Jenny Brook Family Festival – Review

The sprit of Candi Sawyer pervades the Jenny Brook Family Bluegrass Festival, makes it work and brings it to life. Candi, diagnosed with Multiple Sclerosis six years ago appears frail, but her iron will and good taste bring off this wonderful small festival year after year. The Weston, VT Recreation Park is located about two miles north of the picturesque village of Weston where the Vermont Country Store and the Weston Playhouse provide shopping and entertainment and the Green Mountains provide atmosphere unparalleled at this time of the year. For the past seven years Candi, her husband Seth (a wonderful singer/songwriter from that fabled heart of bluegrass music – Maine) and her two young sons Mathew and Adam establish a tone that creates a magical four days.

The volunteers arrived on Wednesday, set themselves up and began to prepare the festival grounds. Trash barrels distributed, signs placed along approach roads to point the way to the festival, tents pitched, and all the details of preparing the infrastructure of a festival accomplished. At 7:00 AM Kurt on his ATM was leading RVs to spots designed to make them happy and be sure that plenty of room was available for everyone. The Jenny Brook General Store took shape with Etta and George in charge. Candi oversaw the little details, while willing volunteers wearing bright yellow T-shirts with STAFF on the back scurried about. RVers set up and looked around to greet friends who they had known from previous years or other festivals. The day dawned bright and sunny, but the weather deteriorated as time passed. At six o’clock the music kicked off as described below. The Thursday bands were all local bands heavily loaded with friends and Sawyer family members. The music leaned toward classic country and bluegrass standards – just what the early bird audience wanted.

Friday morning dawned with the threat of bad weather which continued to deteriorate. Working the gate on Friday, we continued to marvel at the dedication of bluegrass fans, as they continued to arrive between showers and moments of sunshine. Each time the sky cleared, we thought we had seen the last shower, but no luck. Harry Grant, the sound man, arrived and set up his speakers and sound board as John and Judy got their field kitchen open and serving people wonderful breakfasts and continuing through the day with burgers to full meals featuring barbecued chicken, turkey wings, pulled pork and more. Their food and bright British personalities consistently maintained a higher than ordinary standard for fair food from 6:00 AM until the music stopped around eleven at night.

The music started at noon, with Smokey Greene leading off. Now well into his late seventies, this singer/songwriter has been on the bluegrass and country music scene for about fifty years, recently with a solo act featuring classic country and his own combination of comic songs mixed with tributes to the greats of country music and his own views of a world no longer as simple and uncomplicated as the one he thinks he remembers. Popular in the northeast as well as in Florida, Smokey’s warm baritone voice and mostly sunny songs draw his many fans to the performance area. He often opens festivals and performs around the dinner hour, helping to keep some of the audience in their seats a little longer or get them their earlier.

Junior Barber and Beartracks were up next. Barber, a fine resophonic guitar player eight times nominated for Dobro player of the year at IBMA, provides his marvelous melodic playing to support Julie Hogan’s solid electric bass, sprightly movement, and strong voice. Tom Venne, Julie’s older brother, plays rhythm guitar and sings, exchanging harmony and lead with his sister, each often moving back and forth in the same song. As pleasing to the eye as to the ear, Junior Barber and Beartracks is one of those groups that never fails to remind me how deep the musical roots are in all parts of the country. Coming from near Plattsburgh, NY, near the Canadian border, this group is a delight to hear and see.

The clouds continue to scud across the sky, dark and menacing, interspersed with brief periods of sunshine. During a short stint at the gate, where Irene and I are assigned but I get a regular break to go take pictures with each one extended until I hardly show at the gate at all, we tell a woman who’s checking in that there is a shortage of programs, so we’re limiting distribution to one per carload. “At these prices, the least you can do is give each person a program,” she grumps. It never ceases to amaze me that bluegrass fans complain about the cost of festivals when they get camping and three or four days of great music for around sixty dollars a head. Some large festivals have admission tickets exceeding a hundred dollars per person, but these feature large numbers of headline bands. Compare the cost of an entire bluegrass festival to paying $80.00 to $100.00 for a seat at a rock concert held in a football stadium where binoculars are essential if you wish to even see the performers. Furthermore, bands must buy gasoline to get to festivals, often a thousand or more miles from their home base. Promoters are, therefore, squeezed between attendees yammering to keep costs to rock bottom and bands needing to make a living.

Lynn Morris had a stroke several years ago and has only recently been able to return to performing despite finding it difficult to find the words and to play. The Lynn Morris Band took the stage next. Husband Marshall Wilborn, one of the great bass players in the history of bluegrass, provides vocal and emotional support to his wife while always maintaining his incredible beat and intricate bass play. David McLaughlin on mandolin, who also plays with Seneca Rocks and Springfield Exit, contributed his fine playing and voice as well as continuously supportive presence. Ned Luberecki on banjo contributed his wonderful radio voice, humor, and fine leads and backup. Lynn Morris, struggling and inspiring, stands as a tribute to fighting against adversity and working to overcome physical and emotional trauma to perform the music they love. It is impossible not to see the connection between Lynn Morris and Candi Sawyer as each woman works to keep bluegrass growing and alive.

The Lynn Morris Band is followed by Linda and Butch Ralph’s band Family and Friends. Their classic country sound and familiarity to the crowd here always evoke a strong response. Linda and Ralph are also vendors, representing Martin Guitars at their Danby Four Corners Music booth.

The Gibson Brothers now take the stage in the spotlight next to last position for the afternoon. They will also close the evening show. Each of their last three CDs has hit the top of the bluegrass charts, and they have now had a music video playing regularly on CMT as well. With their roots in the northernmost reaches of New York, the old family farm lies only a mile or two south of the Canadian Border, this band represents what is best in bluegrass music and receives wide play on satellite radio where, according to Ned Luberecki, they are requested and very well received. Eric and Leigh Gibson’s voices blend a harmony so perfect it is often difficult to know which one is singing lead They are also extremely talented songwriters, whose works like Callie’s Reel, The Barn Song, and Railroad Line evoke love and the loss of the rural lifestyle, striking both the head and heart. Eric is one of the few lead singers who can pick intricate licks on his banjo while singing in his clear high tenor voice. He is one of the most under-rated banjo players in the business. Leigh’s voice and strong rhythm guitar exchange leads with his brother in an always tasteful and exciting fashion. Together they are dynamite and the audience always responds to them. Their music clearly belongs in bluegrass, although its links to classic country, rock, and blues create an appeal that is broader than bluegrass alone. Mike Barber, Junior’s son, has been with the Gibsons since the start, a rock on bass. Clayton Campbell on fiddle, often going inside himself to wind his tones around and through the songs, and Rick Hayes on mandolin each work closely with the others to create a unique and affecting wall of sound. Even though it is sometimes now pouring, the music continues and the folks stay, now mostly under the two large tents. An occasional lightening flash or a rumble of thunder can be seen and heard, usually in the distance.

In the evening program, Leroy Troy is added to the lineup with one performance on Friday and one on Saturday. Troy has greatly reduced his festival appearance since he has joined the regular cast of the show at the RFD TV Theater in Branson, MO. This is sad news for fans as Troy is a sure crowd pleaser, but good news for him, because he now has a steady gig in a popular place. Leroy Troy performs as a single on banjo seated before two microphones. He plays old time songs with a deep Tennessee accent and hillbilly patter. I’ve talked to him several times, and it’s impossible to tell whether he just stays in character or if what you see is really the man himself. Regardless, his playing, reminiscent of Uncle Dave Macon is a virtuoso display of what clawhammer banjo can look and sound like. On standards like Grandfather’s Clock and Make My Skillet Good and Greasy, he plays both ends of the banjo at once while twirling and spinning it in the air. He’s very good and the crowds eat it up.

The evening continues to threaten, erupt, partially clear, and get colder. None of this deters the enthusiasm that the Gibsons create in their closing show. The warmth and energy created by the band communicate themselves to the audience who stay until the end and then disperse either to bed or for a late night of jamming. Despite the weather, it has been a fine day.

Saturday dawns chilly but promising. During the night temperatures have dropped into the low forties, but the front that’s been forcing its way through may take its leave today. The campground appears full, but campers continue to arrive and are shoe-horned into place by Curt Barnes, who is busily leading them to their camping sites, covering the grounds in his four wheel ATV. His daughter Becky, a delightful nearly seventeen year old has replaced me completely at the ticket booth, freeing me to take pictures and visit with the bands. It would impossible to run this festival, or any other for that matter, without the enthusiastic support of the volunteers. Jenny Brook is special, however, for the hard work and devotion to Candi Sawyer shown by them.

The Gibson Brothers are the second act in the lineup this morning, despite having closed the night before. The come on with energy and enthusiasm and get the crowd moving again. Buddy Merriam and Back Roads follow. We had seen Buddy Merriam’s band about eighteen months ago opening for the Gibson Brothers in Lexington, MA. This weekend he sounded and looked better. The addition of a female singer to his band gave it a richer sound. His bass player, Ernie Sykes, Jr., brings broad experience, a good voice and solid beat and a sense of humor to the band. He also was the last musician hired by Bill Monroe to be a Blue Grass Boy, an important element for Merriam, since he seems often to be trying to channel Monroe in his presentation. At Jenny Brook Merriam played four sets and made an important musical contribution to the festival, playing the last set on Sunday.

Each time I hear the Seth Sawyer Band I’m more impressed. The band is solid with Dave Olomoski on mandolin and Darryl Smith on banjo both contribute solid instrumentals and vocal flourish. Candi Sawyer on bass provides a steady bass. The gem, of course, is Seth, whose voice ranks up there with the likes of Junior Sisk. He leans out over his guitar and fixes the audience with his piercing blue eyes as his interpretations of other people’s songs and his own song writing cut right to the heart. His song “Green Mountain Girl” dedicated to Candi and sung to her on the stage can’t be resisted.

David Davis and the Warrior River Boys arrived from a gig in Kentucky just on time to take the stage. They were well worth the wait. Davis plays a hard driving Monroe Style mandolin and also introduces his audience to older sounds like those of Charlie Poole and Deford Bailey, the first black performer at the Grand Ol’ Opry who appeared from 1927 – 1941. By placing his own hard driving style into a tradition going way back beyond Monroe, Davis educates his audience while entertaining them. In a festival dominated by northeastern bands, Davis provided a perfect sound and flavor that enriched the festival. At many southern festivals we attend, his sound would blend in with other less able hard driving bands. At Jenny Brook, his efforts really paid off in audience appreciation and excitement. His band, especially Owen Saunders on fiddle and lead singer and guitarist Adam Duke as was Marty Hays on bass and vocals.

A highlight of Saturday afternoon was the appearance of Erin Gibson LeClair accompanied by her brothers and Mike Barber. Erin, as Eric and Leigh’s younger sister, grew up with music and it shows. While having opted to stay home in northern New York to raise a family and teach school, Erin has deprived bluegrass music of her marvelous voice. On gospel songs her clear voice and obvious sincerity are sure fire winners. Erin’s performance of The Lighthouse can be heard on the Gibson Brothers CD Bona Fide. She’d be welcome on more of their cuts.

Saturday evening vamped into a rising crescendo as Leroy Troy kicked off another set followed by a rousing performance by David Davis and the Warrior River Boys and leading to a resounding climax by the Gibson Brothers. Even as the temperature dropped into the forties, the stars came out and the excitement reached wonderful levels. As the Gibsons finished their two encore songs, everyone went home happy.

Candi Sawyer solves the Sunday problem by returning to a family format. The morning opened with Mike Robinson and his wife Mary leading a particularly satisfying bluegrass gospel sing with high attendance, enthusiastic singing, and a brief but poignant message emphasizing the lack of certainty in a life without faith. The Right Path Gospel Band followed with a gospel set and then Buddy Merriam returned for another set. The Jenny Brook Kids, who had been practicing all weekend, then took the stage. These youngsters show that bluegrass music appeals to the younger set and that the future of the music is assured.

They were followed by the Seth Sawyer Band again. During this set, Candi, who had been working hard all weekend finally gave in and had to leave the stage. With the support of her family and friends backstage, she rallied and by the end of the festival was able to walk out to where the forty of fifty people remaining were arrayed in a large circle for the traditional Jenny Brook ending, the singing of “Will the Circle Be Unbroken.” As Candi came out and joined the circle, there was hardly a dry eye in the house. Her courage and positive view of life triumphed over her physical weakness, inspiring all who were there. With the final refrain of “in the sky Lord, in the sky” we all hugged or shook hands and Jenny Brook was over for another year.

Jenny Brook Family BG Festival - Thursday

The Jenny Brook Family Festival in Weston, VT got underway yesterday with a bang, in this case literally as thunder showers surrounded the area, most of them passing to the northeast. There was some rain, but the audience was enthusiastic and the music was fine. All day long various kinds of RV rigs rolled into the area and were checked in and located in slots by the volunteers. People set up their rigs and settled in. Jammers began pickin’ and the festival began to buzz.

At six o’clock the music started with the Sawyer Brothers, hosts Candi and Seth’s two young sons Mathews and Adam. Accompanied by their parents, the boys sang the five songs from their new CD, much to the crowd’s support and pleasure. Following the Sawyer Brothers, other local bands played what turned out to be a very pleasant evening of classic country on acoustic instruments and bluegrass from a band put together by Seth for the day. Here’s a few pics from Thursday.

Candi Sawyer

Brenda and Friends

Brenda Mathews

Mathew and Adam Sawyer

Precision Valley Bluegrass

Seth Sawyer

Family and Friends

Goat

Look for more tomorrow with some text, if I can find the time. This is a great little festival - warm, homey, and welcoming. Come on out!!

Ronnie McCoury to Release Children's Bluegrass CD

I’ve written in this blog before about my concern for the future of bluegrass if the music doesn’t cater to changing tastes in the audience. Our kids grew up on various forms of rock music and seem almost completely impervious as they look at their aging parents and just shake their heads. When we go to bluegrass festivals we see many more people our age (mid-sixties) than we see young folks with their children. One promising movement has been the efforts of some bluegrass festivals (Strawberry Park, Grey Fox, Jenny Brook, Springfest, and others) to provide a Kids Academy in some form or other where children get instruction in playing acoustic instruments and perform for the entire festival on the last day. These kinds of activities serve to relieve parents of having to supervise their children all day every day as well encouraging the kids to make music together and begin to get into bluegrass.

Ronnie McCoury seems to have come up with a different approach. On August 21^st, “Little Mo’ McCoury,” a CD of children’s songs will be released. According to the Bluegrass Blog, this new album was inspired by the birth of Ronnie’s new child. The album contains sixteen cuts, divided between well known children’s songs bluegrassified and traditional bluegrass and folk songs appropriate for kids. You can listen to the samples here. A press release from McCoury Music says, “Ronnie McCoury's fondest childhood memories are ones he has of accompanying his father-the iconic Del McCoury-to bluegrass festivals, experiencing early on the way that music can bring parents and kids together. Now that he is a highly accomplished artist (and father) in his own right, Ronnie-joined by the Del McCoury Band, of which he is now a longtime and prominent member-has recorded an unprecedented album that will allow families everywhere to experience together this quintessential American musical form.”

Songs on the CD include: “This Land is Your Land,” “Teddy Bear’s Picnic,” “Jimmy Brown the Newsboy,” “Big Rock Candy Mountain,” and more. There’s a wide selection of songs from Bob Dylan, Randy Newman as well as McCoury originals and bluegrass classics. This album not only presents fine children’s music, but shows how such music can be interpreted within the bluegrass genre. Getting children started on music in the format of bluegrass and accessible to their tastes and interests should be a can’t miss project.

This all sounds like a great idea to me. As grandparents who wish to share the joy of listening to bluegrass music, attending festivals, and learning to play the music, we’ve tried to interest our sons in interesting their kids in the music to less than resounding enthusiasm, we welcome this release from McCoury. It’ll find its way under Christmas trees and onto our CD player when the grands are around. Little Mo’ McCoury will be released on August 21^st. Keep your eye out for it.

Fast Copy by Dan Jenkins, Simon and Schuster, 1988

Not having anything else I wanted to read the other day; I picked up a copy of Fast Copy that had been moldering on my bookshelf for some years. As I began reading it, I met Betsy Throckmorton, wise-cracking daughter of Ben, just returning to Claybelle, TX, a fictional town south of Fort Worth with her Yalie Yankee husband Ted to take over Daddy’s newspaper (her as editor) and radio station (him as manager). Betsy and Ted are met at the station by an assortment of Texas folks right out of Jenkins’ catalog of characters. There’s the wildcat oilman, the banker, the too made up and sexy wives and girlfriends, the loyal black servant couple, the Texas Ranger, and the two red-neck louts. These people wise-crack, love, get richer or poorer, swap mates, and kill each other for the next 396 pages.

Dan Jenkins is best known to his readers as one of the great sports writers of the second half of the twentieth century. Writing mostly about his twin passions – golf and football – Jenkins has enlivened the pages of Sports Illustrated, Golf Digest, Playboy and many other magazines. His books include the football classic Semi-Tough and a great golf book, Dead Solid Perfect, too. Fast Copy allows him to write about still another passion, newspapers. Set in the continuing depression in Texas of the mid-1930’s, Fast Copy allows his characters to assert the worthlessness of those who suffer most from the depression while allowing the Texans getting rich from oil and banking at the expense of others to make fools of themselves. Jenkins’ ear for dialogue is as dead solid perfect as the drives of one of his golf characters. The story allows Betsy and Ted to bring their eastern sensibilities to rural Texas. Betsy re-designs the pages of her paper to increase its world view in the face of the rise of Hitler and Mussolini. Ted seeks to examine the hobo jungle that local residents see as a source of pestilence rather than the result of economic disaster. Jenkins shrewdly inserts his social message through Betsy’s wit and commitment to finding and exposing the truth.

After completing about 120 or so pages of this book, I put it down, figuring I was hearing more of Jenkins razor wit and Texas talk, which I had become familiar with in real life through a three year stint teaching in east Texas during the seventies, than I wanted. I thought that the book was too filled with wisecracking and too light on plot and character development. Some days later I picked it back up, and I’m glad I did. I was wrong on all three counts, as the book moves to a rousing climax and the characters become more interesting as it progresses. By the end, I cared about Betsy Throckmorton and her friends and lovers, while I admired her courage and spunk. The format allows Jenkins to make his humor laden and cogent comments about football and journalism, with a slight bow to golf as well as a large dollop of both Texas and New York. This book is a more than worthwhile diversion for someone looking for a book that’s both light and thought provoking.

Mountain Music Meltdown - Saranac Lake, NY June 30 - July 1: Preview

Fair Warning! It’s difficult to preview an event which I myself have not been to before. It’s even harder to preview one which has no history, as there are not even comments by others to take into account. Mountain Music Meltdown, to be held in Saranac Lake, NY on June 30th and July 1st boasts a varied schedule of Americana and world music. This event is billed as “the first annual” so I hope it succeeds, as the Adirondack region is much in need of a couple more strong music festivals. This festival is promoted by Lazar Bear Productions, whose principal is Les Hershhorn.

For us, the premier attractions, when we heard of this festival, were (and remain) the appearances of Doc Watson and The Gibson Brothers on Friday. Doc Watson, at age 84, is still a wonder flat-picker on the guitar. (Do your own Google search on Doc; there’s a wealth of information and lots of it is worth looking at.) His picking style, which first made a splash during the folk revival of the sixties, is fast and accurate and his singing voice is mellow. His musical tastes range from old mountain ballads through bluegrass and blues to rock and roll. He’s played it all. As host of his own festival, the fabled Merlefest in Wilkesboro, NC, which annually attracts in the neighborhood of 80,000 admissions, he has set the standard for Americana festivals. Each year we go to this remarkable event to hear old favorites and are introduced to bands we never heard before who make a deep impression on us. Doc Watson is still worth hearing and seeing on his merits as a picker/singer and a must see as an important part of music history.

The Gibson Brothers bring the tight harmonies of brothers to a delightful mix of music with their feet very deep in bluegrass, but not so embedded that their music doesn’t reflect modern tones and sensibilities. Coming from upstate (now in this case, upstate doesn’t mean “anywhere north of Westchester, but Ellenburg Depot, just south of the Canadian border) New York, these two singer/songwriter/musicians have put out three number one bluegrass albums in recent years and are becoming an increasing draw on the festival circuit around the country. In New England and New York, where they have a large following, they always draw a crowd eager to respond to their exciting singing and playing. Supported by Mike Barber on bass, Rick Hayes on mandolin, and Clayton Campbell on fiddle, this group sends out a big wall of sound that reflects all that is best in contemporary bluegrass music while still paying respect to the founders of both bluegrass and classic country.

Sven Curth opens the program on Saturday. His MySpace entry lists him as a singer/songwriter who plays guitar for a group called Jim. Curth’s sound, as sampled on his site, seems to be a nice rocky/bluesy sound complemented by interesting lyrics. It sounds like the sort of material that would be pleasant listening under the sun at the opening of an eclectic music festival. He is based in Lake Placid and performs around the Adirondacks and over into Vermont. He is followed by the George Bailey Trio, billed by Lazar as a regional bluegrass group. As this band doesn’t have a web presence, I’ll have to leave it at that. The Gibson Brothers appear at 3:30 and are followed at 5:30 by Doc Watson. These two offerings are sufficient to make the day ticket price of $50.00 worthwhile. They are followed by Tcheka from Cape Verde, Africa whose music is described as Afrofunk. A second stage provides additional music.

The Chaz dePaolo Blues Band kicks off Sunday's performance. He describes his music as “traditional blues played with a rock feel.” The two samples of his music available on his MySpace page support his assertion. He sounds, again, like an enjoyable opening act. He is followed by Ana Popovic, Yugoslavian guitar Diva. Her American debut Album, titled “Still Making History (2007) is about to be released. She comes from Belgrade, Yugoslavia and sounds good enough to me to spend some time listening to her.

I have to admit that Commander Cody & the Lost Planet Airmen are a group that I’ve never heard, but whose name strikes some kind of chord with me, though I can’t say where or how. Their press kit says they originated at the University of Michigan during the sixties and migrated to San Francisco during the late sixties. Songs like “Hot Rod Lincoln” a talking blues and “Hawaii Blues” have a really listenable west coast sound that’s pretty sure to please. The samples on their web site suggest a strong country influence informed by the Grateful Dead. New Riders of the Purple Sage close the show on Saturday. The fact that Jerry Garcia appeared on their first album probably had no influence on them or their development. The early editions of this band also included Mickey Hart of the Grateful Dead and David Nelson. Their sound is western hippie jam band – easy to listen to. Most of their recordings were released from 1974 – 1980.

This new festival looks like a very good way to spend the early part of 4^th of July week. As nearly as I can tell, spending your time at this festival might well provide a good deal of enjoyment. As I listened to sound clips in preparing this preview, I was impressed and enjoyed the music. Mountain Music Meltdown will be held on the North Country Community College soccer field in Saranac Lake, NY on June 30^th and July 1^st. You can by tickets on line for $75.00 advance or can get them at the gate for $80.00. Day tickets are $45.00 and $50.00. Food vendors and a beverage tent will be available. Bring your lawn chairs or blankets. You can buy tickets here. You can find Saranac Lake here. For my taste, Doc Watson and The Gibson Brothers offer the most exciting part of this new festival, but there’s good diversity here and lots of surprises in store.

Jenny Brook Family Bluegrass Festival - June 21-24: Preview

The Jenny Brook Family Bluegrass Festival opens for its seventh year at the Weston Recreation area on Lawrence Hill Road, just north of Weston, VT on June 21 and runs through June 24th. This small festival has many features to recommend it. The small town park makes it a good place to hold a family friendly festival. The grounds contain an unguarded swimming pond, which is well-used on warm early summer days. There’s a playground set and an enclosed basketball court area where kids shoot baskets and run around. Furthermore, the crowd is such that many parents allow their children pretty broad leeway to have freedom of the grounds. The park is largely turned over to free, rough camping. There are no hook-ups of any kind, but rigs are carefully parked to assure maximum use of the available space. The staff (fair disclosure: Irene and I are volunteers at this festival) is friendly and helpful. Porta-Johns are plentiful and cleaned often enough to keep them from becoming obnoxious. All told, this festival, owned and run by Candi Sawyer, is well-organized and enjoyable. Vendors provide a pretty food variety of fair fare, and a local instrument dealer is present with Martin guitars and the usual small things pickers sometimes need. Field pickers abound and play pretty late into the night.

This year’s lineup is headed by two days with two performances each day by the Gibson Brothers. This band, which has had increasing national visibility over the past couple of years as well as three number one CDs, has been a loyal feature at Jenny Brook. Last year they lit up the crowd on two evenings. The excitement this band generates among those familiar with them or only just getting to know them is infectious. Long time friends of the Sawyers, The Gibson Brothers will be greeted by old friends and make new ones during their four sets.

Lynn Morris has one of the great voices in bluegrass music. David Davis and the Warrior River Boys, from Alabama, are making up an appearance they could not keep three years ago because of illness. We had the pleasure of seeing them later in the summer at another festival and found them to be an engaging traditional band. Leroy Troy returns to Jenny Brook after a highly successful appearance last year. Troy does a one man show on the old-time banjo in the style of Uncle Dave Macon. His humor and skill combine to make his appearances very enjoyable for all.

The remaining bands on the schedule come from either New England or New York. For folks used to looking south for their bluegrass music, these appearances reassure people that bluegrass is alive and well in the northeast. Buddy Merriam & Backroads comes from that well known center of bluegrass music – Long Island. Don’t let their origins fool you. This is a real bluegrass band fronted by Buddy Merriam, who plays Bill Monroe mandolin as only one who knew the Big Mon himself can. Smokey Greene does a solo show accompanied by his old Martin guitar, Ben, combining country and bluegrass standards and his own often amusing songs.

Seth Sawyer, Candi’s husband, is a noted singer/songwriter who comes from Maine, but don’t let that fool you. His songs are wonderfully written and he performs them more than ably with his own band. Junior Barber, who is a first rate Dobro player and used to play with the Gibson Brothers, plays on Friday with Beartracks. I’m not familiar with the remaining bands, but know that Candi offers a strong program.

Sunday at Jenny Brook is strongly tinged with Gospel music. Mike and Mary Robinson, whose itinerant bluegrass ministry is familiar to many, lead a bluegrass gospel sing on Sunday morning and the Right Path Gospel Band will also play. Mike will also ably double as emcee. Last year, when the piper played “Amazing Grace” and then those remaining formed a circle and sang “Will the Circle Be Unbroken” was a sad and inspiring moment leavened by the knowledge we would all return in a year and do it over again.

Nowhere is more lovely than New England in early summer and the Jenny Brook At Jenny Brook, old friends meet again year after year and new ones are welcome. Bluegrass Festival can provide a delightful weekend for those who want to give it a try. Within an easy drive of anywhere between Boston and New York, this festival deserves the attention of those who enjoy traditional bluegrass music served up in traditional style by wonderful people.

The Jenny Brook Bluegrass Festival will be held at the town park just north of Weston, VT from June 21 – 24. Camping is free with a four day ticket. Tickets cost 55.00 for the weekend. Day tickets for Friday or Saturday are $25.00 with a discount after 5:00 PM. You can find a map to the location here.

Cedar Run Cafe & Bakery - Keene, NY

After a late (for us) evening, we agreed to meet at Cedar Run Cafe & Bakery for breakfast on Sunday morning. Located at the junction of NY Route 73 and Route 9N in Keene, NY, Cedar Run is a perfect stop for locals, summer residents, and travelers on their way through to or from Lake Placid. Owned and operated by Kristy Deyo, Cedar Run has been through many lives. Under Kristy’s capable hand, it has been completely rebuilt and remodeled to provide a warm and welcoming stop-off or a good place to hang out. With its recently added porch, there is plenty of space for indoor or alfresco dining. For several years Kristy has operated a bakery in a cramped space that provided too little room for her skills and vision. Cedar Run provides her an opportunity to express both.

Cedar Run serves both breakfast and lunch. The breakfast menu starts with steaming mugs of excellent Green Mountain coffee arriving at your table. A look at the menu suggests pretty standard fare – cereal, pancakes and waffles, omelets, wraps, breakfast sandwiches, and so-on. The difference arises when service begins. For breakfast, I had fried egg, sausage and cheese on a croissant. The French roll was home made, the egg not overcooked, the sausage juicy and the cheese Swiss. Not your average every day breakfast sandwich. Irene’s quiche was tender, crispy on the bottom, and tasty. Pancakes and waffles are served with real maple syrup, either an extra or unavailable at many breakfast places. Kristy makes a variety of fine pastries, which are also available for breakfast. Prices are reasonable. Sandwiches, wraps, and side dishes make the menu flexible for all tastes, including vegetarian.

Cedar Run has two lunch menus. The sandwich menu features a variety of sandwiches and wraps served on home-made white, wheat, or rye break with chips. They include chicken salad, egg salad, classic meat sandwiches, blt, PB&J, and so-on. The distinguishing characteristic is the quality of the breads and the fillings. Wraps and paninis are more elaborate and interesting. For instance, The Pinnacle (all are named after Adirondack peaks) is made of ham, red onion, cucumber, smoked gouda cheese served with a homemade herb-dijon dressing for dipping. The Haystack, a vegetarian sandwich, is made of sliced carrot, cucumber, tomato, apple, red onion and cheddar cheese with a garlic hummus spread. Other concoctions are just as interesting and delicious sounding.

A more elaborate luncheon menu offers starters, salads, soups, and entrees to provide a full meal. Starters include Veggie Bites ($3.95) or Crab cakes on Greens ($5.95) each of which sound wonderful. Salads range from a couple of small salads to a meal size Big Salad with a range of ingredients and meats, ($8.95). Main courses include a daily quiche, a quesadilla, crab cakes, and more all at under $10.00 There is also a daily homemade soup.

In addition, Kristy Deyo is an accomplished pastry chef. She offers a large variety of cakes, pies, cheese cakes, and frozen favorites to order as well as classic desserts like Pear Maple Crumble and Orange Chocolate Almond Tart. In addition to whatever is available on a daily basis, all the deserts can be pre-ordered for pickup.

Kristy Deyo has managed to put together a delightful place to stop for breakfast or a light or full luncheon. Don’t miss this fine new restaurant on your way to Keene, Lake Placid, or beyond.

By Mail: Cedar Run Cafe & Bakery
Attention: Kristy Deyo
2837 NYS Route 73
P.O. Box 293
Keene
NY 12942
By Phone: call Kristy Deyo at (518)576-9929.

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Stawberry Park BG Festival - Sunday and Wrap-up

Bluegrass festival promoters face a difficult problem when they schedule for Sunday. On Sunday many people need to pack up and head for home; they need to be ready to go to work on Monday morning. Some promoters have given up on Sunday and gone to three or even two day formats. Others, like Buck Beiber here at Strawberry Park, build a Sunday that has four headliner bands. It must cost a lot of money to put Dry Branch Fire Squad, Dale Ann Bradley, The Gibson Brothers, and The Cherryholmes on the stage on a Sunday in the face of a steadily dwindling audience, but today there must have been well over a thousand people still in their seats when the Cherryholmes closed.

Dry Branch Fire Squad, dressed in suits for their Sunday morning Gospel set. This has become a tradition at Strawberry Park, as it is at other festivals where they are regular performers. Their primitive gospel sound with a lightening mix of Ron Thomasson’s thoughts about his origins in simple faith and the hypocrisy of TV evangelists provide a lovely opening for the day. Dry Branch fire squad really sets a tone of seriousness consideration of the world and the role of faith within it in such a way as to make the message palatable to people coming from a variety of backgrounds.

Dale Ann Bradley has one of the most beautiful voices in bluegrass. By adding Mike Bub on bass to her band she has improved it as only Bub can, giving the band his beat, his voice, and perhaps more important, his personality. Ramona Church on banjo, Tim Laughlin on mandolin, and Jeremy Abshire on fiddle constitute a very solid band providing the framework for Bradley’s luminous voice. In her encore, Dale Ann sang “Old Southern Porches” accompanying herself on the guitar while alone on stage. She nailed all the spectators to their seats with this lovely song. Off-stage, at her merch table, she emerges as even more warm and lovely than her onstage personality. This is quite a trick, as on-stage she comes across beautifully. If you get a chance to see and hear Dale Ann Bradley, you should take it.

After Dale Ann the Strawberry Park Kids Academy took the stage and played a few songs. These kids, ranging in age from about six or seven into the mid-teens, suggest that the future of bluegrass music is well assured. Kids who persist in playing bluegrass instruments through their teen years must be well defended against peer pressure. Often musicians represent a distinct and separate peer group in high school, excluded from the clans of jocks and popular kids. Toby Keith’s very popular country song “How Do You Like Me Now” applies to the life of almost any high school musician. Efforts like the Kids Academy help create a support group for musicians whose instruments are not in the core of school musical groups. Kim Cyr, director of the Kids Academy at Strawberry Park and President of the Connecticut Bluegrass Music Society, deserves much credit for seeing that this part of the festival works so well. Furthermore, it keeps a group of kids busy who might otherwise become bored with the multiple hours of music.

The Gibson Brothers followed for their long set. Dressed in black suits, they hit the stage up-tempo and carried the crowd along with them for a 90 minute set. Skillfully mixing their unique mix of traditional bluegrass, classic country, and bluegrassified rock, brothers Leigh and Eric reached out and grabbed the crowd. Perhaps their strongest suit is their own songs. In songs like “The Barn Song,” “Railroad Line,” “Callie’s Reel,” and “Arleigh” these brothers, singing in the close harmony only brothers can achieve, reach a musical level that is nearly sublime. No one can resist their musicality or their charm. While the brothers are the core and heart of this group, their band should not be ignored. Mike Barber has been with them on bass since the beginning. His shy smile and habit of hiding behind his bass mask a hard driving or quiet and thoughtful support always in good taste and providing the steady beat a good band needs. Rick Hayes, whose smile and sometimes wonder at what comes out of his own mandolin, has steadily improved on the instrument and brings personality as well as musical skill to his work. Clayton Campbell on fiddle combines soaring solos with tasteful back-up to every performance and has emerged as a distinct personality in the band.

The Cherryholmes Family closed the show with their usual energy and high intensity. The Cherryholmes have improved during the past three years when we have seen them a number of times. They tour incessantly and I can’t help worrying about the cost to four kids who’ve been on the road since they were pre-teens. Nevertheless, in my conversations with them at their merchandise table and behind the scenes, they seem to be happy, well-adjusted kids who say they enjoy what they’re doing. Mother Sandy Leigh seems as well grounded and down to earth as a performing mother can be. Father Jere’s act is getting smoother and he has rounded off some of his rough edges. Audiences respond well to them and they bring new fans into the bluegrass tent. Their music sounds traditional to some while at the same time careful listening reveals strong Celtic influences as well as rock rhythms and sounds. When Cia rakes her banjo it barks as loud as anyone’s. Even though they finished after 4:00 PM on a threatening Sunday afternoon, the Cherryholmes were enthusiastically called back for an encore before the crowd allowed them to leave and then packed itself up and cleared out. When we went up to the campground lunch counter at around 6:30 the place was nearly empty, and we slept like logs with a steady rain coming down on our trailer.

Some Thoughts on Bluegrass as a Big Tent

We attend a number of festivals each year. Each has a unique flavor and emphasis. Some, particularly those in Florida, have a very strong emphasis on traditional, hard-driving bluegrass. We’ve also been to several festivals that refer to themselves as Americana festivals, offering a very eclectic mix of bluegrass, alternative rock and country, R&B and more. Many festivals have in common an emphasis (or even an exclusive bias) on acoustic instruments. Our tastes have been broadened and enriched by this variety.

This weekend’s lineup at Strawberry Park was one of the strongest we have seen, and perhaps the strongest for a middle-sized festival. It ranged in style from a very traditional country fiddler from Canada (April Verch) to the very edges of progressive bluegrass with Chris Thile’s How to Grow a Band. Not every band was to everyone’s taste, but there was great music and there were great musicians. While I didn’t always get Thile’s lyrics, I was astounded at the way his players handed the lead from instrument to instrument. Sometimes it was nearly impossible to tell whether Pickelny, Thile, or Sutton was playing; the hand-off was seamless. The music was complex and interesting. It surely featured the traditional bluegrass instruments, but only occasionally did anything sounding like the traditional bluegrass music emerge. Nevertheless, this bands sound challenges and pleases.

Cadillac Sky and The Infamous Stringdusters both had marvelous sets. The Stringdusters had a long set under a hot sun and still produced at top level. Both are bands to watch as bluegrass finds new ways to keep one foot in touch with tradition while stepping into new and interesting ways to understand and present the music. The musicians playing for both groups are outstanding and their sounds are reaching out in ways that will soon allow fans to recognize their attack within the first two or three chords. That’s as it should be. The Grascals, Cherryholmes, and Steep Canyon Rangers please and entertain using much more traditional approaches. The Gibson Brothers bridge the gap with a particular genius that is gaining broader attention and will surely continue to grow as they write new songs and produce new albums.

Buck Beiber has accomplished a real feat in promoting a bluegrass festival with something to please nearly all who consider themselves to be bluegrass fans while challenging them to understand and appreciate new directions the music will have to take if it is to continue to grow its fan base. The Strawberry Park Bluegrass Festival was a fine weekend.

Strawberry Park 2007 - Saturday

Saturday at Strawberry Park is a lesson in how to build the next generation of loyal bluegrass fans and an appreciation of the kinds of new, young musicians who are increasingly present on the circuit. The lineup has representatives from the earliest days of bluegrass festivals to the most cutting edge of groups building new music using the instruments traditionally found in a bluegrass band. The day is sunny and hot without a drop of rain, a perfect day. The schedule requires attention, as only two groups have two sets. If fans want to see a group, they need to be on hand to catch them in the moment. There are few second chances today.

I want to write at greater length about the contrasts and similarities of groups ranging from Dry Branch Fire Squad, Steep Canyon Rangers and the Grascals through Cadillac Sky and the Infamous Stringdusters through Chris Thile and How to Grow a Band. The skill level is enormously high. Each group has members who are either worthy of enshrinement in some hall of fame or who will soon be there. The list is so long that I hesitate to name people in fear of leaving a worthy great out. Today, I’ll post a bunch of pictures that seek to give a sense of variety and quality available. When I get some time next week, I’ll fill in the holes.

Steep Canyon Rangers

Cadillac Sky

Dry Branch Fire Squad

The Infamous Stringdusters

The Grascals

Chris Thile and How to Grow a Band w/Bryan Sutton

Before the last set, park owner Buck gave Glenn Hubbard, the emcee of evening events at Strawberry Park for thirty years and award for his service.


I know there are some individuals missing from these pictures and there are other ones I want to put up, but I'm working under a time constraint and want to get this up. More tomorrow.

Strawberry Park 2007 – Friday

The day dawned damp and drizzly, but by noon the sky had cleared and people were ready for a great day of bluegrass. Early on we were made aware that Mountain Heart had had bus problems or traffic problems or both and were going to be at least late. This concern hung mildly over the festival all day. As Nothin’ Fancy was setting up their merchandise table, Irene asked whether they’d like some help staffing the table while they were performing, and they jumped on her offer. She would end up spending almost the entire day there, happily helping people choose among the variety of CDs and other paraphernalia and smiling as she made change.

Nothin’ Fancy has had remarkable stability as a band; in their thirteen years as a band they have had very few changes. This yields a clear, recognizable sound led by singer/songwriter/leader Mike Andes, who wears his hair long and a fashionably trim beard. Much of Nothin’ Fancy’s material is written by him, and it ranges from amusing songs like “I Met My Baby in the Porta-John line” to serious and inspirational works like “Little Wooden Crosses.” Supported by his strong baritone voice and deadpan expression he keeps the show moving. Much of the rest of their work is inspired by The Country Gentlemen and Seldom Scene. They create a mellow sound that makes them one of the great listening bands in contemporary bluegrass. During their performance, the personality of each of the band members emerges.

Chris Sexton, a classically trained violinist, on the fiddle manages to be a clown and remain aloof simultaneously. He excels at both physical comedy and musical jokes, interspersing references to other songs and other genres in his playing. His sprightly use of themes from classical music always evokes a laugh from knowledgeable listeners. Gary Farris, a fine tenor singer and rhythm guitar player, is the elder statesman, bringing his own form of discipline to the group while providing perfect harmony and singing the occasional lead. Mitchell Davis on banjo provides steadiness and a wounded sense of pride. His glare and pause while he waits for the rest of the band to pay attention is near perfect. Tony Shorter on bass returns to the band, of which he was one of the founding members, after a brief break from the road. His rock solid bass playing and strong voice help make sure the trio is dead on. There’s often too little humor in bluegrass music. Nothin’ Fancy maintains an elevated musical standard while keeping the mood light. They’re really funny without resorting to corniness.

The Lovell Sisters are next on this afternoon’s lineup. All three of these young and attractive (it would only be churlish to call the lovelly) women sing a play with skill and style, displaying their early classical training as well as a clear ear for country and bluegrass music. The Lovell sisters deserve special recognition as a girl band that refuses to allow their physical beauty to interfere with their high quality musicianship. They are strong both instrumentally and vocally. Their singing reflects what many describe as a genetic tone that allows them to blend together in a closeness that singers not related to each other never or seldom achieve. Groups from the early Morris Brothers through the Stanleys, Lillys, and down to today’s Gibson Brothers achieve this kind of closeness, and the Lovells belong in this company. Furthermore, their mere existence as a group proves that bluegrass music continues to appeal to young performers who can attract a younger audience.

We first heard the Lovells at Grey Fox last year and then saw them again at Merlefest this year. On Wednesday evening at the Wilkes Folk Society pickin’ tent at Merlefest, I didn’t recognize who they were, but was taken by their lively jamming with the local group which assembles each afternoon and evening before Merlefest begins. The love of the music shown in this impromptu jam comes through in their on-stage performances, too. Jessica Lovell is the eldest of the three sisters, having reached her early twenties. She sings lead and fiddles with verve and energy. She’s a study in constant motion and facial expression as she provides leadership and color to the band. Sister Megan, just turned eighteen, plays resophonic guitar and sings harmony vocals. Inspired by Jerry Douglas, she also claims to be influenced by some of the great rock guitarists. Of the three, Megan is the most retiring, but she expresses a high level of musical virtuosity. Rebecca, sixteen, was the first woman and youngest contestant ever to win the Merlefest mandolin contest. She plays a mandolin with style and speed while also showing a good solid chop. She will only improve on this key bluegrass instrument. The band is ably supported by young Jake Stargell (17) on rhythm and flat-picking guitar, and Andy Nail, a kindergarten classmate of the girls’ father, on bass. This group has not completely found its groove and will improve from an already excellent start as they do.

What’s left to say about Rhonda Vincent & the Rage? The band tours endlessly, plays a variety of kinds of venues, and attracts a loyal and large following. Rhonda has been named IBMA female vocalist of the year seven times. Perhaps the hit counter on her web site says it all: 1306818 – for a bluegrass band! When the Martha White bus rumbles into a campground or festival site, fans know they’re in for a good show. Backed by an exceptional band, including Mickey Harris on bass, Josh Williams on rhythm and flat-picking guitar, Hunter Berry on Fiddle, and the incomparable Kenny Ingram on banjo, Vincent is backed by one of the best bands in the business. She, herself, is underrated on the mandolin, which she handles with skill and verve. In today’s second set, a somewhat juiced crowd hollered out requests and the band picked up the challenge with Rhonda accepting the disruption as well as the funny and entertaining byplay with better than good graces before pulling the band and crowd back to business.

While her playing and singing puts her on a level above many others, an admirable characteristic of Rhonda Vincent is her devotion to her fans and her willingness to spend all the time they need with her at the merch table. The time and energy she expends there extends way beyond any need she may have to sell CDs, T-shirts, and other merchandise. She shows genuine interest in her fans, many of whom she knows by name. She willingly poses endlessly for pictures. After leaving the merch table she and her band had supper at one of the camper’s sites. This means that she has to be “on” all the time. Given the demands of the tour, it must be exhausting for her to give so much of herself to her fans.

Mountain Heart did not make their afternoon set and some question arose as to whether they would get to Strawberry Park at all. They arrived less than an hour before their scheduled time and took the stage about 9:30. This band has recently been through a shakeup, lead singer and co-founder Steve Gulley having left to form Grasstowne with Alan Bibey and Phil Leadbetter . Steve has been replaced by Josh Shilling, who at Strawberry Park is playing his first bluegrass festival and who only started playing the guitar this year. Shilling has an adequate voice and is beginning to fit into the band, but Gulley’s shoes are hard to fill. Mountain Heart’s sound keeps one foot solidly in traditional bluegrass while committing a good portion of its energy to a “wall of sound” rocky style that young audience who grew up on rock respond to with energy and appreciation. Adam Steffey has won the coveted IBMA mandolin player of the year five successive times and his bass voice adds a gravelly sound that complements the others singers in the band well. Clay Jones, whose lightening fast flat-picking explodes off the stage, exudes electric energy. Bass player Jason Moore always provides a solid beat and on his solo in the encore of their set shows that he’s a virtuoso on the instrument. Jim Van Cleve is simply one of the very best fiddle players around. It’s clear that his creative energy is one of the driving forces behind this band’s move from its original bluegrass sound and the much more progress, rocky sound they now feature. Barry Abernathy, on banjo, plays a strong Huber banjo despite having only one finger on his left hand. That he can play at all is a small miracle. He has developed a banjo style that fits in well with his band and sounds good, too. Altogether, Mountain Heart’s sound is sure to bring a crowd and is a great closing band, generating huge excitement and noise from both sides of the stage. The crowd is both excited and somewhat rowdy, whether from the music or chemical enhancements is not entirely clear.

Laurie Lewis interview on WFDU

Look for an interview with Laurie Lewis on Bill Hahn's radio show at WFDU (Fairliegh Dickinson University in New Jersey) on June 3. Look here for more information.

Strawberry Park BG Festival - Thursday

Imagine an opening night of a bluegrass festival without a banjo in sight. Well, that’s what happened last night at Strawberry Park and the music was both interesting and enjoyable. As a banjo picker making such a statement hurts me a bit, but, despite the inclement weather, which we should expect to continue all weekend, the first evening provided enjoyable and interesting music. We had spent a good chunk of our day visiting the Mashantucket Pequot Museum & Research Center, which is worth your time and effort to visit. At five we took the short walk from our campsite down to the Amphitheater and found that someone had placed a seat between us and the side rail on the platform in front of the stage. We had carefully left space for an aisle, but whoever this guy is put a single seat in, meaning that it will be difficult for me to get out and take pictures. It’ll be a problem for him, us, and the folks behind, but we’ll work it out.

April Verch opened the program, as she did last year. She is an able and fun fiddler who comes from the Ottawa Valley in Ontario Province and plays in what she describes as the unique style of that region. She also plays French Canadian and Maritime styles whose difference eludes me, but that’s my problem. From time to time April comes out from behind the microphone to dance providing a highlight and some variety. Verch’s band, which she asserts is her best band yet, backs her well and ads well orchestrated syncopation and rhythm to her fiddling. Marc Brue, April’s husband, plays a variety of percussion instruments with interesting effects. Isaac Callender gives her band drive, solid rhythm guitar and flat-picking as well as singing harmony. Cody Walters on bass always gives a strong and steady beat. The band played a bunch of good fiddle songs interspersed with some vocals, but the instrumentals are the strongest element of her band. Only a small crowd attended, but they responded quite positively. Her second set took place in the midst of a thunder storm. Eamon McLoughlin, fiddler for the Greencards, later spoke of the tenacity of festival crowds for sitting in the pouring rain to hear April Verch.

Amy Gallatine and Stillwaters followed for their single set. Gallatin, born in Muscle Shoals, Alabama and raised in the west, has settled in Connecticut, where she fronts a band which offers country, folk, bluegrass, and western swing in combination. Her voice is true and pleasant. Her band features Roger Williams on Dobro. Williams, who we first saw a couple of years ago with the New England Bluegrass Band, has played with a variety of regional and national bands and is an acknowledged master of the Dobro. He will be presenting a Dobro workshop today at noon. On mando the band features Ben Pierce, a recent alumnus of the Rhode Island School of Design, where he majored in architecture. Fiddler Mike Barnett is only seventeen years old, but has enough chops that he’ll be appearing with Tony Trischka as well as Jesse McReynolds this summer. John Urbanick supports with a solid bass and vocals.

Gallatin sang a couple of cowboy songs and I wrote a note that I’d like to hear more northeastern bands take on themes like logging, whaling, and the lives of mill workers in their singing when Gallatin broke into a song called “Immigrant Eyes,” which talks about looking into the eyes of the singer’s grandfather and seeing the hope that coming to America inspires. The song says, “Don’t take it for granted say grandfather’s immigrant eyes.” Amy later told us this song had been written by Guy Clark and she was convinced he had been inspired by a face in a film shown at Ellis Island. While this theme of immigrant success is not the stuff of southern experience, many people in the northeast the rust belt of middle-America recognize it. Such themes belong in bluegrass music. We’d like to hear more of her interesting blend of themes and styles, but she has only one set.

The thunderstorm interrupts matters and we return to our trailer where I write and we watch TV. Irene decides to go to bed, but I head back to the amphitheater to see the Greencards and am happy I did. This genre busting group arrived from Australia a few years ago playing traditional Flatt & Scruggs, Monroe, and Stanley Brothers. Then they went to Austin and discovered the range and flexibility of music available to them. Two years ago we heard them as an opening act for the Willie Nelson/Bob Dylan tour. Last night they headlined Thursday and provided a highly entertaining mix including Nanci Griffith, Paul Simon, the Beatles and more. While they are a trio, here they were augmented by very ably played flat picking and rhythm guitar (I’ve lost the name and wasn’t taking notes. As soon as someone leaves me his name I’ll edit this part of the blog.) At first I was under whelmed by Carol Young’s bass playing, but her singing, particularly on slow, sultry songs excelled. Eamon McLoughlin on fiddle is fast and offers excellent tone. In addition his British wit adds a great deal to the Greencards mix. Kym Warner is outstanding on the mandolin and showed himself on the bouzouki as well. The mix of sounds this group offers ranges from fast virtuoso pieces to low down and sultry. Altogether, a very satisfying band. Despite fairly sparse attendance held down by the residual weather, they were enthusiastically called back for an encore.

As I walked back to our trailer, I reminded myself of my own advice not to judge too quickly before I write. I had enjoyed each of the bands we heard while each was also a departure from what might be called bluegrass; each band deserves to perform at an eclectic bluegrass festival. And I didn't miss the banjo...much. Stay tuned for more tomorrow.

Festival Checklist

I found a good checklist for people planning on attending festivals here. Larry Karnowski posted it here on Hickory wind. org which looks to be an interesting and helpful blog about Americana music, bluegrass, alt. country and other musical topics. Check it out.