Sat. May 12th FARA–trad music from four beautiful young women from Scotland, perform in York, PA

The Scottish group FARA, four beautiful young women whose three fiddles and a piano produce a fiery sound rooted strongly in their Orkney Island upbringing will be featured in a Susquehanna Folk Music Society concert on Saturday, May12th. The concert begins at 7:30 pm and will be held at the Unitarian Universalist Congregation of York located at  925 S. George Street in York. This concert is part of the group’s first tour in the United States.

Tickets and information can be found here: http://www.sfmsfolk.org/concerts/Fara.html Tickets will also be available at the door.

Fara brings together four leading musicians at the forefront of today’s Scottish folk scene – Jennifer Austin, Kristan Harvey, Jeana Leslie and Catriona Price. Their repertoire showcases the strong fiddle tradition of the Orkneys; a group of around 70 islands situated just off the northern coast of Scotland. The Islands were parof  Norway until the early 1400s, so Norwegian, as well as Gaelic influences, can be heard in the group’s music.

As is common on Orkney, they grew up playing music in Grammer School, and later all sought University degrees at Royal Academy of Music, the Royal Northern College of Music, The Royal Conservatoire of Scotland, and Strathclyde University. First coming together as backup musicians for the popular Orkney group “The Chair,” Fara decided to strike out on their own in 2014.

 

The four contrasting personalities and individual musical voices in Fara make for a colorful melting pot, with each member bringing a different musical palette to the mix. With vibrant arrangements full of rich harmonies, energetic fiddle playing, and driving piano, Fara’s music is an exciting experience.

 

Using a mixture of self-penned and traditional Orkney tunes along with the stunning vocals of the group’s lead singer Jeana Leslie, Fara has been called “a new fiddle supergroup,” and “a real delight.” Their on-stage banter and musicianship routinely hold audiences spellbound.

 

A nomination for “Up And Coming Act of the Year” at the Scots Trad Music Awards in 2015 and the success of their debut album Cross The Line in 2016 lead to a nomination for the BBC Radio 2 Folk Awards’ Horizon Award. Since then they have played across the UK and Europe and are making debut tours this year in the U.S., Canada, Sweden, and Germany.

 

 

Concert tickets are $24 General Admission, $20 for SFMS members and $10 for students ages 3-22. Advance tickets are available through BrownPaperTickets.com or call (800) 838-3006. This concert is presented with support from Bob and Donna Pullo and from an anonymous Your Name in Lights sponsor and in cooperation with Songside.com and the Unitarian Universalist Congregation of York.

 

Funding for Susquehanna Folk Music Society concerts is provided by the York County Convention and Visitor’s Bureau, the Cultural Enrichment Fund and by the Pennsylvania Council on the Arts, administered locally by the Cultural Alliance of York County. For more information, visit the Susquehanna Folk Music Society website at http://www.sfmsfolk.org.

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Martin Carthy & John Doyle April 28th in Harrisburg!

Two legends of English and Irish traditional music—Martin Carthy and John Doyle—combine forces for an unforgettable Susquehanna Folk Music Society concert on Saturday, April 28, 2018, at the Fort Hunter Centennial Barn, 5300 N. Front Street, Harrisburg. The 7:30 p.m. concert will be preceded by a free 5 p.m. ballad singing workshop and a free 6 p.m. potluck dinner.

MARTIN CARTHY

Former member of STEELEYE SPAN, one of folk music’s greatest innovators!

Carty, who received a BBC 2 Folk Award Lifetime Achievement Award in 2014, has long been known as one of folk music’s greatest innovators and one of its best-loved, most enthusiastic, and at times quietly controversial figures. Trailblazing musical partnerships with, amongst others, Steeleye Span, Dave Swarbrick and his award-winning wife (Norma Waterson) and daughter Eliza Carthy have resulted in more than 40 albums.

He is a ballad singer, a ground-breaking acoustic and electric guitarist, and an authoritative importer of newly composed material. Carthy prefers to follow an insatiable musical curiosity rather than cash in on his unrivaled position. Perhaps most significant of all are his settings of traditional songs with guitar that have influenced a generation of artists, including Bob Dylan and Paul Simon.

JOHN DOYLE

Former member of SOLAS, one of Ireland’s greatest guitarists!

John Doyle has worked with many of the most notable Irish music performers. From a musical family in Dublin, he went on the road at age 16 with the group Chanting House, which he formed with Susan McKeown and which eventually included Irish music greats like Seamus Egan, Eileen Ivers, and Donough Hennessy. Doyle went on to form the highly acclaimed super group Solas with Egan, John Williams, Karan Casey, and Winifred Horan that took the folk and Celtic music worlds by storm, due in large measure to Doyle’s powerhouse rhythmic guitar style and innovative arrangements.

Solas appeared on The Today Show, A Prairie Home Companion, Mountain Stage, E-town, and World Café. The group received three NAIRD awards and a Grammy nomination. After leaving Solas, Doyle performed and toured with many other greats in the folk, Celtic, and bluegrass worlds. There are few artists more respected in the genre or more in demand in the studio, as a songwriter, and as a performer. In recent years, Doyle has focused primarily on writing songs based on the varied experiences of Irish emigrants.

Before the concert, come to a free workshop on ballad singing with Carthy and Doyle at 5 p.m. and then the free 6 p.m. potluck dinner. Bring a covered dish to share. Drinks and place settings will be provided.

Concert tickets are $26 General Admission, $22 for SFMS members, and $10 for students ages 3-22. Advance tickets are available online at www.brownpapertickets.com or by calling toll-free (800) 838-3006. This concert is presented with support from Your Name In Lights sponsors Steve and Nancy Wennberg and i cooperation with Dauphin County Parks and Recreation. Funding for Susquehanna Folk Music Society concerts is provided by the Cultural Enrichment Fund and by the Pennsylvania Council on the Arts, administered locally by the Cultural Alliance of York County. For more information, visit the Susquehanna Folk Music Society website at http://www.sfmsfolk.org.

 

March 23rd, Tony Trischka & Bruce Molsky to play in York, PA

Two perennial Susquehanna Folk Music Society concert stage favorites—Tony Trischka and Bruce Molsky—team up for a dynamic March 23 concert sponsored by SFMS at the Unitarian Universalist Congregation of York, 925 S. George Street, York. The fun begins at 7:30 p.m.

Tickets here: https://www.brownpapertickets.com/event/3050250

Make it a Weekend!

Come for the concert and visit some of York County’s other attractions. Consider taking in a York Revolutions game, touring the Harley Davidson plant, checking out Central Market, or hiking on the magnificent York County Rail Trail! There is plenty to do in beautiful York County. For more ideas visit www.yorkpa.org.

Tony Trischka was named a 2012 United State Artists Friends Fellow in recognition of his work as perhaps the most influential banjo player in roots music world today. In addition to his accolades as a performer, he also is one of the instrument’s most respected and sought-after instructors, having created 15 instructional books and a series of DVDs. In 2009 he launched the online Tony Trischka School of Banjo. He has been a mainstay on A Prairie Home Companion, Mountain Stage, From Our Front Porch, and other shows.

A Grammy-nominated fiddler, Molsky has been acclaimed as “one of America’s premier fiddling talents.” Trained as a mechanical engineer after having spent time in Virginia and loving Appalachian music, Molsky decided at age 40 to try to make a career in music and has never looked back. Molsky has appeared on NPR programs including A Prairie Home Companion and All Things Considered and on BBC broadcasts in England and Scotland.

Concert tickets are $25 General Admission, $23 for SFMS members and $10 for students ages 3-22. Advance tickets are available online at http://www.brownpapertickets.com or by calling toll-free (800) 838-3006.

We had lots of fun talking to Molsky and Trishka and interrupting their rehearsal just to learn what music they will be playing on Friday night and to find out if it really true that Tony played recently with Miley Cyrus??? Read on to find out!

FOLKMAMA: You both are very well known with stellar careers of your own, but I’m curious what people should expect during the concert on Friday evening?

TONY: Lots of instruments for sure. I play banjo, two kinds of banjos at this point. Bruce plays a whole host of things.

BRUCE: A couple of fiddles and a guitar and a banjo which I’ll sheepishly play with Tony. And we’ll sing.

TONY: Mostly Bruce! But Bruce is forcing me to sing, and I’ll do it. Just for you guys! And we’re doing a bunch of old-time fiddle tunes for sure and we’re doing a tune called “Green, Green Rocky Road” which was written by Dave Van Ronk, one of my favorite tunes. Then we’ll do a tune that Bruce wrote called Kilkenny which sounds like a Scottish tune but it’s not.

BRUCE: I’m going to tell the story about that song at the concert, but here it is.

Tony and I had a trio years ago with a guitar player Paula Bradley and we were sitting in rehearsal and Tony said, “Let’s play something that we’ve each written.” And I said that I hadn’t written anything. And Tony said, “You have one week to write a tune, and I’ll calling you every day.” So this is the tune I wrote.

I don’t know if you ever watched South Park, but there is a young character that dies every week on the show and he always comes back the next week. And whenever he gets killed, one of his friends says, “The bastards! They killed Kenny!” And that was the name of the tune. But Tony made me shorten it, to make it socially acceptable.

TONY: Right. And we will do a Celtic tune Sí Beag Sí Mór, a beautiful O’Carolan waltz and fiddle-banjo duets, guitar-banjo duets.

BRUCE: This is the overlapping diagram, the Venn Diagram of Bluegrass and Old-Time. Plus everything else that’s kind of rattling around in our heads.

Playing with Tony for me is a really special experience because first of all we are old pals and it gives us a chance to visit. Playing with someone that has a really strong musical voice who is amazing like he is gets me on my game and gets me thinking hard in ways that I don’t usually think. And we don’t do it often enough so that any of it is pat.

So that ‘being in the moment’ for me is a really big thing with this.

TONY: And I feel the same way. Bruce is truly amazing. His groove is just so strong when we play fiddle/banjo duets. I just luxuriate in the grove. I can stay there for 20 minutes, which is something I have to be careful not to do! I think, “Do we really have to stop now? Just when it’s getting exciting?”

Playing in Bruce’s groove is unlike any other situation that I’ve ever played in. It’s not a bluegrass grove at all. I just get lost in it.

FOLKMAMA: So how often do you get to play together in this kind of way?

BRUCE: We’re doing three shows this weekend. We’re playing at Godfrey Daniels and we’re playing at the Town Crier in Beacon where I live. It’s a three gig run. Bur your organization caused it! And it will be particularly “seat of the pants” for your show—in a good way—because it’s the first of the run. So it will be fresh, very fresh.

FOLKMAMA: So what are some of the projects that you both have been involved in recently?

BRUCE: Well you know about my trio, Molsky’s Mountain Drifters. They played for Susquehanna Folk recently. We’ve just finished recording our second CD. Hoping that it’s out late summer. So the Drifters are my main musical thing, although I’m starting to do more solo work.

I had kind of given my solo act a rest, and I discovered that I really missed it. So I did a show out at the Freight and Salvage in Berkeley, California this past week and it was the first time I stood in front of a mic by myself in awhile and I really enjoyed it. And of course, and Tony does this too, I teach at Berklee College of Music in Boston. It all adds up. I’m also doing a few shows with the cellist Mike Block. I like to do collaborations.

TONY: I just finished up a new CD, or whatever it will be. It’s actually supposed to come out on tape—you know reel to reel tape, believe it or not. There is a company that I’ve been talking to called “Red Wine”. I’m going to be recording a cylinder soon—I met this guy and he works at the Edison Historical Museum near here in South Orange, NJ where Edison had his work shop. And it turns out that this guy actually records new things to cylinder. So in the next few weeks we’ll do that.

But I am finishing up a CD and it deals with the Civil War. I made up this story about the Civil War that has some basis in historical fact. It has a march with a brass band and two string quartets and bluegrass fiddle, and I got John Loofka to do some spoken word. I’ve been working on this project for 10 years—visualizing all this. And then I have this on-line school—we both have on-line schools. The Tony Trischka School of Banjo, and I also teach at Berklee a few times in the spring and the fall.

And I did one gig with Miley Cyrus.

FOLKMAMA: What?? You did a gig with Miley Cyrus? How did that come about?

TONY: Well a friend of mine was first approached, but he couldn’t do it so he asked me. There was a big Elton John pop album that had all these big names, like Lady Gaga are on it. So Miley Cyrus was on there doing The Bitch is Back. And she wanted a banjo solo on there. They did this live show during Grammy week at the theater of Madison Square Garden so I played The Bitch is Back with her with Elton John’s backup band. He was in the audience, right in front, and after the show he came out and played. So I got to play one song with Miley Cyrus. And I got a banjo solo. Not everyone can say that they’ve play a banjo solo with Miley Cyrus.

FOLKMAMA: Amazing! So any last words about what we can expect?

BRUCE: The audience is going to hear some fun, ‘in the moment music’ played by a couple of old friends who want to have a nice time and enjoy it with everyone.

TONY: Just us reconnecting musically in front of an audience. We just love to play with each other and enjoy sharing that with people.

Tėada, from Sligo, Ireland to appear March 18th in Harrisburg (tunes, music + dancing)

“One of the most exciting traditional groups to emerge in recent years” Irish World

Coming from Sligo, Ireland the band Tėada (the word means “strings” in the Irish language) has achieved worldwide acclaim for its ability to stay true to the timeless, expressive force of traditional tunes inherited from previous generations of great Irish musicians.

Midstaters can experience Tėada in a Susquehanna Folk Music Society concert on Sunday, March 18, 2018, at 7:30 p.m., at Appalachian Brewing Company, 50 N. Cameron Street, Harrisburg. The five-piece band expands to seven for this event with champion step-dancer Samantha Harvey and legendary singer and musician Séamus (SHAY-mus) Begley.

Tickets are available at https://www.brownpapertickets.com/event/3050248)

Téada first appeared in 2001 on Irish television, led by County Sligo fiddler Oisin Mac Diarmada. Though still in their teens, the young musicians were driven by the timeless, expressive force of music inherited from previous generations.

The band was quickly cheered for “keeping the traditional flag flying at full mast” (The Irish Times). “A fresh force in Irish music” said Earle Hitchner in the Irish Echo, and Irish Music Magazine described them as “the strings that bind…a young band with a deeply authentic sound [at] the cutting edge of the next generation.”

“We try to capture some of the rawness and individuality of the solo artist tradition, within the dynamic of a full band,” says Mac Diarmada.

The original quartet is now often a septet with Seamus Begley, the elder statesmen of the group. From a famous musical family in County Kerry, named 2013’s Traditional Singer of the Year (Irish TV TG4), Begley brings a deep trove of songs as well as fiery accordion playing and wit.

Téada’s most recent release, In Spite of the Storm (Gael Linn, 2013), follows a string of acclaimed albums on the Green Linnet and Compass labels, and the first to feature Begley. “One of the outstanding releases in recent memory,” raved Daniel Neely in The Irish Echo. “Another typically thoughtful and thought-provoking excursion from a band still hungry for tunes– and, belatedly, for songs,” added Siobhan Long in The Irish Times.

The American tour is supported in part by Culture Ireland, a branch of the Irish government promoting Irish arts worldwide. For more information on the band visit their website at teada.com

Concert tickets are $24 General Admission, $20 for SFMS members, and $10 for students ages 3-22. Advance tickets are available online at http://www.brownpapertickets.com or by calling toll-free (800) 838-3006.

To listen/watch Teada visit these sites:

AUDIO

In Spite of the Storm: https://teada.bandcamp.com/album/ainneoin-na-stoirme-in-spite-of-the-storm

VIDEOS

Song with Seamus Begley https://youtu.be/W2_-oHPm5C8

March 2, 2018 Grosswendt and Salem-Schatz to bring pre-war blues/country music to Harrisburg

Martin Grosswendt and Susanne Salem-Schatz bring their compelling voices, uncanny sense of harmony, and deep grounding in traditional country blues and old-time to Harrisburg for a Susquehanna Folk Music Society concert on Friday, March 2, 2018, at 7:30 p.m. at the Fort Hunter Centennial Barn, 5300 N. Front Street, Harrisburg.

Grosswendt is internationally known as an interpreter of prewar blues and other roots music, while Salem-Schatz slips into any genre and makes it her own, appearing as soulful blues singer one minute and sassy honky-tonk gal the next. Their performances strike a deep emotional chord as they share their deep love of and respect for the roots of classic blues, old time, and early country, making the music their own and presenting it with style, grace, and wit.

Concert tickets are $24 General Admission, $22 for SFMS members and $10 for students ages 3-22. Advance tickets are available online at http://www.BrownPaperTickets.com or by calling toll-free (800) 838-3006.

I was able to have a delightful conversation with multi-instrumentalist Martin Grosswendt. Just by talking to him I can tell that his and Suzanne’s concert is sure to be filled with lots of warmth, great music, and laughs!

FOLKMAMA: Tell me about your background. How did you come to love traditional music from the South?

GROSSWENDT: I’ve always loved singing, for as long as I could remember, but I just kind of fell into the music when I was about 12 or 13 when I got hooked on a Jim Kweskin Jugband album and just about wore it out!  And then a couple of years later I started playing guitar and I discovered that I could learn to copy the noises that I heard on records and so Mississippi John Hurt’s album on Vanguard Today was just a tremendous, tremendous influence on me when I was about 13 or 14 years old. I learned a lot of guitar playing just from that album.

I’ve never taken formal lessons, I was just in a situation where I was lucky enough to hear a lot of great people play. I went to Tryworks Coffeehouse in New Bedford, which is sort of legendary, starting in 1968. And Maggi Peirce, who is a great singer from Belfast and has become a great storyteller, ran that. Most weeks it was just local acts, kids playing, but she started to bring in some wonderful traditional singers; Lou Killian, Norman Kennedy, and Helen Schneyer.

The last year I attending high school, in tenth grade, I was in DC at that point and I got to hear John Jackson several times, who was just a remarkable Piedmont Blues guitar player, from Virginia. And I also got to know this banjo player, Reed Martin, and I learned a lot of stuff from watching him play. He was kind enough to make me a reel to reel tape recording of a whole lot of tunes which became my bible for old-time banjo. But he also turned me on to Robert Johnson and around the same time I discovered Son House and Blind Blake, a great east coast guitar player, and a bunch of other Delta players including Charlie Patton who just was amazing.

So that was all in my teens and from there I was just lucky enough to be around people who took me seriously and I was precocious enough on my instruments and I had a good enough sense of humor so that people took me under their wing.

FOLKMAMA: When you started touring, did you play mostly on your own?

GROSSWENDT For the first part of my career I was usually by myself, but I toured with Utah Phillips and I played with Mary McCaslin and Jim Ringer when they were on the east coast. For awhile I lived in Saratoga and of course I washed dishes at Café Lena and I got to see a lot of fantastic people play there. I lived in Vermont in the 70s and I got to do a lot of session work at Philo Records with Bruce Phillips, Mary McCaslin and Jim Ringer, and I believe I got to play on one of Jay Unger and Lynn Hardy’s records too.

FOLKMAMA: How would you describe your style?

GROSSWENDT: I self identify as “a working guitar player with a short attention span”. So I’ve always heard these noises that I’ve wanted to make. And it’s been five string banjo and guitar and mandolin and some fiddle and dobro and pedal steel guitar and just a bunch of different things. Guitar and five string banjo are probably what I have been most consistent at.

FOLKMAMA: What are you most passionate about?

GROSSWENDT: I just love a lot of Southern music from before World War Two. Part of what fascinates me is the interface between the back and white traditions. So I switch back and forth a lot. I love old time music, I really like old time country music, and I love Delta and East Coast blues. There are just so many good types of music to play that I’ve just sort of followed my nose.

And I think that’s what the culture was like down there as well. Black and white musicians lived cheek by jowl and I’m sure that they played together at times, and the repertoire went back and forth. There were always songs and licks and techniques going back and forth between the races.

FOLKMAMA: When musicians were playing during that time period, do you think they thought much about distinctions between what the different races were playing?

GROSSWENDT: The taxonomy and classification of music being “black” or “white” really occurred when the record companies (all these small record companies owned mostly by people who made Victrolas) went in to record artists. They essentially invented these categories. They invented the category of the “Race Record” which was for black audiences, and “Hillybilly” music which was for working class white people in the south, regardless of whether they were in the hills or not.

The “Race Records” were usually blues because that’s all that the record companies let itinerant or community musicians from down there record. Charlie Patton, one of the great Delta Blues singers who was the first guy from the Mississippi Delta to record extensively, did all kinds of music. He did country songs, he played party songs, he did blues, he did standards, he did whatever his audience wanted to hear, whether that audience was black or white.

FOLKMAMA: So tell us a little more about what we’ll hear during Friday’s show. What instruments will you be playing?

GROSSWENDT I’ll play guitar and a little mandolin and I’ll play some banjo. The repertoire won’t be strictly blues. We do some classic blues, we do some old time music, what they call hillbilly music, we do some standards, and we do a few contemporary things. We do some old time music by Doc Bogs, and we can’t seem to make it through the night without doing at least one George Jones tune.

FOLKMAMA: Tell me about Susanne Salem-Schatz.

GROSSWENDT: She’s just a phenomenal singer. I’m really lucky to be touring with her. I’ll tell you how we met. I used to play rhythm guitar for an old-time jam in an Irish pub every Sunday night for about 12 years. One night I was singing something and it came to the chorus and I heard this voice immediately behind me start in with this really terrific, compelling harmony. And it made the hairs on the back of my neck stand up. And I guess it made the hairs on the back of her neck stand up too and several of the people around us and I couldn’t believe it and I turned around and saw her and that’s how we met. About three and a half years ago we started touring together as a duo.

We try to only play at places where people will like the music and will listen. We are looking forward to playing for the Central Pennsylvania audience at Fort Hunter!

Jim Hurst, performs February 10th in Harrisburg. Also, a free harmony singing workshop!

On Saturday, February 10th at 7:30 PM, the Susquehanna Folk Music Society presents Jim Hurst, an International Bluegrass Music Association Guitar Player of the Year, in a concert to be held at the Fort Hunter Centennial Barn located at 5300 North Front Street in Harrisburg.

Jim Hurst’s unique picking style and mastery of bluegrass guitar wows audiences and is revered by both novice guitar players and his musical peers. His eclectic career has made him a remarkable performer, an experienced instructor and a highly sought after session musician. His affability and gregariousness make him one of the most approachable musicians of his caliber.

The product of a musical family, Jim honed his musical style after being influenced by the likes of Tony Rice, Clarence White and Jerry Reed. He got national exposure with Holly Dunn’s Rio Band playing acoustic guitar and mandolin, and singing harmonies; followed by several high profile television and radio appearances while touring with Trisha Yearwood playing acoustic and electric guitar, and harmony vocals. Jim also experienced performances with Travis Tritt, and Sara Evans.

Itching to play more bluegrass, Jim joined the Grammy-nominated Claire Lynch and her Front Porch String Band in 1995 where he teamed up with kindred spirit bassist Missy Raines. While with Claire Lynch, Missy and Jim formed a duet, creating ground-breaking arrangements. They earned IBMA Guitar and Bass Player of the Year for 2001 and 2002.

Wanting to pursue greater artistic freedom, Jim left the Claire Lynch Band in 2010 to embark on a solo career. As a soloist, Jim Hurst combines savvy guitar picking and a broad vocal range to deliver a performance that has been described as “flawless” and “jaw-dropping.”

The concert is preceded by a free harmony singing workshop from 5-5:45 PM and a potluck meal at 6 PM. Bring a dish to share. Plates, utensils and drinks will be provided.

Concert tickets and information are available http://www.sfmsfolk.org/concerts/JimHurst.html

We had a chance to speak to Jim about his early influences and what people should expect during his Fort Hunter performance and Harmony Singing workshop.

FOLKMAMA: Tell us about your early years and how you developed your love of music.

JIM HURST: My initial inspiration was my father. There was always a lot of singing in our home. He would play and sing with his brother, and he would also sing three part harmony with my sister and older brother. And all this music just kept on filtering down to me and my younger brothers. And it was just a wonderful place to start.

My dad ordered albums. Back then you there was no internet to get music from, so you ordered the music that you wanted through a local music store. He would tell them which album he would want and the music store would order it from the distributer and then we would listen to it on our LP player in the living room usually.

We would listen to records of the Carter Family and traditional country bluegrass like Jim Reeves, Jimmy Rogers, and Doc Watson. So many guitar players and singers– Merle Haggard, Marty Robbins, the list goes on and on. I learned by listening to those artists that it’s possible to do more than play three chords and sing.

So that’s what started me on my journey. In 1988, my wife and I moved to Nashville to get me into the music business. My first job in Nashville was working for Holly Dunn. Then I played stints with Trisha Yearwood, Sara Evans and Travis Tritt.  But then I decided that the big country thing wasn’t necessarily for me. I really loved the posh treatment–riding in the nice buses, playing in big arenas, doing things on radio and TV and touring over the United States, North America, Europe and Japan—but I missed playing roots-based music, bluegrass specifically.

So I started playing with Claire Lynch and the Front Porch String Band. Then Missy Rianes and I had a duet and I worked with some other artists like Mark Shatz and Tim O’Brien. And then I started on my own, started doing solo and I also have a Jim Hurst Trio and we perform whenever the opportunity allows.

And I just try to keep on working through inspiration and opportunity and I’ve been thankful and blessed to do what I love to do.

FOLKMAMA: What should people expect to hear when they come to see you in concert at Fort Hunter?

JIM HURST: I play both finger style guitar and flat pick guitar. I will perform songs that I’ve written and I’ll do songs that I think are really wonderful songs that other people have written. They’ll be songs from the CDs that I have recorded as well as songs that I haven’t recorded.

I sing some series songs that will allow you to think about what could have been, what might be, where am I heading in the world kind of thing. And there also will be some tongue in cheek things. I’ll play some instrumentals. Maybe get the audience to sing along on one or two.

I hope to get people inside that Fort Hunter Barn and just kind of drift away from reality for a couple of hours with some music and some singing.

FOLKMAMA: You’ll be doing a free harmony singing workshop at 5 PM What do you hope to cover?

JIM HURST: We’ll spend some time talking about what harmony is and how it works alongside a melody line. We’ll listen for chord structure and practice finding notes in the chord that can be used to add a harmony line. Then we’ll sing some simple choruses that everyone knows and practice adding harmony. And then, depending on the attendees and how versed they are at singing, we would just progress from there until our time is up. The workshop will be fun for everyone, no matter their singing or musical abilities.

 

April Verch and Joe Newberry, December 7th, in Harrisburg!

April Verch and Joe Newberry, both respected folk music performers in their own right, will come together for a Susquehanna Folk Music Society concert on Thursday, December 7, 2017, at 7:30 p.m. The concert will be held in The Gallery at Appalachian Brewing Company located at the 50 N. Cameron Street in Harrisburg.

Expect to enjoy some music of the season along with songs, fiddle tunes, and lively step dancing!

With all the success that each of them they have had, Verch and Newberry have never forgotten the roots of their music, the connection to members of an audience, on the dance floor, to the community sparked by a good song. Their collaboration is fueled by their kindred passion for bringing people together to celebrate traditional music.

Verch grew up listening to her dad’s country band play for dances in Canada’s Ottawa Valley. She started step-dancing at age three and fiddling at age six, and decided early-on that she wanted to be a professional musician. Joe Newberry is a Missouri native who has played music most of his life and a frequent guest on Garrison Keillor’s A Prairie Home Companion.

Concert tickets are $24 General Admission, $20 for SFMS members, and $10 for students ages 3-22. Advance tickets are available through Brown Paper Tickets online at http://www.brownpapertickets.com or toll-free (800) 838-3006. For more information, visit the Susquehanna Folk Music Society website at http://www.sfmsfolk.org.

We recently had a chance to talk to both Joe and April about the traditions that each of them loves, and how their music intersects.

________________________________

FOLKMAMA: Can you each tell me a bit about your early years and the folk music that you grew up with?

APRIL: I grew up in the Ottawa Valley in Northeastern Ontario, and I learned the style of fiddle playing and step dancing from that area. One of my best influences, especially in my early career, was my dad. He played old classic country music and he used to listen to the Wheeling, West Virginia radio. He was a big fan of that style.

It was really cool to find out that Joe had sort of a similar experience. My dad grew up listening to music from the states, and where Joe was in Missouri, people were listening to the radio from Canada!

JOE: I grew up in the Ozarks and then later moved to Central Missouri. Folks there liked to joke that they only things separating Missouri from Canada was a barbed wire fence! So like April said, fiddlers in central Missouri would listen to those late night clear channel broadcasts. So the tunes that we played in Missouri were really are a lot like Canadian tunes.

I think it’s because the settlement patterns in Central Missouri and the Ottawa Valley were so similar. We both had some Scots Irish, German and French immigration.

FOLKMAMA: I hadn’t realized that so many different groups settled in your area April.

APRIL: When I was growing up learning these traditions I was always told about the lumber camps, logging was the main industry when the area was settled. And the first immigrants brought the stories, and music, and dance from their homelands. The first settlers primarily working in the lumber camps were Irish, Scottish, French, German, and Polish.

FOLKMAMA: So I’d like to hear a little more about the Ottawa Valley style of dancing. The Rose Lehrman Arts Center just had Cherish the Ladies and they had three dancers performing with them. Two of the dancers were Irish step dancers, but the third was the Ottawa Valley fiddler and step dancer Julie Fitzgerald. And right away I could see a big difference between her dancing and the two Irish step dancers. She was much looser, more fluid. So maybe you could describe the Ottawa Style dancing a little bit to us.

APRIL: Usually when people just see me step dancing it reminds them of Irish step dancing or maybe tap or clogging. It was a wonderful opportunity that you had to see Irish step dancing and Ottawa Valley dancing side-by-side because the differences are subtle and difficult to describe.

And really the Ottawa Valley style has changed so much. There are a lot of contests in Ontario for the style so people are always looking for new influences and new steps to bring in. I feel like what Julie does is different then what even I grew up with. She’s younger than I am, so she probably has a lot more tap influence. When I first started touring and left home, more and more tap was coming in at that time. So it’s continuing to evolve really quickly.

FOLKMAMA: What kind of reaction are you getting to your performances together, especially those audience members that have never seen you as a duo?

JOE: We have gotten a really strong response so far, right from the first show that we did together in October, 2016. It’s funny. People came up to us at that first show and said, “Where’s your CD?” And so we went into the studio a month and a half later and recorded our first CD. And as you do during holiday time for stocking stuffers, we will have them available.

FOLKMAMA: I see both of you as being very dynamic performers, visually, as well as in other ways. I’m thinking part of it is just the chemistry as well as the music.

JOE: April and I both work with other folks. She has the great April Verch Band and I play with Mike Compton and also with some of the original members of the Red Clay Ramblers. We have a mutual friend, and she kept saying to me,” Boy you sure would play great with April.” And Janet was saying the same thing to April. In the meantime people heard about it and we actually got a few dates before we even got started! And so it’s like, “Well OK, here it is! We better step to it.”

FOLK MAMA: I saw your clips from Celtic Colors, which were fabulous. Is that the biggest festival that you’ve done together or have you done a string of them?

APRIL: Gosh, it does seem that we’ve done a lot in the short time that we have been together. Celtic Colors was one of our first performances together. I think we had only played a handful of shows before then. We have played a bunch of theaters and listening rooms and some other festivals and we’ve got  a lot of things coming up overseas next year and so I think that’s part of what we like about it is the variety of different venues and audiences that we are able to connect with.

FOLK MAMA: What should people expect to hear when they see you?

JOE: The thing that strikes us and the thing that strikes our audiences is that we are having a ball! And when you start from that point it just goes on from there. In our holiday show especially. Folks will hear original songs that April and I have both written–we both like telling an old story a new way. We love writing about this time of year.

FOLKMAMA: How much holiday music will you play and how much of your standard repertoire?

APRIL: It will depend a little on the night, how we are feeling and how the audience is responding. As Joe said there is a blend of vocals and of instrumentals and the dancing and so sometimes even though a fiddle tune is called “Christmas Eve” it’s still a fiddle tune. Adding some holiday songs just makes sense to us. It’s something that we grew up with this time of year.

 

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