Concert review: Yonder Mountain String Band (with the Deadly Gentlemen) jam the grass at the Pageant, Friday, March 8
A haze descended over the audience as the lights rose over Yonder Mountain String Band on Friday evening at the Pageant. The night was filled with a groove that could be placed somewhere between the Grateful Dead and the classic bluegrass of Flatt and Scruggs, with country melodies and a musical muscle evident in jam-band circles. Dancers, drinks and bona-fide hippies took delight in all the sights and sounds.
The night started out the Boston’s Deadly Gentlemen, a band with musical chops that stand up with to its contemporaries. The Deadly Gentlemen features Greg Liszt on banjo, Stash Wyslouch on guitar, Mike Barnett on fiddle, Dominick Leslie on mandolin and Sam Grisman on double bass — each took a turn stepping up to the mic. At first the strength of the Deadly Gentlemen might seem to be its musicianship, but their use of vocal orchestration is key. This unconventional use of vocal harmonies involves an acrobatic bouncing of voices that blend to add emphasis on phrases, melodies and lyrical content.
The band played a mixture of originals and covers: “Let It Bleed” by the Rolling Stones and “Touch of Grey” by the Grateful Dead. The strength of the band’s songwriting is study in diversity; from the country-esque “Moonshiner,” the almost punk-influenced “Police” (which seemed to evoke Black Flag’s “Police Story”) and the bluegrass burner of “Old Barns.” The latter skewed the Irish and Scottish influences of bluegrass for Middle Eastern phrasing that popped up every so often in the melody lines played by Mike Barnett and Dominick Leslie.
With a quick gander at the stage one would automatically assume that Yonder Mountain String Band plays typical bluegrass; after all, mandolin, banjo, guitar and bass are the band’s instruments. When the band kicked into its first song it was evident that this was more than just a bluegrass show. Yonder Mountain String Band has a sound that creates a jam-band groove with traditional string-band instrumentation that bands like the Grateful Dead, Phish and the String Cheese Incident have dabbled in; but those bands have not taken full advantage of the sounds’ power. This quartet from Nederland, Col. — made up of Jeff Austin on mandolin, Ben Kaufman on bass, Adam Aijala on guitar and Dave Johnston on banjo (each member taking turns fronting the band vocally) — brought an energy to the stage that is as reminiscent of Led Zeppelin as it is Ricky Skaggs and Kentucky Thunder.
The Yonder Mountain String Band blasted through two sets at the Pageant and brought the crowd to a frenzy its improvisational muscle. The night was highlighted with songs that ranged from humorous romps to the pull of lonesome heart strings. The diversity in the performance is evident in the songs. The band barreled through songs like “Half Moon Rising” and “How ‘Bout You?” which showcased a focused pop sensibility.
These songs were offset with traditional bluegrass instrumentals along with the fun Germanic romp of “Polka on a Banjo” and the seafaring bluegrass shanty of “Boatman’s Dance.” Despite the diversity of the songs stylistically each song blended perfectly to create a set that was consistent and fluid. As Yonder Mountain String Band played the atmosphere inside the Pageant was more akin to that of a house party with a friend’s band jamming in the background rather than that of a large-scale rock show complete with lights and a high performance P.A.
At the end of the night it was about the songs and the musicianship that both the Deadly Gentlemen and Yonder Mountain String Band brought to the stage. These elements created an atmosphere that primed the audience members to take themselves away from the day-to-day obstacles of life and to just have a good time with drink, dance and great music.
While the Yonder Mountain String band is rooted in traditions of acoustic music, it is the spirit of the San Francisco dance bands (the Grateful Dead, Big Brother and the Holding Company and Jefferson Airplane) that gives new life to its roots.
Concert review: Ricky Skaggs and Kentucky Thunder roll through St. Louis and the Sheldon Concert Hall, Friday, February 22
Bluegrass, played with a spirit and energy that transcends genre, is at the heart of what Ricky Skaggs and Kentucky Thunder does. The songs and musicianship elevated the performance to something beyond expectations. This ability has made Ricky Skaggs a time-honored musician, whether he is playing straight-ahead country or his brand of Bill Monroe-inspired bluegrass.
“We are all here because of bluegrass,” with those words Skaggs and his band kicked into a powerhouse of an opening. The night was rife with the modern sound of bluegrass and tributes to those that have passed on. It was a night that was about those that laid the foundation — Monroe, Scruggs and Watson — while also being about the present and future of bluegrass. The band mixed tradition with sounds that have been coming from the jam-grass circles as well as the pop-influenced sounds of Mumford & Sons.
Since putting down his signature purple Telecaster nearly 20 years ago and rekindling his love for the mandolin, Skaggs has become one of the top bluegrass musicians, singers and songwriters, a musician who knows the traditions as well as what is happening now. He puts his unique voice to this genre just as he did over 30 years ago with his debut album “Waitin’ For the Sun to Shine.” He is a musician and songwriter that does not tire of looking forward. You can hear it in his voice, a voice that is equally at home with classics like “Uncle Pen” and “Tennessee Stud” and newer compositions like “You Can’t Hurt Ham,” “Music to My Ears” and “Can’t Shake Jesus” — all played at the Sheldon on Friday night.
The band itself is the power behind Skaggs’ incredible voice, songwriting and mandolin talent. It is the band that roots itself in tradition with inspiration from jazz — and keeping that band rooted is bassist Scott Mulvahill, a musician who adds a jazz-meets-Appalachian swing that seems to be missing in other acts.
Andy Leftwich and Cody Kilby (fiddle and guitar) are the virtuosos. They provide the instrumental voice (outside that of Skaggs mandolin) that, much as with Mulvahill, has a certain root in jazz. This was exemplified when the band kicked into the Stéphane Grappelli and Django Reinhardt song “Minor Swing.” Each of them took turns and showed that the music they play has more than the Appalachian Mountains as its base.
Justin Moses stood on the right side of the stage in a stoic manner, looking as if he were a banjo-plucking version of John Entwistle. He took his solos quietly and played banjo inspired by Earl Scruggs. A quick little smirk would come across his face when he knew that he killed a lick.
But the heart and soul of Kentucky Thunder comes from that of Eddie Faris and Paul Brewster. Faris holding down the harmonic structure on rhythm guitar as the band trades licks; he also adds that middle harmony. Brewster, in contrast, is a voice to be reckoned with. He possesses a full-bodied tenor that makes for the perfect harmonist as well as a lead vocalist. His voice has a country soul, power, and heartbreak that makes it perfect for both bluegrass and country. It was exemplified when he was given the vocal spotlight to sing the classic “Kentucky Waltz.”
The night was filled with many of the works that Skaggs and his band have been doing over the course of the past two decades. For long-time fans it was good to hear that Skaggs has not forgotten about his past — a past that includes some of the best country music submitted to tape.
Just before the encore he gave the crowd the treat of “Highway 40 Blues,” one of Skaggs’ biggest hits, and “Uncle Pen”; both songs have endured due to their roots in the traditions of country and bluegrass.
Concert review: Railroad Earth (with WhiteWater Ramble) brings warm Americana sounds to the Pageant, Saturday, January 26
“I look up at blue sky of perfect lost purity and feel the warp of wood of old America beneath me.” An influential passage from “October in the Railroad Earth,” written by Jack Kerouac, sums up the exultant vibe of Saturday night’s Railroad Earth show at the Pageant.
Folks from a variety of walks of life slowly filed into the Pageant with a contagious excitement for the entertainment to come. White collars, blue collars, old hippies and young hippies filled the venue with that certain pleasant energy that you can only find at a good folk show; where the small town ways of old take hold and everybody knows everybody and a new friend is just a glance away. Tall cans of PBR were raised in toast of life, stories and laughter were shared, and the outside world was forgotten for just a little while.
WhiteWater Ramble warmed up the crowd with a slew of stringed instruments and a drummer who kept a solid beat under the watchful eye of a giant psychedelic owl perched in the darkness on the wall behind them. The Colorado-based bluegrass band put on a lively show that sent much of the pit spinning into a swing dancing frenzy, taking them on a journey through extended jam sessions that included an intense battle of a pair fiddlers and a country-style guitar solo that could only be described as “epic” by the younger hippies and “totally awesome” by the older hippies.
Ramble’s powerful finish slowly built up like a locomotive and exploded into a good-old fashion hoedown. Upright bassist, Howard Montgomery, finished his final bars somehow standing atop his instrument, strumming away in a display that much of the audience, judging by the hoots and hollers, had likely never seen before. WhiteWater Ramble band took its final bows and received a boisterous applause, marking the end of the first act.
A concert intermission is always an interesting time to survey the crowd, especially after a set as powerful as one that had just transpired. People wandered around aimlessly, momentarily dazed and confused after the complete sensory overload was turned off like a light switch; the crowd finally realized that it needed to kill 30 minutes before their next dose of decibels. Some went off to procure more ale, others went to check on the Blues game, others reflected on the musical phenomena that had just taken place.
One group sat down in a circle in the middle of the pit with a cocktail placed on top of an illuminated cell phone, creating an almost campfire-like effect; an orange glow poured out from the glass and red stirring straw flames shot out from the top and made for a great way to pass the time waiting for the headliner.
Suddenly the lights dimmed, the fog machines raged and the air became a little more festive. An explosive roar of the crowd greeted the boys from New Jersey, Railroad Earth, as they took the stage. The Americana sound of some 27 collective strings — strung across a mandolin, banjo, acoustic guitar, violin and an upright base — accompanied imaginative lyrics and superb falsetto harmonies that reverberated throughout the now fully-packed Pageant.
The psychedelic owl came to life in an incredible multicolor light show that had the mural shifting hues endlessly; the display provided an incredible stage show along with the music. Andy Goessling’s banjo skills stood out the most amongst the lineup of gifted musicians, with fingers of fury plucking away woes and worries as the six-piece band merged individual talents. Railroad Earth’s songs ranged from a smooth, gentle sound that had the audience swaying, to ferocious newgrass melodies that energized fans; we could feel it from the bottom of our souls.
The sounds kept the audience moving and cheering late into the night until the final song was played, and the good thing came to an end. The audience members left that night with smiles on their faces and a great buzz from the show.
Concert review: Punch Brothers (with Anais Mitchell) knock out the Sheldon Concert Hall with brilliant musicianship, Friday, January 25
“This is kind of one of our favorite rooms in the whole country,” said Punch Brothers banjoist Noam Pikelny as he looked into the sold-out crowd that lined the rows of the Sheldon Concert Hall for this KDHX-presented show.
This evening marked my first visit to the Sheldon; the venue struck me as a little surreal. I overhead a man behind me saying it reminded him of his college biology lecture hall, which is probably pretty accurate (though most lecture halls aren’t this acoustically clear or have such a handsome stage). The building that houses the concert hall also has an art gallery, as well as a gift shop and a ballroom where weddings and other events take place. It’s not your typical concert venue. But then again, Punch Brothers aren’t your typical band.
Cheerful chatter and excited remarks echoed throughout the theater, but as soon as first artist Anais Mitchell opened her mouth, the talkative crowd turned completely silent. Mitchell, accompanied by just an acoustic guitar on stage, played a powerful, fiery 35-minute set that featured a few songs from her 2010 folk-opera “Hadestown,” some from her soon-to-be released album “Child Ballads,” and one that she said she could barely remember because of how old it was. She told a few cute stories, like thinking St. Louis was on the border of Kansas because of the Tom Waits’ lyric, “I broke down in East St. Louis, on the Kansas City line,” but for the most part let her music do the talking.
The simple backing guitar of the songs made it easy to pay attention to the lyrics, which was especially nice because of how beautiful the words were. “Come September” and an untitled new song, probably from “Child Ballads,” had a great snarl and passion in the vocals, but also a sweetness to them. “When I think of my freedom, I feel so lonely,” she sang in the new song. “And when I feel lonely, I want you to hold me, hold me in your arms.”
Punch Brothers took to their favorite stage shortly after, dressed in classic three-piece suits, all with matching, beaten-up leather shoes.
Each member of the band has his own distinct playing style. Guitarist Chris Eldridge stands perfectly still for the most part and looks almost like a marionette who can only move his fingers across his strings. Gabe Witcher rocks back and forth while he fiddles, Noam Pikelny does a sort of glide step with his banjo and Paul Kowert stands wrapped around his bass, almost like he’s hugging it. And then of course there’s Chris Thile, the mandolin-playing, Jude Law lookalike whose animated kicks and electrified shakes seemed more like something you’d see in a punk band than a traditional bluegrass quintet.
They started with “Movement and Location” from 2011′s “Who’s Feeling Young Now?” but quickly broke into a five-minute long jam session, complete with solos from most of the band. While one member showed off his talent, the rest of the band watched in admiration.
“Across the Imaginary Divide” is another foray for Béla Fleck into jazz, coupling with a pianist much as he has done with Chick Corea in their live shows and on their CD “The Enchantment” (2007). The trio is filled out by Rodney Jordan on bass and Jason Marsalis on drums.
Fleck is — and this of course needs not be said, but here I go saying it again — a musician of the first order. He has brought new audiences to the banjo, or at least that’s how the story goes, but his music since the release of “The Bluegrass Sessions” in 1999 has really been less about the banjo and simply more about music. He’s ventured into classical music, jazz, old time, traditional Chinese music (with Abigail Washburn), African rhythms, all while keeping college audiences happy with the work he does with the Flecktones. The fact that the music revolves around the banjo is superfluous; rather, it is just music, masterfully conceived and performed.
Therefore to be critical of someone who has done so much, and so well, can feel a bit like heresy. But, as much as we might like to think so, Fleck actually can’t do everything. As a jazz fan, I’m not sure that he does jazz with any great success, and the reason is something that is true in all of his music: He just can’t seem to swing. Of course, when playing bluegrass that’s not always warranted, and his impeccable timing is something that set him apart on some of his early recordings that are now genre classics, such as “Fiddle Tunes for Banjo” with Tony Trischka and Bill Keith. His rolls have the precision of the metronome, and in a bluegrass setting, that’s a good thing.
The thing about jazz, however, is that it really has to swing. We can disagree, of course — and no doubt this is a topic that could fuel lots of silly, blowhard conversations — but I know that I’m not alone in thinking that one of the things that makes jazz, well, jazz is swing time, using dotted quarters to deliver a feel that is relaxed in the ballads, and fluid in more up-tempo pieces. It’s true that not all jazz players swing all of the time, but they all do at least some of the time. Again, it’s one of the things that makes jazz, jazz.
The irony is that one of the things that Earl Scruggs, a great hero and inspiration to Fleck, brought to bluegrass was swing time, and in some senses that’s what audiences were really responding to. He was using three fingers — and that’s the innovation that is always attributed to him — but his timing was often based in swing whenever accompanying vocals or other soloists. When taking solos, he’d go into straight time, and that was one of the things that allowed his banjo to come forward and really sparkle during those rightfully famous solos.
Fleck doesn’t do that, and in much of his work, it perhaps doesn’t matter. But on this collection, it really does. Marcus Roberts is masterful, but he also is really playing jazz. He swings, feeling out the melody and supporting it. He’s great at it, and whenever he steps back into the mix, we long to have him back at the front again. The banjo is often a distraction from what is really going on. Even on the title track, the banjo sounds like it’s competing rather than participating, something that happens throughout this disc. On “One Blue Truth” the banjo seems to ignore the feel of the piece entirely, which is a gently swinging ballad. There Fleck’s playing is like it is everywhere else: metronomic.
There are some successful moments, of course, and “Big Ups” is perhaps one of them. (But given that it’s in a New Orleans style, it’s easy to wonder why Fleck never gives a nod to the tenor banjo styles of that music. The piece just leaves you longing for that.) “Let Me Show You What to Do” is an instance where the straight staccato banjo sections provide a counterpoint to the trio sections, and therefore is a more successful pairing than in the ballads.
In the end I’m left just wanting Fleck to get out of the way of the Marcus Roberts Trio, who are fantastic interpreters, writers and performers. And they play exactly what they know best, jazz — which is exactly what they should be doing.
Thousands of music fans made their way to the “land of the delta blues” last weekend for the annual Beale Street Music Festival. This was my fifth time attending the long-running fest, part of the city’s month-long Memphis in May celebration in Tom Lee Park on the banks of the Mississippi River.
The violent storms and flooding of the past two years were replaced this year with sweltering heat and humidity, having fans wallowing in sweat instead of mud. The temperatures weren’t the only thing that was hot, however — the lineup was pretty amazing too. Unfortunately, we had to miss the opening night of the festival, which included heavy-hitters like guitar legend Johnny Winter, jam kings My Morning Jacket and indie diva Florence Welch of Florence + the Machine.
Arriving Saturday afternoon, we made it to the Bud Light Stage just in time to see our own hometown heroes Son Volt bring a little slice of the ‘Lou to Memphis. A decent crowd of Farrar loyalists gathered up close as the band took the stage — Jay looking a bit like Johnny Cash, clad all in black with thick sideburns. The band fought some loud feedback as they began, but it was quickly rectified as they eased into “Down to the Wire” from the band’s most recent album, “American Central Dust,” the twang of Mark Spencer’s pedal steel guitar cutting through the thick, humid air.
Son Volt played for just over an hour, turning out a comprehensive set spanning its catalog of material, including a suite of songs from the acclaimed debut album “Trace” to the delight of old school fans. A set highlight was the gorgeous “Highways and Cigarettes” from 2007′s “The Search,” featuring Spencer’s pedal steel married with Gary Hunt’s mandolin and Farrar’s haunting vocals. Farrar humored Uncle Tupelo fans by closing out with the classic “Chickamauga.”
In Memphis, music and BBQ go hand in hand, and the festival offers many options for local fare. We opted to singe our taste buds with some of Uncle Lou’s Famous Sweet and Spicy fried chicken, licking the fiery sauce from our fingers as blues legend Buddy Guy tore up the Orion Stage behind us. At 76 years old, Guy can still shred on the guitar and work the stage like the pro he is — even coming down into the crowd to play for a bit to the delight of fans. In addition to his own classics, he played inspired covers of “Fever” (appropriate considering the heat) and Cream’s “Strange Brew.”
Next we headed back to the Bud Light stage to check out ’80s Brit rockers the Cult. Lead singer Ian Astbury looked out of place in the sweltering Memphis sun in a thick black jacket and jeans, two fluffy foxtails dangling from his belt. His voice sounded relatively unchanged and guitarist Billy Duffy proved he is still worthy as well on classics like “Fire Woman,” “Wild Flower,” “She Sells Sanctuary” and “Love Removal Machine.” A few tunes from the band’s brand new album, “Choice of Weapon,” seemed to fall flat with the audience, however, including the dark “Lucifer.” Having grown up on the Cult, it was fun to hear some of these songs played live again, but overall, they seemed to be trying a bit too hard to at times to relive their glory days.
With the sun finally setting and the full “super moon” rising above the trees, Grace Potter and the Nocturnals took to the stage. I admit, I’d never seen Potter before, though many have told me how great she is live. She indeed lived up to the hype. Alternating on the guitar and keys, tossing her long, blonde hair around as she belted out songs like her hit “Paris (Ooh La La),” Potter and her band proved they can hold down a festival crowd of thousands in addition to the smaller venues they play more frequently.
It’s easy to underestimate the impact that MerleFest has on Americana music, and for anyone who hasn’t attended, it’s perhaps equally easy to overlook.
Initially a tribute to the late Merle Watson, Doc Watson’s son and musical partner, the festival has evolved into one of the biggest of its kind, on par only with Hardly Strictly Bluegrass in San Francisco, both of which draw between 70 and 80,000 people each year.
One of the many things that set MerleFest apart is that it is the first large-scale event of the season. Jerry Douglas has played at every festival since it began 25 years ago, and he noted from the stage this year that it’s like coming out of hibernation, a chance to see how so many musical friends have wintered. For everyone who arrives from anywhere north of Wilkesboro, N.C. — as I do each year — it’s the first time to wear shorts, sneeze at the pollen and get a good burn.
It’s also a community festival. Wilkesboro is as far from San Fran, and indeed any metropolis, as you can get. Four thousand volunteers work the grounds, take the tickets and run the shows, North Carolina’s answer to the Oberammergau.
Still, there is a kind of an industry trade show vibe, which is nice too, as it feels a bit like being in the center of something big — and, well, you are. The new names on the roster are often ones to take note of, if only because this is a venue that has brought so many artists to larger audience recognition. (This is the festival that gave first big breaks to Gillian Welch, Old Crow Medicine Show, Martha Scanlon, Tift Merritt, and indeed many others.) And the big names are also out in force, this year including Douglas, Alison Krauss, Vince Gill, Punch Brothers, Los Lobos, Dailey and Vincent, Sam Bush, Peter Rowan, Béla Fleck, Claire Lynch, Marty Stuart and Tony Rice.
Ultimately, there’s a lot going on. And while everyone has their own tastes, and bring their own perspectives, here are some thoughts on the events of this year:
Run, don’t walk, to see Blind Boy Chocolate and the Milk Sheiks.
There is a growing interest in the music of the ’20s and ’30s, though this is a band that seems to have arrived via time machine from that era. Complete with banjos, fiddle, ukes, scrub board and a singing saw, the novelty actually comes in how fun and vibrant the music is. Recordings don’t do it justice, and in any case it’s a bit of a job to get a hold of the band’s two releases. They started out busking on the streets of Asheville, though for the last two years they have rocked MerleFest.
The lights dimmed to darkness in the Sheldon Concert Hall to signal the Flecktones making their way to the stage. A moment of quiet settled in.
A couple of whoops rang out, an audience member yelled, “God Bless Earl Scruggs!” and Béla Fleck was off in a flurry of rolling picking on the banjo. Soon Howard Levy followed and the rest of the Flecktones joined in, beginning their set in an exciting whirl.
The Flecktones are a six-time Grammy-winning band — and a many more time nominee. Their original music continues to evolve around the talent of ever-changing members. The current band is comprised of the original Flecktone members who have not toured together since 1992. Béla Fleck is a prodigious banjo player as well as the band leader. Victor Wooten is the renowned bassist whose ability to play expressive and technically challenging parts has made him a bass hero to musicians globally. Roy “Futureman” Wooten plays an instrument of his own design: the drumitar, which in essence comprises all of the group’s percussion. Howard Levy, who has returned to the group after an almost 20-year hiatus, is on piano and harmonica.
The Flecktones followed the opening number with a beautifully melodious song allowing for bit of release from the tensely engaging introduction, and then their odd-time signature song “Life in Eleven,” which is in different 11-count time signatures. Of course this might only be noted by frustrated musicians trying to count it since the song is aesthetically pleasing as well as the 2011 Grammy Award winner for Best Instrumental Composition. It is definitely one of my favorites.
Victor Wooten amazed the audience with a performance on bass and loop pedal. At this point in our culture looping is no longer a novel product; overdubbing dates back several decades. So what Wooten was performing was well understood by the audience, yet remained a fresh component of the performance overall. Wooten composed a medley of songs and his own improvisations; at one point we were surprised with the bass line to the theme music of the movie “Shaft.” Later in the performance he played each note in a melody, delayed by the time for the overdub loop to come full circle, adding a single note to the previous each time around. All during Wooten’s solo performance I felt in awe of how technically challenging yet musically satisfying the performance was. His ability to push the boundaries of the possible with his performance and keep it feeling musical was inspiring.