Playing on the Big Stage

One of the true joys of playing music is performing for an appreciative audience.   Over my short musical career I've enjoyed playing for all types of audiences, including those gigs where the music is just wallpaper for whatever event happens to be going on.    By far the most fun is when the crowd is actively involved.  

It happens a lot in smaller settings like coffeehouses, libraries, and house concerts where the folks are coming there just to listen.   But many other venues don't give a musician that type of feedback, and you tend to play for your own enjoyment.

Becky, Susan, me, Wayne - the Flophouse String Band

Last week, my good friends in the Flophouse String Band came to town to open for Rhonda Vincent at the Capitol Theater in Rome.    By far, our biggest gig ever, and a privilege to open for such a talented group.   The big stage!!!!    A great venue, a large crowd coming to listen, and the pressure to play well for the folks coming on  next.   All the things you hope for in a gig rolled into one incredible half hour.  

The Capitol is an old 20's moviehouse that has recently been undergoing restoration and now a lively and active community center for movies and the performing arts.   The director, Art Pierce, and his team have brought in a wide variety of local, regional, and National Acts as well as some pretty cool flicks.   The building is a perfect setting for a concert, with the original silent movie organ built in, it was made for sound.    It's become one of the best stages in the region to play.

The Flophouse String Band has been together since 2006, and we enjoy playing a gig every year.    The Band got together to play the Mohawk Valley Bluegrass Association Festival that year, and has been going since.   We've had a lot of fun and also some great experiences like recording our CD, release in 2010.   But we've never played a big stage.    The band consists of Becky and Wayne Kelly from Hattiesburg MS, and Susan Donohue from New Jersey respectively on Appalachian Dulcimer, Guitar and Mandolin and Fiddle.    I play a bit of mandolin and Guitar and we all help out with vocals.   The stuff we play is American Roots - Cajun, Old Time, Celtic,  and Country Blues, along with a few more modern songs in the genres.   Good stuff and a lot of fun to play.

Practicing for the show was fun, but it did carry a bit of an edge.   We knew we would all have to be at our best to show well.    And we did put in a lot of good practice hours honing the 6 songs and tunes we would play on stage.   My goal, when I hit that stage, was not to be thinking about what I was playing, but to be totally in the moment and to put out my best performance.   After 2 1/2 days of it I think we were ready to roll.

Leading up, and perhaps adding to the pressure, were the promos in the newspaper highlighting our group, and the countdown as we got closer to the show.   Now all the little things started to get bigger - what to wear, what to say, what if a string breaks, etc.   I usually don't get too anxious before a show but was feeling it for this one.

The day of the show went so fast it was a blur - I know we practiced, went for a walk to get some air, and maybe ate some food - but the minds were focused on what was coming.   Sound check at 4PM - performance at 7:30.    We got there in plenty of time for the sound check, and the volunteers from the Capitol, Ed and Ray were great.   We also have to thank Rhonda for letting us use her equipment, which was great.   As soon as we played our first song through the system into the empty theater I knew we would be fine - the band sounded great, and the sound team and system made it doubly so.   It felt really good to be up on that stage and playing music.   After a quick run through of our set, it was time to relax and get ready to for the show.

Can't say I really relaxed though, and I don't think the rest of the band was.   It was more like anticipation building and building.   It felt pretty good actually knowing what was coming.    We went out for a quick bite with our roadie, Miss Claire (my lovely bride), and got back to the theater to get ready to go on.  

Milling around backstage before a show is big fun - noodlin on the instruments, run through of the set,  tuning, talking to the folks - all the while knowing the clock is ticking.    A few minutes before goin on you get up in the wings and the emcee goes out to introduce you (the great Bill Knowlton) and its a blur as you walk out.

We knew our spots, but its different when the room is alive with people - you feel it!   The lights are blinding, but you can make out the shapes of people in the first few rows, and now it's time to deliver the first song as you settle into the stage.   It felt really good delivering it, the band was tight, but you don't know until you stop how it's going to be received.    Then the applause hits you like a wave and any anxiety that was left disappears.   The tightness goes away.    The hands move easily around the neck of the guitar.    Hey, this is fun!!!!

The set was short, and was over before we knew it.   Got a lot of nice applause, and it was cool to have Rhonda's Band in the wings telling us how they enjoyed our set and naming some of the stuff they liked.    Talk about feeling and being alive and in the moment - this is it - it doesn't get an better than this.

We then got to watch Rhonda and her band perform - what pro's - you know there is still another level or two or three to get where they are musically, but that's cool.   I may never get there, but at least I know we can stand up and deliver on the big stage when the time comes.  

And to put a cap on  a great evening we got to spend some time with Rhonda and her band - I guess it can always get a little better......

A Bluegrass History Tour

Kelly and me

One of the things I really enjoy about playing music is the opportunity to do musical projects - one time shows, gigs - that focus on a specific topic or type of music.   My Daughter Kelly and I have done a show on the Carter Family - me doing a talk on the history and importance of the Carters to American Music, and Kelly doing the singing of some of the classic songs and tunes from the Carters to accompany the talk - in the style of the Carters.   Plus, we would add songs from more contemporary singer songwriters to illustrate the influence the Carters hold on today's music. 

What is enjoyable to me is combining the things I love - history, music, and performance into one - generally for just one or two shows.   It gets me to read and research topics I would not normally dig deeply into, and it also introduces new songs and tunes (and musical styles) into my bag of tricks.    And you tend to meet and make new friends along the way.

The Christmas Carol Band


Over the past few years I've been involved in  setting up the music for things like a reading of Dickens Christmas Carol, a reading on the Alcott's, the early History of Orville Gibson and his contributions, and an O Henry Christmas story.    Each project involved learning new stuff musically.   Plus I've worked with some really good musicians on the projects and they all have contributed and added to the output - folks like Mike Hoke, Mike Carroll, Conrad, Skip Mansur, and Bruce Wightman.  

Flophouse String Band

Last week I had the good fortune to work on another project that was pretty close to home - a lecture demonstration on the musical styles that influenced the development of Bluegrass Music.   What made the project really neat was that the Flophouse String Band (FSB)- Wayne and Becky Kelly, Susan Donohue, and yours truly was together for a gig the next night opening for Rhonda Vincent at the Capitol Theater (more on that in another blog).    The FSB plays a very eclectic style of mostly American Roots music from the early 1900's to today's Americana - encompassing Old Time, Cajun, Blues, and Early Country.    We were pretty well setup to do the musical demo.

Becky, Susan, Lydia

Lydia Hammessley, a professor of Musicology at Hamilton, was doing the talk, and she had laid out a basic outline of what she wanted to demonstrate, and from there we developed a list of tunes to illustrate her talking points.   We also needed a Bluegrass Banjo player and were lucky enough to have Phil Husted, one of the best around these parts join us on banjo and dobro.   Lydia also plays a mean Clawhammer banjo, which was a perfect addition to the group.   A bonus to all this was that we would also be doing in before the Seldom Scene played their concert at Hamilton!  (how does a weekend get any better).



Phil and Bill

One of the things that happens on projects like these is that when you get six musicians together in a room, the ideas start to flow.  And they have a lot of fun playing music.   It usually means something good will happen.   As with all projects the collaboration added a few new wrinkles, tunes, and arrangements, and voila!   And I think it helped Lydia further develop her talking points around the music we were playing - playing always fires up my creative juices.  We had a great set list that included an overture suggested by Phil where we opened with Old Joe Clark in an Old Time Style and finished with Bluegrass and Chromatic Banjo.   We played a while after we had finished our project set list and really didn't want to stop.  Funny how often that happens playing good music with good musicians.


Lydia's lecture wove a lot of different musical threads to come together at the end at Bluegrass and she did it in a very effective manner - and as much as I know and take for granted about Bluegrass I learned a few things!   It was pretty clear that the audience enjoyed Lydia's talk (I think people really welcome and apprecatie this approach) and the music we put to it - OT, Appalachian, Celtic, Carter Family and Blues -- all in the musical stew that is today's Bluegrass.   Can't wait for my next project......

Moving On - Thanks for the Memories MVBGA

For the past eight or nine years (amazing how fast we lose track of time) I've had the privilege and fun of volunteering as a director for the Mohawk Valley Bluegrass Association.    Yesterday I decided it was time to move on and leave the Board - with the mixed feelings of leaving old friends behind, yet looking forward to new challenges.   Along the way there was sure a lot of fun

I've been thinking about  this for some time now.    While I have enjoyed the friendships and many good times with the MVBGA,  it seems to me that the organization itself has reached a point where the direction it is going in is not one that I think is in it's best interests.   Put simply, the group is getting older, and we don't do anything to attract or make it easier for young people to get involved.     Not sure that I have the answer, but having been to other areas of the country and seen the active involvement of younger folks in traditional music, it seems we are missing the boat up here.

There are also times you reach in your life where you realize you have to let go of some of the relationships and commitments you make in order to give the proper time and energy to the things most important in your own life - family, friends, career, and your own musical interests.    That came home to me over the past few weeks as new opportunities for pursing some long term career interests and some new musical opportunities have come a knockin at my door.

Looking back it's clear that the MVBGA has done a great job of keeping Bluegrass on the local radar and brought together a lot of the people who play the music and keep the flame alive locally.    Working for the past years with the directors and officers has been fun, and personally has helped me learn a lot in my efforts to help the group.  I've really enjoyed writing the press releases, helping raise money, and promote the MVBGA and along the way made new friends in all those areas.

So it was a blessing and opportunity when at this years election two very good candidates stepped forward to seek board seats.   Over the years working with the group one thing is certain - good volunteers are rare, and to have two seek a board seat and one denied seemed like a waste.   I was not going to remain on the board anyway after my term ended and this would be a good way for both to get involved right away.

Several folks have asked me if I'll still be involved - yes I plan to remain an active member, but not as active as in the past.    Folks have also asked me what I think the group needs to do so in short here are a few of my opinions.  

1) Make the group more accessible to younger musicians - remember newgrass?   We hold jams when most 20 and 30's are sleeping on Saturday mornings, and we also hold them in places a bit away from the Utica Rome area.  

2) Diversify the musical offerings  - It's OK to promote the bands the younger folks listen to - like the Rusty Doves and Strung Sideways - they are a gateway to the more traditional - get em in the door and they will go down the same roads we followed to get to traditional Bluegrass.

3) A summer festival seems to be a big undertaking for little return.   In my opinion the group should do something else.   If the group wants to continue perhaps expand the offering to include some more acoustic traditional music like Old Time, Cajun and perhaps a few younger bands -  a bigger audience will bring more members. 

4) Make membership lifetime - it makes no sense that we have 100 active and 150 former members.   Once your in you stay in.  Email makes it cheap to maintain.   Also, for those that benefit from our group (ie come to jams and don't join, or bands and individuals that cant fork over a few bucks) - let em know we don't appreciate takers.

5) (This is one area I could have done a better job of if I'd only had more time to give)  Have a person in charge of relationships with the local arts venues - we don't co-ordinate with folks like KAC, Park Coffeehouse, Stanley, Capitol etc and invite these folks to share their thoughts and ideas how we can promote our music.

All that said looking back since the beginning I'm very proud of what the group has accomplished.    The Officers and Director who have served have left the organization in excellent financial condition, and in a position to accomplish whatever goals the new board and membership want to accomplish.   Job well done!!!!

I look forward to the continued growth and success of the MVBGA!

Black River Road Trip (Quebec)

Music and being a performing musician has opened up some interesting doors and taken me to a lot of places that I probably would never have heard of, let alone visit, over the last 15 years.    Went to another one this past weekend - the Black River, up in Quebec, near the town of Fort Coulogne.

John Brett, former SailCat, and Current member of Rattlin Bog and  the infamous Thumpwhackers, used to have a cottage up in that area, and still has many friends who are up there.   The place is about 90 minutes or so from Ottawa, and the cottage where we stayed with John's friend Bob Davis, about 12 miles in on a dirt road right along the River.

The idea was to go up to Bob's cottage on a Friday nite, play music till we dropped, have a few drinks, then get up and do a jam/concert with some local musicians at the Black River Hotel down the road Saturday afternoon, then play at a party in Michel Pouliot's (who operates "Expeditions River Noire) Garage/Barn for the locals till we dropped.    In between there would be drinking, plenty of bad jokes, a lot of stories, unhealthy food, a dip or two in the river, and a lot of jammin.   A perfect guys weekend.

The expedition party included most of the band Rattlin Bog - Rick Kincaid, Joe Rowlands, Mike Carroll, and Brett - and me and the King of Kazoo Dwight Putnam.   The six hour drive up there was fairly uneventful, and John introduced us to a Canadian institution on the ride up - the Chip wagon - down here we would call em Roach Coaches - where we stopped to eat and pick up a case of heartburn.   The only local cultural site we passed was the home of James Naismith, founder of Basketball - which ironically did not have a hoop on the property.

We arrived at Bob's place near dark on friday, but could see the accommodations would be among the best the Black River had to offer, and we settled in to have a few cocktails, pull out the instruments, and play our asses off till about 2AM.   Being an old friend of John, Bob was able to tell a few Brett stories, and we also learned about some Canadian gymnastic move called the "Four Leaf Clover".    Bob's place would probably hold 4 people comfortably, so the 7 of us started to get settled in for a few hours of sleep.


Bob  and John didn't have enough music so they kept going, despite our shouting encouragement to "Shut  up!  Stop!  It's Over!"  We gave up and enjoyed their one hour or so bedtime concert, and the snoring started for some.  It finally ended and we all got to have a quick nites sleep, though the cottage sounded like a chain saw test lab and I really didn't get a lot of nap time.

Next morning Bob made a few pots of great black coffee, a big camp breakfast of bacon and egg, and we were ready to face the day.    The indoor plumbing was also a treat, though with 7 guys shuttling back and forth to the outhouse it was good no women were around.     We hung out for the rest of the morning, enjoying the surroundings, grilled some hot dogs, jamming and jokin around till it was time to head down to the Black River Hotel.

Black River near Bob's Camp

This area of the Black River was very sparsely populated and of course off the grid for all services.    Has been a long time since I've been away from all the day to day noise and it felt real good.    We were looking forward to meet some of the locals at the hotel, and get  a chance to play some music for em.    There was also word that Rob Daginea, the fiddle champion of Canada, was coming to join us, so we were looking forward to a chance to play with someone of that caliber.   

The Black River Hotel

The Black River Hotel was empty when we got there at 2, but at least it was open.   The owners gave us a very warm welcome, and we set up our instruments and got ready to play.   It was nice to sit in with the Bog guys, as they are really good musicians and they have a ton of songs they perform, so all I had to do was take an occasional break and pick a harmony.   Plus we worked in some of the stuff Mike and I do with Craobh Dugan, and I threw in few Bluegrass songs.   Brett was ready to go with songs like Dead Skunk that were sure to be crowd pleasers.

L-R - Bob Davis, Bob Thompson, Dwight, Joe

 

It was a while before anyone came in so we had a few beers and enjoyed all the amenities of the hotel - beer and conversation.    Finally a few folks came in and we stared into playing.    It was a blast playing with the guys and we had a whole bunch of songs and tunes for the folks - a pretty interesting and eclectic set really.  The room was pretty good for unamplified sound - perfect for the setting.   After a while the room started filling up and pretty soon it was packed.    Rob showed up with his fiddle, but didn't join us right away - seemed like he wanted to check us out first - or maybe wait for the invite.



 

L-R  Dwight, Me Joe, Brett, and Rick

When Rob did join us we found a lot of tunes in common, and played a though a pretty good set, which the folks there seemed to enjoy.   Playin rythym with him was a treat when he threw out some of his stuff, and we played jigs, reels, a rag, a waltz, and a some swing.   He also let Mike and I pick some of our stuff and was happy to join in.    I was soaked when we finished.   After a spaghetti dinner compliments of our hosts at the hotel we went back down to Bob's to regroup.   Really just enough time for a coffee or a drink, and then down to set up again for Michel's party.

 



 The party was also a big local event, and many more folks came out to for the evening.   There were folks there 90 years old, a pair of 2 year old twins, and every age in between.   Rob came by again and joined us and it was another enjoyable show to play.  Over the course of the evening I got to play mandolin, guitar, tenor banjo, and bass so it was fun swappin around.   And the folks seemed to be havin fun and most stuck around till 1 am or so.

I'll leave the stories for another time, suffice to say we me some interesting folks, and had a lot of fun getting to know them.     By 2 AM it was over and time to crash - Michel had a cottage for Brett, Rick, Mike and I and took us over.    It was spectacular to see the stars from there - the night was so black with no interfering light - never saw them that clear and bright before.   We stayed up till 3? or so talking and crashed.



Mike and Brett

I got up first and enjoyed the view and walked down to the river to find a perfect swimming hole.    Last year some of the locals had told the boys that the water's had magical properties, and if you went in you would enjoy a long life, or some crap like that.   The water was crystal clear, not like the rivers around me.   I could see 6 feet down and see fish swimming around - had to grab my suit and a bar of soap and get in.    Bob said the water was safe to drink, and it was tasty.   Also, after two days of sweating and playin music in 90 heat it felt so good to stand up to my neck in the rivers waters.   The fish didn't seem to like me in his hole and took a few runs at my toes before giving up.   The water moved fast enough to sooth, and it was cool, not cold.   I stayed in for about 45 minutes, swam a ways upstream, and finally got out cause I could hear the guys getting ready to leave.   I could have spent the day in there.  When I got out of the river I believed the locals - it was total rejuvenation!

We stopped at Michel's and Bob's to say our thank you's and goodbyes and we all really wanted to tack on another day to enjoy the river and get to know the area a lot better.   And we started planning next years trip - I can't wait to go back to the Riviere Noire!!!

Back to my Roots - Bluegrass Festival Time

Once upon a time - way back in the days when I started playing music, the only style I truly enjoyed playing was Bluegrass.   Unfortunately for the folks who had to listen to my hours of learning the craft, it was probably not pleasant as I figured my way around the fretboards of the mandolin and guitar.    One thing I always enjoyed was jamming with other Bluegrassers, a great way to get acquainted with the possibilities of the instrument I was playing.  

Over the years, I've drifted away from my Bluegrass beginnings - playing more Old Time, and most recently Irish Trad.   The structure of these forms is one of the things that attracted me, and by playing and performing both, made me a better all around musician.  And I'm havin a pretty good time playing both styles ( a lot of fun and great friends) - but I've had the feeling that I've lost a lot of my Bluegrass chops.    It's also been tough for me to find the time to get out to the festivals with all the things going on in my life.    We do have local jams, but they are not nearly as free form as the festival setting, and mostly seem like a song circle set up for performance.

Last night at the Mohawk Valley Bluegrass Festival up in Boonville, I got a chance to do some real jammin with a bunch of really good musicians, Bluegrass style.   It was a blast!   Mostly, it was a chance to let go of the structure of playing a specific tune, or break for a performance, and enjoy playing the mandolin!!!!   We played a bunch of stuff I've never done before, in keys that I certainly don't embrace, and mostly with folks new to me.    It all clicked.    The rhythm parts flowed out of my mandolin as I was able to find space around and supporting the vocals and leads.   And the breaks were just a freaking blast to let myself go - and for the most part they sounded pretty good.   The F4 held its own with 2 or 3 banjos in the jam.

After about 2 hours jamming , my back and hips were killing me and midnite had arrived (it was a long day of standing - did a set at the festival with a band, and also had MC duties) so I called it a nite.    

Might just have to find a Bluegrass Band in need of a mandolin player!   

Visit to the Carter Fold - hallowed grounds indeed!!

 

To say I've long been a big fan of the Carter Family is an understatement.   Their impact on traditional,country, and pop music is as big as any artist or group in the 20th century.   Perhaps a bit beyond just a fan - as my daughter Kelly and I do a duet and one of our shows is a musical history of the Carter Family.


I've read the definitive bio of the trio - "Will you Miss me When I'm Gone" by Mark Zwonitzer several times, bought the boxed set of all their music, and also have collected articles and the PBS DVD.    It's led me to a very deep appreciation of AP, Sarah, and Maybelle and the unique contributions each has made individually and collectively to the world of music.   

How can you not  admire AP for being one of the architects of modern country and traditional music by developing the song forms that are still in use today, and for preserving hundreds of years of songs in the over 300 songs that he copyrighted during his career.  As he put it - he "fixed" many songs to fit the needs of the 3 minute 78.   He didn't really care where the songs came from and he drew on gospel, folk, ballads, coal mining songs, and the country and blues from the black community.  

Sarah was the first recorded female country singer, and her bold stylings and powerful delivery paved the way for the generations to come.   It was her voice on "Bury Me Beneath the Willow" that hooked Ralph Peer and got the group the recording contracts to follow.

Without Maybelle and her guitar style would we ever have had a Chet Atkins or Merle Travis to follow?   She pioneered her unique style of combining melody and rhythm, and allowed one guitar to sound like a full band.

I've been aware of the Carter Fold, but it was not on my music bucket list.   I figured someday I'd pass by and give it a look.   Never in a million years did I think that I would get a private showing of the Fold by AP's Granddaughter, Rita Forrester!!!

One of my business associates, Keith Sims, from Kingsport TN, grew up in Hiltons, VA, just down the road from the fold.   His family was close to the Carters and when he was growing up Janette Carter (AP's Daughter) was his babysitter.   He stayed close to the family and spent many days and nights helping out at the fold when it started.

When I was in Kingsport to visit Keith, he mentioned that we might have time to visit the Fold, but it was not looking good - the only chance we would get would be around 9PM on a Wednesday night when things were closed up.   Keith said he would call Rita and if she could, she would probably open the Fold up for us.    I was not expecting this to happen, but Keith spoke with her, and she said she would meet us there when we got done with the meeting.

We drove over around 8:30 that evening as the sun was setting.   I had read about the Valley and the tracks, and had some familiarity with the area, but it was nothing like being there and driving down the AP Carter Highway.    You could imagine his trips to Kingsport on the winding dirt roads to visit Leslie Riddle and collect songs.   The countryside was rugged, but very pretty.   Here was where it all started.

We pulled up to the fold, and Rita had not yet arrived, but it was still light enough so get a good look at the grounds - the site of the AP Carter Grocery store, and see the store (now museum) and the relocated cabin that AP was born in.    Felt like I was in a time machine when we got out and walked around.

Rita showed up a few minutes later, and welcomed me and I could tell she and Keith were old friends.   She open the museum and let me wander around looking the the exhibits.  It was neat to imagine the early days when this was just getting underway.   It was AP's wish that Janette would use the property to preserve his and the Carter family music.    She started it in this building, which was her fathers store.  What really caught my eye were the clothes and the guitar from the early days.    The Rita told me that was the stage early on, and she and Keith reminisced about all the folks who had played on that stage.   I could imagine Johnny and June up there in front of 100 people (you couldn't fit too many more in this building).   Rita told me how Johnny want to plug in his electric guitar ( the Fold is dedicated to preserving the acoustic old time country and bluegrass) and how it caused a stir, till June told Janette "he was plugged in when he met me, and he ain't changing now"

She and Keith pulled out a couple of old rocking chairs while I continued to browse, and look at all the items, asking a question now and then, but also enjoying listening to their conversation about all the musicians who visited the Fold.    AP's typewriter caught me eye as well - here was the well from which 100's of songs were shaped.




I could go on and on, but we spent about an hour in the building, and Rita and Keith were great hosts.   I learned a whole lot more, and also gained a greater appreciation for the accomplishments of the Carter Family.    To spend time in that building was like walking a little ways in their shoes.

Rita opened the performance center next, and let me wander the stage and look around the Green Room.   It was too cool to stand center stage where so many great musicians have played, and to look up and imagine the crowds of people who come every weekend to hear great Old Time and Bluegrass Music.    It would be a dream come true to play that stage (hmmmm - let's add that one to the bucket list).   Again, it was also an added bonus to hear Rita and Keith talking about the musicians who had played here.

Last stop was the Cabin - Rita told the story of how it was moved here - you can find more about that on the website - www.carterfamilyfold.org and a whole lot more.    It was like walking back in time they way it was preserved.    You can feel how growing up in this place and this building shaped AP, and how this had become part of so many of his songs.

Well I could not thank Rita and Keith enough for talking so much time out of their busy days to show me the Fold and to give me so much personal history - I felt like Cousin Bill who had dropped in for a visit by the end of the night.   We exchanged hugs when it came time to leave, and I left knowing that I'll be back.    If you ever get down that way, you won't want to miss this........

MVBGA's Indoor Bluegrass Festival - my first big MC gig

Sometimes I am amazed at all the different ways I get to enjoy and experience music.   Last Friday night was one of the best musical experiences I've had, and I didn't play a note!   

For 10 years I've been involved as  a board member of the Mohawk Valley Bluegrass Association, a local group dedicated to preserving and promoting Bluegrass music in the Utica Rome Oneida County area.   It's been a lot of fun and I enjoy being involved in a lot of the behind the scenes activities.    I do a good portion of the PR and promo for the group, and have enjoyed the press releases and seeing the results in the local papers.  I also have raised a few $ over the years for the group, and had the privilege of playing at many of the groups events over the years with my bands - the Sailcats and Flophouse String Band.

One of the neatest things that happened was when we were discussing events last fall for the association at one of our board meetings.   Our group has done a few events at the Captiol Theater in Rome (a classic old movie house from the 20's that is one of the area's premier venues for concerts).    I suggested we get a younger newgrass type group for a concert there to promote our festival and the board heartily agreed.   Unfortunately, this band had an agent and the agent would not return my calls.  

So at the next meeting I had the idea that we would turn the Captiol show into an "Indoor Bluegrass Festival" and ask the Bands we were inviting to our summer festival to volunteer their services.    Our sound person for the festival also agreed to donate his services, and the fundraiser was born.

Since it was my idea, I did all the setup work - lined up the bands and the Capitol, and also agreed to MC the show.     I was amazed at the quick and enthusitiac response from some of our bands and their willingness to support this event.   Also, the Capitol was most helpful with all their promotion.   And the local papers (espically the Rome Sentinel) jumped on board with quite a mentions and editorials besides the press releases I had sent out.   We also got great support from our local Mr. Bluegrass, Bill Knowlton, on his sunday nite radio show, and he came out personally to support our event.

I spent about 4 hours preparing for my first real MC gig - reading everything I could about the bands,  scripting each break, and rehearsing some pretty lame jokes - it's just like rehearsing a musical performance - maybe even a touch more challenging because you are out there solo.

So we were off and running!  I can't tell you how nervous I was when I arrived on show nite about 2 hours ahead to make sure things with the sound were set and to greet the bands and discuss the show.   The folks from all the bands were just great - they made it real easy for me (Bluegrass folks are among the best) and you could tell they were ready to rock.

People started coming in about an hour before the show and with about 15 minutes before showtime the place was filling up nicely with a lot of folks I had never seen before at one of our shows)   It was working!!!!!!!

When I walked out to start the show it felt great - the lights were so bright I could not see past the front row, but you could hear the buzz.   We had a big, receptive audience ready for some Bluegrass.    The jitters were quickly gone and I welcomed everyone and tried to keep a nice warm vibe going through my portion, but more important move quickly to the music.  

The show went off without a hitch - our sound man (George Harrington) did a great job, the MVBGA members pitched in all over, the Captiol volunteers were there to do a lot of the work as well, and the Bands put on 4 real fine performances - I can't say enough about the quality of the performances by Lake Effect, Diamond Someday, Off the Wall, and The Atkinson Family.  

It's pretty satisfying to see one of your ideas turn into reality, and more important to see the effect it has on folks.   My head is full of thoughts on what we will do for next years festival - stay tuned.

The Alison Brown Quartet at MWPAI

As so often happens with the live acoustic music scene in Central NY we go weeks with nothing on the calender, then a weekend comes along with too many good choices.   This weekend was one of those - all the options were good, and I was sorry to miss some of my music friends gigs.   Alison and the quartet were worth it.

For those who don't know who she is - Alison Brown is one of the finest banjo players in the US today.    She's been on the scene now for a while - having played with some (most) of the current greats in Bluegrass, and even remarked from the stage that she had visited the area before when she was playing with Alison Kraus.    She is a master of the 5 string (or as she called it - the Protestant Banjo - the tenor being the Catholic version)

If you haven't yet been to a "Concert in the Court"  at Munson Williams, you are really missing one of the best venues for live music in the area.   I've been to them all, and this one stands out for the intimate setting and great sound, as well as very appreciative and responsive audiences.   Bob Mortis is to be credited for bringing in some very interesting and talented national and world class acts in all genres. 

I knew Alison had veered off the Bluegrass track into Jazz, and was expecting a Bela Fleck like show - banjo pyrotechnics, with a lot of funk - and instead she and the quartet delivered something completely different.  

First, this foursome knows how to lay down a groove.   The quartet consists of Alsion on Banjo,  John R. Burr (piano),  Garry West (bass), and Larry Atamanuik (drums).   Not the usual setting for a "Bluegrass Banjo" to be featured.   But for the Bluegrass influenced Celtic Jazz fusion she plays the perfect compliment.    The leads are traded between Alison and John, and right of the bat you notice how the banjo and piano blend perfectly and compliment each other.   I especially enjoyed when they traded leads, or the duet they did unaccompanied.

Second, this is group that looks to be having a great time playing and performing for you.   Alison really engages the audience, telling personal stories of how she got into the business, and by the end of the show you feel you know her.

But what really stood out was Alison's  mastery of the banjo and her ability to use it to fit the jazz and Celtic forms.   She is a joy just to watch play.   The hands are so smooth, and her left hand seems to float all over the fretboard, while here right hand is rolling along at 220 BPM!  Her set that started with Temperance Reel and ended with Masons Apron sounded like pure catholic banjo, but played with true adhesion to the Celtic Style.    She told me after the show that it's easier to nail the triplets on the 5 string, but somehow I think it's a touch few have.  

Her Bluegrass playing is as good as it gets - she played the "Foggy Mountain Breakdown" in tribute to Earl Scruggs (and mentioned before that the band was getting up at 6AM so they could get to Nashville for the Scruggs Memorial Tribute at the Ryman tonite) was a pure Scruggs as I've heard, and she showed her chops up the neck.

But she also showed that the banjo can be played in other styles - chromatic on some fiddle tunes, very tasty jazz on some originals, and what was very interesting to me a double stop version of some standard like "Old Suzanna" that make the tune fresh and put the Alison Brown signature on it.    She takes the 5 string way beyond Bluegrass, and although on a path toward jazz, like Bela Fleck, she is truly marking her own trail.   I don't know of another player who can get such soothing tones out of a 5 string (yes soothing). 

Her original compositions also stood out.   Unlike many Bluegrass Banjo players who play a bunch of Scruggs licks around a simple theme her tunes like "The Wonderful Sea Voyage of Holy St Brendan"  are contemplative and suited for further interpretation.  

At the end of the show she hung around to sign CD's.   Usually I don't hang around for this, but this time I wanted to meet her and thank her for a great performance.   It was worth the wait.   Not many performers take the time to get to know you and share a bit of themselves, but she did - not just with me but with everyone who hung on.    With an early wake up call looming, she stayed.  You can tell she truly appreciates her audience and wants to connect.

If you ever get the chance to see her live take my advice - do not miss it!!!!!   In the meantime stock up on her CD's - her most recent "The Company You Keep" reflects much of what she played in Utica, and a guaranteed winner if you like Celtic, Jazz, Bluegrass, or just plain old GOOD MUSIC!!!!

"Live at the Cellar Door" - one of Bluegrass music's great albums?

When I try and figure out how I got so involved in traditional music, and the albums (yes all vinyl in those days) that led me down that road there are a few that stand out.   It was a slippery slope from The Doors, Beatles, Alice Cooper, and The Dead to Bill Monore and Uncle's Earl and Dave, and beyond to Irish Trad.   Some of the early influences after the Dead were David Bromberg, The Flying Buritto Brothers, Gram Parsons, and the New Riders.    They all drew heavily from traditional music.    Then came "Will the Circle be Unbroken" which opened many doors.    But one album stood out back in then - the Seldom Scene's "Live at the Cellar Door".   I wore that one out from 100's of plays.   It led me to many other bands and musicians and gave me a footprint for how I would want to perform and play.



 If you didn't like Bluegrass before listening to this, you will after.    I don't think there has been a more perfect blend of musicians performing bluegrass since this band.  Most studio recordings never have the same energy and intimacy as a live performance, and this album catches the band at it's peak.   Unlike many other Bluegrass performers (if you have ever sat through a Doyle Lawson sound check you know what I mean) , they come across on this album as a great group of funny guys.    You want to hang out and listen and get to know them better.



John Duffy was just beginning to become known to me as a mandolin player, via Jack Tottle's instruction book "Bluegrass Mandolin"  so I had to find a recording and this was it.    On the recording one of band members calls him Eric Clapton of the mandolin and the title fits.   He is not a traditional player, although solidly in the Monroe school, he picks up influences from all forms of music.   His high tenor was one of the best in Bluegrass - and the choice of "It's all over Baby Blue" by Dylan is the perfect blend of modern material in a traditional setting, with a vocal interpretation that Dylan could never achieve.  It's still one of my favorite all time tracks.  



Mike Auldridge really brought the Dobro into the Bluegrass setting - although he'll never match Jerry Douglas for lifetime recordings, he set the standard as to how to use the Dobro in Bluegrass and is in top form on this album.  His tasty intro's and the beautiful backup fills show how the Dobro was meant to be played, not to mention the breaks.



Ben Eldridge has to be the most underrated banjo player in Bluegrass, but stands tall on this album.    He is present, yet not the overbearing, dominating type of player that many Bluegrass banjo players have come to be.   I love the fact that he keeps the part in where he loses a pick during his break on "Hit Parade of Love" and comes back and nails it.   In fact, not many  bluegrass bands were doing songs like that back then - the Seldom Scene were among the pioneers of  the trend.



John  Starling also was also and underrated member of the group, and contributes fine leads and harmony vocals throughout, especially on "The Fields have turned Brown".   A surgeon by day, one wonders how he found time to play with such a hot group but I'm sure glad he did.



Tom Gray was the most well known bluegrass bass players of his day, and shines on this album.   His solo on "Grandfathers Clock" set the standard for bass players, and probably is why that tune has become a jam standard - so the bass player can get his licks in.



What really set them apart was their choice of material - a healthy respect for traditional bluegrass - numbers like Monroe's "Rawhide" (the bluegrass mandolin players "Stairway to Heaven") and "Will the Circle be Unbroken" - with a heavy infusion of modern material - Steve Goodmans "City of New Orleans", "Baby Blue", and maybe the first bluegrass jam song recorded - the Dead's  "I Know You Rider".    This album was perhaps the first and best to bridge the divide and show that good music is good music and can be performed and played in any style.    They blazed the path that many of today's performers - Alison Kraus, Chris Theile, the Grascals, et al.  are now on.   



If you don't have this in your collection get it - even if you are not a fan of Bluegrass!

Oh Danny Boy - or how I now love a song I used to hate?

St Patricks day is almost upon us and I've been filling my head with Irish music and playing a lot of Irish gigs lately, with plenty more to come.   One thing that always annoys me about this time of year is all the play the "Irish Tourist" music seems to get - the "Tu Ra Lura Lura",  "Molly Malone" and worst of all the ubiquitous "Danny Boy".    All get played way to much and real Irish Music doesn't get the play it should.

I was practicing for one of the many upcoming gigs our local Irish group "Craobh Dugan" was playing, and wanted to see if I could come up with a mandolin solo - a nice air with lots of double stop and tremolo, and started to noodle around a bit.   The tune to Danny Boy came right out!   It was so ingrained in my brain that I played it well after just a couple of times through.  And I started to like the way it sounded on the mandolin.   So I kept at it and soon had a nice little solo going in C, then modulate up to D, and finally A that I was real happy with.  

What I did not expect is what a hook that tune put in me!  I can't stop playing it now - every time I pick up the mandolin (which is usually at least once a day) I have to play it, and I'm having fun doing it!!!

So being the musical historian that I am, once the thing hooked me I wanted to learn more about the song and tune and it's roots.    It may be old fashioned, but I went to the library and found an excellent book -  "Danny Boy - the Legend of the Beloved Irish Ballad" by Malachy McCourt.   I read it in one sitting.   It's a nice history of the tune and where it came from (the tune is the Londonderry Air - and many attribute it to an unknown blind fiddler - but it was published in a tune book in 1855 so it could have been composed) and how an English lawyer (Frederick Weatherly) used that tune with words he had already written. He had actually written the words several years before he had heard the tune, and his sister in law suggested he try Danny Boy with this tune.   The rest is history - and if you like this sort of stuff the book is an excellent and fast read.

I also wanted to see if I could catch a nice instrumental version on youtube and Danny Boy has to be the most covered song on the site.   There are 100's, if not thousands of versions and though I went looking for an instrumental (and found a great one in Maynard Ferguson's version http://www.youtube.com/watch?v=x4EAqOBt8f0 ) I did not expect the vocal versions to grab me so.  After all, it was the tune that had the hook in me........

I listened to the Johnny Cash version (I would have this one played at my funeral), Eva Cassidy (what a voice, so sad), Joan Baez (Great voice, annoying piano), Elvis (Did he cut this in Vegas a year before he died - what a voice - but too much clutter on the track), Judy Garland (its worth the wait to hear her hit the high note), Bing Crosby (The perfect Irish Crooner version - you can almost see Barry Fitzgerald and Bing in Going my Way), Roy Orbison (you have to wait a bit, but worth it), Colm Wilkenson (a nice soft and smooth version), George Benson (tasty guitar), Eric Clapton (very very tasty acoustic guitar), and on and on.

My favorite versions were an odd couple - Sinead O'Conner and Slim Whitman.  Sinead sings it acapella and softly forcing you to pay full attention. She feels this one, and shows respect for the song and tune all the way through.   Might bring a tear.     http://www.youtube.com/watch?v=kSjvLG7IJAI

Slim - well I did not expect Danny Boy to a country rhythm would be worth a long listen, it works and give a totally different feel to the song and tune!  http://www.youtube.com/watch?v=6KL-B-qB_rY

So I'll be playing the Londonderry Aire a lot this month, and also diggin for more versions of a great song!!

The Rockridge Brothers CD - "No Sleep Till Rockridge"

Claire and I had the privilege to host the Rockridge Brothers ( The Rockridge Brothers are: Peter Frovik on guitar, Ralf Fredblad on the fiddle, Kristian Herner on the banjo and Pontus Juth on double bass) last summer, and we had a wonderful time getting to know Kristian, Ralf, Pontus, and Peter.   The visit was way too short, but we packed a lot of music in with a great garage concert that was highlighted in one of my earlier blogs.   Here's a link if you are interested

http://billfahys.blogspot.com/2012/01/summer-2011-rockridge-brothers-hit-town.html

However, they left us with a gift - their just released CD "No Sleep till Rockridge" which we have been enjoying ever since.  I've also loaded it up to my ipod, and it gets heavy rotation there.    An old time band from Stockholm Sweden playing traditional American music as good as many of the masters - how cool is that?

Recently, I received a copy of the Old Time Herald and there was a review of the CD.   It was mostly favorable, but I felt a lot of the reviewers comments perhaps a bit harsh and that overall the review did not do justice to the CD.

First - this is one very talented group of musicians.  The level of skill they have attained on their instruments is as good as any of the top touring US Old Time Bands I've heard.   I'm not comparing them to Bluegrass Acts, though they would hold up well compared to most, because the Brothers choose to present their music in the traditional Old Time Style.

  

What sets them apart from many Old Time Bands is the energy level they push out to the listener.   They don't sit back and play - when necessary they attack the song or tune in a manner that forces attention.  They draw you in.    They have the energy level of any Bluegrass band I've heard.

I also like the fact that they are not slaves to tradition - they respect the music form, but do not feel the need to copy note for note how the old timers played a tune, or sang a song.   To me the mark of a truly great musician is the ability to make a song or tune their own, even if they have not written it.   (Bob Dylan lamented on his radio show recently that most songwriters today do not write for others to interpret, and we are losing a lot of great music).   The Rockridge Brothers know how to interpret the music so it's still not just  Old Time, but Rockridge Old Time.   Check out their version of "Wild Bill Jones" - that is now the standard for me.

The vocals are tight and the harmonies perfect - which is welcome to me,  as I can't say that about most Old Time vocals.   You can tell these boys have played together a long, long, time.    I like the fact that they don't go for the High Lonesome Sound.   The lower range makes them sound raw and pure, not strained falsetto.   Most Old Time Bands working the circuit would love to be able to put our vocals like this.   If more did I think Old Time Music would draw more fans.

The cuts range from the high energy opener - the classic "John Henry"  to the thoroughly enjoyable ballad "Wayfaring Stranger"  (my favorite on the disc)   showing their range from hard driving in your face, to a slow peaceful ballad.   Most of the songs and tunes are real toe tappers though.   

If you are a fan of Old Time or Bluegrass I think you'll like this CD!   My only complaint was that I could not find it on CD Baby, but we are living in a digital world, so you can go to itunes and get it there.   Plus itunes has a bonus track - Tamlin - love the slow guitar banjo intro!!!! (Rachel did you have anything to do with that?)

Old Time Music need more bands like the Rockridge Brothers!!!!!!!

The Artist and Making Silent Movie Music

I've been MIA for a few weeks now - every now and then life intrudes on music.   And every now and then they collide in a way you don't expect.

Last weekend Claire and I went to see "The Artist".   I don't go to movies too often these days as most cater to tastes very different than mine, but every now and then a "must see" movie comes along and we get out.   A silent movie always gets my attention - I have great admiration for the early silents - Keaton was my idol, and I love the Chaplin shorts from the teens - if you have not seen "The Cameraman" by Keaton or "Easy Street" by Chaplin you've missed some of the great comedies that filmmakers still draw on today.  

So I had high expectations when the film started to roll.   They were all exceeded.  The film paid tribute to the early silents, yet was fresh and original.    It was a satire in the form of "Singing in the Rain"  done like a Chaplin or Keaton might have.    Go see the movie.   The laughs keep coming.

What I also did not expect was the score - brilliant!   Perfect for the movie and I don't care that some of it was pulled from Vertigo.   It kept pace perfectly with the film, and added the needed punctuation to the action.   In the back of my mind  I also remembered hearing how traditional musicians like David Bromberg had done scores to silent films.

SIt got me to thinking - how would a mandolin work with one of the early greats shorts?   So I thought I would give it a try.    One of my all time favorite movies is "The Cure"  - perhaps because Chaplin does not play the tramp, but takes on the character of an overindulging rich person who does not want to give up drinking.   The film is rich in scenes that would fit a lot of the stuff I play - traditional American and Irish, and the action in not the non-stop chase.  It has Eric Campbell as the heavy and he's at his best, but this time a bit less menacing.   

So I put it on one night when Claire was out (I knew it would take me 4-5 times through to get something workable) and decided to play whatever came to mind while watching the film and hopefully make a soundtrack that would fit.   After two times through, drawing on about 30 tunes, I was getting close, but it was not easy to time it.   By the last time I had the genesis of what I wanted and a short list of tunes that would be the framework of the soundtrack.    It also inspired some tunes, or riffs of my own that would have to be used for some short sequences.   Hmm - connecting the music in your head to what you are watching - movement, emotion, action - what fun!   I have a bit more work to do but  one or two more sittings and I should have my own score to play along with it.  And a way to get some new musical ideas. 

I have  a new found respect for the theatre organists who go around and do this off the top of their heads - what a well they must draw from.   Can't wait to go to the next Capitolfest in Rome and watch these pro's first hand - here's a link for those that don't know what I talking about - http://www.romecapitol.com/capitolfest.html

Playing the KAC

Friday the 13th turned out to be a luck nite for Craobh Dugan, the Irish Group that I play with.   We had a gig at the Kirkland Arts Center, one of CNY's best venues for acoustic music.    It was the 30th anniversary of the Centers coffeehouse series, and Craobh Dugan was the first group ever to perform there, so it was a privilege to be on stage in this setting.   Three of our members, Jim O'Looney, and Mike and Chris Hoke performed at the first concert.   That concert showed that the Utica Rome area was indeed a great audience for acoustic music and 30 years of success at the KAC, under the direction of volunteer Ginger Parker, has grown to bring our area some of the biggest names in acoustic music (David Bromberg - my all time #1) over the past three decades.    And Ginger and the KAC continue to do so while also giving the stage to local acts like us.

Playing the KAC is a treat.  It's like a glimpse of what life must be like in the big time - a really lively room that is acoustically as good as any I've played in - along with one of the best sound men around, Tom Bell.    The sound is superb both onstage and in the audience.   This is my second time playing on this stage (Played here about 6 years ago with the Tired Hands Sting Band - opening for Silk City) and I really enjoy these performances.  

The pre-show experience is great - hanging in the back room with the other musicians, warming up, a bit of banter, last minute changes in the show, seeing the nerves start to show,  watching the place fill up, retuning the mandolin for the 10th time (even though for once it seems to be in tune) , and the anticipation as showtime is imminent.

For me the best part is always when the show starts.  The jitter are gone, and it's time to play and share the music we have been practicing with the audience.   There are few things in my life that are as much fun as those moments on stage performing music and sharing what I love with a people who appreciate it.   Beyond fun?   And to be doing it with a group of musicians who are so talented - I feel like the weakest link in the chain when I hear what the others are playing and am glad they allow me to come along for the ride.   I don't know anyone around our area with the knowledge of Irish Music and the ability to play it like Jim O'Looney and Mike Hoke.   As Yogi Berra says, "You can observe a lot just by watching" and playing with them has helped my Irish style playing come a long way.    The rest of the group is pretty darn good too - Skip, Ed, Mike, Kevin, Chris, and Mary Margaret are all pretty good musicians as well and each bring unique talent to the mix.

The show  was one of the best (the best??) we have played in the two years I've been with the group.   The effort and practice everyone in the group put in came out in the performance.   I know Irish Musicians are supposed to look serious and sometimes the complexity of the tunes puts that expression on your face, but most of the time I was on stage I could feel a big smile forming. 

The audience showed their appreciation time and time again, not only during the show, but as I was leaving many folks came up to me and told me how much they enjoyed the show.  

Yep, it felt like the big time......

Summer 2011 - the Rockridge Brothers hit town

At about 2AM on a very hot summer monday nite, I was awakend by a knock on the front door.   I was expecting visitors and they had finally arrived.   The Rockridge Brothers (from Stockholm, Sweden) were on a mini-tour of Upstate NY, and had driven in from Oneonta after a show at the Oneonta theatre.   I'd known Krisitian Herner, the banjo player, for a few years, and hosted he and his wife Rachel Eddy for our 2010 Garage concert and was looking forward to meeting the rest of the band.  Since it was a hot nite the first order of business was for the guys to take a dip in the pool, then we had a few beers and got acquainted staying up talking till almost 4AM?  My memory gets a little foggy here.   It was great to meet Ralf, Peter, and Pontus and get to know them a bit before we all crashed.    Claire got to meet them in the morning when we finally rolled out of bed.

We had planned a garage concert for the next night and invited about 80 friend, neighbors, family, and musicians to come over for the show.  It was the third annual garage concert (we call them garage concerts even though the concert is in the backyard because the first annual was in the garage - but we've outgrown it)   So we spent the day getting to know each other some more, hanging around the pool, showing the guys some local culture in Rome, and picking a few tunes.  There were a few anxious moments when Peter's wedding ring came off in the pool, but on Krisitains advice we waited till the water was calm it it showed up, so he was off the hook back home.  The guys helped Claire and I set up the backyard for the concert, and ice down the beer and things were ready for the evening show.

About 6:30 people started arriving and I think we had about 60 guests, many first timers to a house concert (most people around here don't have a clue what one is) and they were not sure what they were getting into.   And to have a band from Sweden in someones backyard in Rome NY - Hmmmmm.......   We usually have a cocktail before staring the show so people can get settled in and mix a bit and enjoy the company.  Then we herd everyone into the backyard for some live music.  

Our  standing tradition is that the Fahy Family Band always opens the show and it is one of my musical treats to play a set with my Daughter Kelly, and niece Elly.   I hang back and let the girls lead the show and Kelly does a great job singing and Elly plays a pretty good standup bass.

                                             Kelly                 Ellie

They have been known to pull a fast one on me from time to time, but this year we stuck to the set list - a mix of Carter Family, Truckstop Honeymoon, Creedence, Hank Snow and Donna the Buffalo - good set.   Before we finished, we invited the Rockridge Brothers up to do Wagon Wheel with us -wow - Kelly sure sounds good with a full band behind her!!   There is a link to the video at the end of the blog.

Kristian       Ralf         Peter       Pontus

After the break the Rockridge Brothers took stage - or maybe better said exploded into their first number.  You would have thought that they were playing Carnegie Hall, Merlefest,  or Woodstock - with the energy and drive  they put into their performance!   Most of the folks there had never really heard a good old time band before, and many were only mildly acquainted with Bluegrass, so they couldn't have had a better introduction to old time music.   They are all really good musicians  - harmonies perfect, crisp breaks, tight arrangements and overall  good choice of songs and tunes, and everything played at a brisk pace that had the whole crowd tappin their toes.   They have played together for about 10 years and it shows in how they blend  together.  Awesome musicians each.    Not only were they great to listen to, but their stage presence is very inviting to the audience - they talk to you like your an old friend and  you feel like part of the show.   The set will live long in my memory (boy am I glad I got a good recording!!!) and on my ipod.  Here is a link to their opening number

http://www.youtube.com/watch?v=d6zBl9RnFCE&feature=g-upl&context=G24d1a1dAUAAAAAAACAA


A lot of our guests were blown away by the show -they never expected to see a GREAT band in our backyard, and be able to get to meet and talk to them.   They played a full set and were coaxed into an encore.   Then after a short beer break to cool off we moved inside to the garage for a jam session with my local music friends.    It was a treat to play with them, and we shared songs and tunes for a few hours more.   Not too many of the guests left - they stayed to listen.   Pontus was showing Ellie some stuff on the bass (he has a new #1 fan in the US now) and it was cool to hear my bass played so well.   An evening that a lot of us will remember a long time.

After the guests left we stayed up for quite a while and enjoyed the pool and it was a treat for Claire and I to have some time with the guys.   We enjoyed a lazy breakfast the next day, last dip in the pool and on their way to their next show we took them to visit Fort Stanwix and said goodbye after a meal at Dinosaur BBQ in Syracuse.   The visit was too short........

Claire and I are hoping for a return visit - but this year we might have to get a bigger yard to hold the crowd!!!   Here a link to the FFB and Rockridge Brothers doing Wagon Wheel - enjoy

http://www.youtube.com/watch?v=GXLNgti03ps&feature=g-upl&context=G2ba744dAUAAAAAAABAA