rock climbing. Last time I was in Yosemite, 30 years ago, rock climbing was a very male-oriented sport, and you've seen that completely turn around. With guitar-playing, there are young women and girls coming up who are changing it. They're changing the approach into something different and including their voices in the repertoire."

The La Guitara project hopes to accelerate that change, in part by raising funds for Guitars in the Classroom, a non-profit based in Santa Cruz, CA, that trains classroom teachers in guitar method and acquires free instruments from manufacturers.

Telluride Tom radio appearance

Telluride Tom Heidger, the unofficial "mayor of Town Park," which is the site of the Telluride Bluegrass Festival, was featured today in an interview on Colorado Public Radio.

In the segment, Tom talks about the festival's musical genres, audience demographics, his own history at TBF, and his most memorable Telluride moment. I'll be camping in Tom's group this year, and hope to have more comments from him on the blog after the festival.

By the way, near as I can tell, wireless Internet access will not be available on site, so live blogging may not be feasible after all.

Strawberry freeze

Not that the music wasn't great, but Strawberry Spring '06 will probably be remembered most for the cold temperatures and Saturday sleetstorm. All of us froze our toes off, but Don Dowell from the Hogranch listserv took the trouble to record actual temperatures. Here's his report:

"In my camp, under the trees along Yosemite Trails Road against upper Coyote Meadow, the overnight low temp measured Friday night was 34°, and the Saturday night low was 31°. The Sunday night low was 36°. It was still wonderful to be there with great music and even better people all around. I'm looking forward to Fall so I can break out the shorts and sandals I never used at Spring."

Strictly Unofficial Strawberry Poll

Voting is now open for Festival Preview's Strictly Unofficial Best of the Fest poll for Strawberry Spring 2006. Last fall, we ran an exhaustive survey with categories for best performance on every type of instrument and in every genre. This time, we're going with a much stripped down version with three categories only: Best Performer, Best Newcomer, and Most Entertaining.

The poll is not affiliated with Strawberry Music Festivals, and is meant for fun only. Anyone who attended Strawberry and was present in the Music Meadow for at least half of the performances is eligible to vote. Voting will remain open until midnight, Monday, June 5, and results will be announced on June 6.

Strawberry coverage (and poll) to come

I got back from another great--but very chilly--Strawberry Festival late yesterday afternoon. The sets from John HIatt, Patty Griffin, and many others were fantastic, but I suspect the overriding memory for many will be the cold nights on the meadow and the Saturday afternoon sleet-storms coinciding with Asleep At the Wheel main stage show and Adrienne Young's workshop performance. The musicians and audience bundled up and sat through it like troupers.

I'll have festival coverage beginning later today with a shorter Best of the Fest poll, some of my photography, and interviews with Patty Larkin (La Guitara) and Adrienne Young. I wonder if Telluride is going to be as cold, and whether I'm going to need a warmer sleeping bag.

Welcome Zen Curmudgeon

Thanks to ZC for his post about Bluegrass on the River. ZC is Zen Curmudgeon, an active festival-goer and blogger from Pueblo, Colo. He is the first to have joined me in what I hope will become a group blog covering roots music festivals around the country. Email Dan Ruby if you'd like to contribute some of your own festival musings.

Also check out ZC's political commentary blog at Zen Curmudgeon. Meanwhile, welcome to Festival Preview, ZC. We'll look forward to your Bluegrasss on the River report and to meeting you in person at Telluride in a couple of weeks.

Bluegrass on the River, Pueblo, CO

Colorado has a reputation, thanks to Planet Bluegrass's excellent work, for high profile festivals that draw first-tier acts and devoted fans.

But there are a number of smaller fests that provide opportunities for up-and-coming bands to hone their craft in front of smaller but no less enthusiastic crowds. Bluegrass on the River in Pueblo, Colorado is one such festival. Held on banks of the Arkansas River this  inexpensive festival gives great value for its modest $25 weekend pass.

In recent years this fest has featured Hit and Run Bluegrass as well as the late Broke Mountain Bluegrass Band. A consistent favorite is Pennsylvania-based Hickory Project.  We'll be covering this year's events for Festival Preview. Stay tuned.

Bound for Strawberry

Even with all the festivals I've been going to, Strawberry is the one that is special to me. I've spent the day getting ready, and now have a few hours to spare before leaving overnight for the 6:30 line arrival. For non-Strawberry goers, the line procedure is too complicated to explain, except to say that securing a prime camp location means arriving between 6:30 and 8:00. It's about a 3-1/2 hour drive, maybe even less with no traffic.

I went ahead at splurged today at the Wilderness Exchange to copy Dancin' Dave's setup, which I found so comfortable during MerleFest. I bought the same Eureka Sunrise 9 tent he uses along with a Slumberjack cot, and also a nice Lafuma bag, all for about $275. For once, I am going in style.

My group includes my daughter Twyla and nephew Zach, college students who are working part-time for Festival Preview over the summer. Both have attended lots of Strawberrys as younger kids, but were less interested in their teen years. Actually, Twyla did the Spring festival last year, and she's looking forward to meeting up with friends there. The weekend should give them a jump start into the festival mindset, so they'll come back ready to shape the content for the relaunch of the site.

The first thing we'll do next week is run the Best of the Fest poll, stripped down this year to just a few categories for the best overall performance, best newcomer and best stage personality. Last fall we named winners in every instrumental and vocal category, which was too much. But people enjoyed it (we had about 150 voters), so it makes sense to still do it in a reduced way.

Some of the acts I am most excited to see are Adrienne Young, who I love, La Guitara, which sounds delightful, Assembly of Dust, which has blown me away in the preview listening I've been doing, and of course John Hiatt, who I have actually never seen before. Lots of others too. We'll soon see who surpasses our expectations, and who creates this festival's memorable moment.

It goes without saying there will be no live blogging during the festival. While some other festivals are beginning to provide Internet access on site, I can safely say that won't be happening at Strawberry for a very long time. Strawberry's management puts on a fantastic festival, but they have their own ideas about what is and isn't "the Strawberry way."

So I'll next be online late in the day on Monday. See you then.

Marley's Ghost takes "Spooked" on the road

I still have a lot of catching up to do with interviews I did with performers at some recent festivals. With Strawberry on the docket, this seems like a good time to write up my conversation with Mike Phelan of Marley's Ghost, since the band has such a long history with Strawberry and since Mike himself is a regular participant on the Strawberry Hogranch email list.

I caught up with Mike last month at the Old Settler's Music Festival, after Marley's Ghost played its Sunday afternoon set at the Campground Stage. I started out noting the band is well-loved by the Strawberry audience.

"Well, it's a mutual love affair. That festival has meant so much to us," he said.

This year, the band is touring heavily around the country in support of its new "Spooked" CD, which was produced by A-list producer Van Dyke Parks and is getting a big promotional push from the Sage Arts record label.

I asked how the new record differed from earlier Marley's Ghost projects. Phelan said that Parks "took us up a step, introducing a whole other level of detail and bringing volumes of new ideas, rhythms and concepts. He stretched us in every possible way."

Parks is the producer, composer and arranger who developed talents such as Ry Cooder and Randy Newman, and who has worked with many of the biggest names in popular music.

Phelan said that Parks focused the band on lesser known material from the American past mixed in with some band originals.

"In the past, we have been intoxicated by some reggae, some blues, and various other styles. The difference here is that the record is more narrowly focused on just this Americana stuff, and it all hangs together with a cohesiveness that comes from having a really topline producer," Phelan said.

"He really worked my butt off in the studio, asking me to try some different rhythms and techniques I wouldn't have thought of," Phelan said. "I came out of the experience with a new excitement about my music and knowing i had to go back in the woodshed and pretty much work on everything really hard."

The other unique thing about "Spooked" is the R. Crumb cover artwork, which came about since several band members had worked with Crumb in his Cheap Suit Serenaders band. Since Crumb had lost his record collection in a dispute with the IRS, the band paid for his work with "about 100 pounds of 78-rpm records," Phelan said.

Now that the CD is released (and has been featured at the Borders and iTunes stores), Phelan said the band is focused on promoting it to radio stations and the music industry. There is also talk about a follow-up CD with Parks that would extend the new directions.

If so, perhaps the Strawberry faithful will get a chance to see the band back at Mather in 2007.