{"id":3042,"date":"2017-09-12T12:05:05","date_gmt":"2017-09-12T16:05:05","guid":{"rendered":"http:\/\/nordost.com\/blog\/?p=3042"},"modified":"2017-09-12T12:05:05","modified_gmt":"2017-09-12T16:05:05","slug":"nelson-brill-attends-the-2017-lowell-folk-festival","status":"publish","type":"post","link":"https:\/\/nordost.com\/blog\/nelson-brill-attends-the-2017-lowell-folk-festival\/","title":{"rendered":"Nelson Brill Attends the 2017 Lowell Folk Festival"},"content":{"rendered":"

Real music lovers can find the melody in everything. From the park to the concert hall, our\u00a0friend Nelson Brill is always on the hunt for great sound. In this blog, Brill attends the oldest running folk festival in the United States to hear music from\u00a0“the\u00a0streets of \u00a0Zimbabwe, Morocco and Cuba to the blues alleys of Chicago.”<\/span><\/p>\n

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FOLK MUSIC FLOURISHES AT THE 2017 LOWELL FOLK FESTIVAL AND IN A GLOWING JAZZ PARTNERSHIP<\/span><\/p>\n

By Nelson Brill<\/span><\/p>\n

AUGUST, 2017<\/span><\/p>\n

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The unbounded nature of folk music, with its global reach and its rich stories of love, struggle and glory, continues to astound. The vitality of folk music was heard in all its myriad forms at this year\u2019s 31st edition of the venerable <\/span>Lowell, MA. Folk Festival<\/span><\/i> (\u201cFestival\u201d) the oldest running folk festival in the United States. This year\u2019s edition, running from July 28-30th, was lit up with music that careened from the streets of \u00a0Zimbabwe, Morocco and Cuba to the blues alleys of Chicago.<\/span><\/p>\n

\"Unknown\"Arriving at the Festival\u2019s \u201cDutton Street Pavilion,\u201d <\/span>C.J. Chenier & The Red Hot Louisiana Band<\/span><\/i> were performing under a huge tent rocking the classic tunes \u201cCaldonia\u201d and \u201cJambalaya (On The Bayou)\u201d with infectious zydeco sway. Chenier\u2019s accordion churned out flowing chords while his muscular partner on his \u201cFrottoir\u201d (a version of a washboard worn with a shoulder strap \u2013 first designed by C.J.\u2019s father, Clifton Chenier, in 1946 Louisiana) provided the intense zing of a backbeat. Chenier sang with a rotund voice (containing ardor and grit) that punctuated the swirling music of his band. The capacity audience danced and swayed to the joyous grooves while Chenier\u2019s accordion swept them along with his swashbuckling accordion.<\/span><\/p>\n

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shakethetreeboston.com<\/figcaption><\/figure>\n

Over at the Festival\u2019s \u201cBoarding House Park\u201d stage, Toronzo Cannon and his quartet delivered a scorch of another variety: searing electric Chicago blues. Cannon utilized a rolling guitar style in which he slid his fingers seamlessly from one fret to another or hit hard a cluster of repeating notes in a circular, rapid-fire pattern.<\/span><\/p>\n

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lowellsun<\/figcaption><\/figure>\n

His rousing voice accompanied his guitar swagger and his songs of lost love and \u201cbad contracts\u201d \u2013 all delivered with gut-thumping heat. The classic Elmore James\u2019 tune, \u201cLook Over Yonder\u2019s Wall [Hand Me Down My Walk\u2019in Cane]\u201d, was a pile-driving romp with the band\u2019s young keyboardist battening down the hatches with his percussive, two-fisted barrelhouse runs.<\/span><\/p>\n

In contrast to the molten heat from Cannon\u2019s guitar, the guitarist fronting the band <\/span>Mokoomba<\/span><\/i>, (a band hailing from Victoria Falls, Zimbabwe), delivered the lightest of dancing notes and stutter-stepping phrases on his instrument. <\/span>Mokoomba\u2019s <\/span><\/i>music combined expressive calls and vocals with the resonant pulse of congas and hand-held percussion to create undulating light grooves upon which members of the band surfed with their great high-stepping dance moves.<\/span><\/p>\n

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pri.org<\/figcaption><\/figure>\n

Congas (and a variety of other indigenous drums) were also the resonant foundation underlying singer Betsayda Machado\u2019s spirited performance of Cuban and Venezuelan folk music with the band, \u201cLa Parranda El Clavo\u201d.<\/span><\/p>\n

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npr.org<\/figcaption><\/figure>\n

Machado possessed a radiant voice (with a beautiful mix of expressive full power and tonal delicacy) and she joined with several other singers in performing Spanish songs and Yoruba chants that floated over the many drum calls below (accentuated by the whirling steps of dancers onstage).<\/span><\/p>\n

At the Festival\u2019s \u201cSaint Anne\u2019s Churchyard\u201d stage, Americana folk and blues were nestled in the bows of the band <\/span>Shadowgrass<\/span><\/i>, who drove their bluegrass hard and fleet. These four young musicians took the capacity audience by storm with their sparkling banjo soars, acoustic guitar flourishes and a nimble, thumping bass that rode it all to glory.<\/span><\/p>\n

The Festival would not complete, however, without hearing some of that sweet driving Memphis soul delivered hot and fresh by the <\/span>Stax Music Academy Alumni Band.<\/span><\/i><\/p>\n

\"20170726_120243_FolkFest_Stax-Music-Academy-768x512\"
LowellSun<\/figcaption><\/figure>\n

These young musicians tore up classic hits like \u201cRock Steady\u201d and \u201cI\u2019ll Take You There\u201d with soaring vocals (from their two powerhouse female vocalists and their male vocalist with a baritone as smooth as honey) propelled by a backing band of churning brass, guitar and drums. As the sun went down, the <\/span>Stax Alumni Band <\/span><\/i>took the Festival home with their deft vocal harmonies and their horns strutting in sharp, playful majesty.<\/span><\/p>\n

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wbur.org<\/figcaption><\/figure>\n

The rich veins of Americana folk and blues were also explored in another recent performance by two consummate Boston area musicians who create their own sweet and pungent stew from the griddle of folk roots music, poured creatively into their vessel of jazz improvisation. On July 22<\/span>nd<\/span>, vocalist Dominique Eade and pianist Ran Blake (both colleagues and educators at New England Conservatory\u2019s Contemporary Improvisation Department, <\/span>www.necmusic.edu<\/span><\/a>), took to the welcoming stage of Thelonious Monkfish, (\u201cMonkfish\u201d) and delivered a sparkling recital before a transfixed capacity audience.<\/span><\/p>\n

\"Unknown-5\"
Derek Rubinoff<\/figcaption><\/figure>\n

Monkfish (<\/span>www.theloniousmonkfish.com<\/span><\/a>) is a delectable restaurant and music venue run by its amicable, music-loving proprietor Jamme Chantler and his musical coordinator, Scott Goulding, himself an accomplished jazz drummer with bands such as the dynamic Yoko Miwa Trio that frequently appears at Monkfish. (Pianist Yoko Miwa and her Trio have a new album out this summer entitled <\/span>Pathways <\/span><\/i>and it is a stellar outing with great melodic beauty and creative artistry to explore [See <\/span>www.yokomiwa.com<\/span><\/a>]).<\/span><\/p>\n

The sound at Monkfish is very good and at the Eade\/Blake recital, another NEC alumnus, Jeremy Sarna, manned the sound controls to produce a sound that captured the partnership of Eade and Blake in soaring flight. The sound had excellent tactile detail, a natural balance to piano and voice and offered a clear window to hear every crisp isolated note and thunderous resonant cloud in Blake\u2019s intrepid piano explorations.<\/span><\/p>\n

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At their Monkfish performance, Eade and Blake celebrated their new duet recording <\/span>Town and Country <\/span><\/i>[Sunnyside; <\/span>www.sunnysiderecords.com<\/span><\/a>), an audiophile gem which is particularly noteworthy in its sound quality for its capturing of ambient space: an empty NEC Jordan Hall with all of its splendor of flowing air and deep resonance.<\/span><\/p>\n

Their Monkfish recital roved from every corner of this recording\u2019s expansive folk and blues territory. The concert opened with William Schumann\u2019s \u201cPretty Fly and Lullaby,\u201d with Eade perched on the most gentle of free-flowing high notes and runs, (with some creative bird call-like sounds whispered into her mix). \u201cWinter in Madrid\u201d was another garland of high fleeting vocal gifts from Eade: her voice here resembled a young tern learning to fly at an ocean\u2019s edge. Her voice dove, swerved and dipped to express the beauty and depth of her songs with creative and unpredictable zest. Blake\u2019s piano was like the partnering wind to her wings: his spontaneous bellows of chord colors, pedal holds or prickly jumping notes always sent Eade flying in a new vocal direction or swoop.<\/span><\/p>\n

\"DominiqueEadeJHC0060s-225x300\"
jazzedmagazine.com<\/figcaption><\/figure>\n

The rich folk, gospel and blues songs from their <\/span>Town and Country<\/span><\/i> recording sometimes rang out with thunder in Blake\u2019s prodigious keyboard crashes or, at other times, were drenched in the lightness (like nourishing, falling rain) from Eade\u2019s slippery bebop scat. \u201cMoon River\u201d glowed with Eade\u2019s voice lustrous and strong (tethered to Blake\u2019s bluesy chords). \u201cElijah Rock\u201d also glowed with gospel fervor on Eade\u2019s sassy and brazen vocals that concluded with her retreating from her microphone to echo the phrase \u201cLord, Lord\u201d in cascading light calls. On Dylan\u2019s \u201cIts Alright, Ma (I\u2019m Only Bleeding)\u201d, Eade turned her voice into a talking, penetrating slipstream of words that rang with condemnation, sarcasm and knife-sharp edges as Blake responded with arresting stop and start keyboard quips that rang out like shotgun blasts.<\/span><\/p>\n

The music on <\/span>Town and Country<\/span><\/i> seeps into every emotional crevice of Americana roots music: it can be prickly; it can be warmly inviting or it can be blistering in its condemnation of human suffering. Johnny Cash\u2019s \u201cGive My Love To Rose\u201d (a moving ballad on the human cost of imprisonment) and \u201cThe Easter Tree\u201d (an old English protest song against racist violence with the stark imagery of a lynching at its core) lurched on Blake\u2019s spare piano notes and Eade\u2019s pouncing vocals. (Eade concluded \u201cEaster Tree\u201d by holding the last word- \u201cStone\u201d \u2013 for several seconds to deliver a wallop of vocal power and intensity). \u201cMemphis,\u201d Blake\u2019s short instrumental composition for Martin Luther King, shuddered with thunderous clouds of ominous chords contrasted with the lightest of piano touches- as if to portent the spark of new possibilities.<\/span><\/p>\n

In contrast to these penetrating numbers, Eade and Blake also performed a light and glittering \u201cMoonlight In Vermont\u201d (a highlight of gentle sway and lilting creativity) and Eade performed a riveting scat solo piece in which she played an imaginary wind instrument (with her fingers outstretched before her) concocting percussive sounds up and down her nimble register.<\/span><\/p>\n

The recital came to a close on the meditative theme of a beautiful spoken word\/singing tribute to another Americana folk hero: the sage activist Henry David Thoreau (whose bicentennial is being celebrated this year). In this unfurling poetic moment, spoken text and vocals curled around Blake\u2019s floating clouds of soft velvety piano colors until they disappeared in a final wisp of Eade\u2019s fragile held soar.<\/span><\/p>\n

\"DominiqueEade-200px\"<\/p>\n

\u00a0<\/span><\/p>\n

\n

If you would like to read more reviews like this one, visit Nelson\u2019s blog at\u00a0<\/span>www.bostonconcertreviews.com<\/a>.<\/span><\/span><\/p>\n

\n

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Real music lovers can find the melody in everything. From the park to the concert hall, our\u00a0friend Nelson Brill is always on the hunt for great sound. 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From the park to the concert hall, our\u00a0friend Nelson Brill is always on the hunt for great sound. 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