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| Press
Resources PRESS RELEASE - PDF | PHOTOS | PERFORMER BIOS | PERFORMER LIST |
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| • Press Release | ||
For Immediate Release Download pdf press release at right This event is made possible with public funds from the New York State Council on the Arts, a State Agency. |
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| • Photos High-Res for press use | ||
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| • Bios (background info on performers pictured here) | ||
John McCutcheon • folk music's renaissance man John McCutcheon is one of our most respected and loved folksingers. As an instrumentalist, he is a master of a dozen different traditional instruments, most notably the rare and beautiful hammer dulcimer. His songwriting has been hailed by critics and singers around the globe. His thirty recordings have garnered every imaginable honor including seven Grammy nominations. He has produced over twenty albums of other artists, from traditional fiddlers to contemporary singer-songwriters to educational and documentary works. His books and instructional materials have introduced budding players to the joys of their own musicality. And his commitment to grassroots political organizations has put him on the front lines of many of the issues important to communities and workers. Sharon Katz and The Peace Train • South African ensemble Nominated for the Grammy’s “Best World Music Album” list for their first US release, the exhilarating, multicultural, South African band of Sharon Katz & The Peace Train helped Nelson Mandela usher in the ending of apartheid. Making history in 1992 with her 500-voice multiracial choir, Sharon then organized a courageous tour on board a train –The Peace Train – taking 150 musicians and her friends Ladysmith Black Mambazo across South Africa to spread their musical message of peace and reconciliation in advance of Mandela’s selection as the country’s first democratically elected President. Archie Fisher • legendary Scottish troubadour Master guitarist, singer and songwriter, Archie Fisher is Scotland’s foremost troubadour and is known throughout the country as the host of BBC Radio Scotland’s award-winning “Travelling Folk” show, which he has been presenting for over 25 years. Recognized for his contributions to Scottish folk music, he was inducted into the Scots Traditional Music Hall of Fame and in 2006 was awarded an MBE (Member of the British Empire), a prestigious honor nominated by his peers and bestowed by Queen Elizabeth. Archie’s first self-titled album was recorded in 1968 with the fiddle and mandolin of John McKinnon and whistle player John Doonan. During the mid 1970’s he formed a long-term partnership with Dundee musician Allan Barty, which was later grafted on to the revived pairing of Tommy Makem and Liam Clancy. As well as performing as a backing musician and arranger for the Makem and Clancy duo, he also produced a series of albums with them. Meanwhile, Archie got involved in record production with the dynamic Scottish band Silly Wizard. During the 1980’s he turned his attention to freelance radio work and originated several series of documentary programs with his local station Radio Tweed. He then returned to the recording studio during what he describes as one of his most creative songwriting periods. It was around this time that he began a partnership with Canadian songwriter Garnet Rogers. They toured throughout North America together, and Garnet produced several of his albums including his highly acclaimed album Sunsets I’ve Galloped Into, which was released on Red House Records in 1995. Following the success of that release, Archie toured throughout North America, playing with John Renbourn and Bert Jansch. Now, more than 10 years after the project was first started, Archie has released his long-awaited new CD Windward Away, a collection of introspective ballads that evoke the wild and rough beauty of the Scottish Border country. www.woodenshipproductions.com/index.php/arch Cathy Fink & Marcy Marxer • American roots duo TWO-TIME GRAMMY® Award Winners, Cathy Fink & Marcy Marxer are a formidable powerhouse of sound, with a repertoire of traditional and contemporary folk, old-time country and swing music. Their superb harmonies are backed by instrumental virtuosity on the acoustic & electric guitar, five-string banjo, mandolin, cello banjo, ukulele, percussion and many other instruments. Top it off with a witty stage presence and warm audience rapport and you've got a well loved music duo. They’ve earned two Grammy Awards, in 2004 and 2005 for “cELLAbration: a Tribute to Ella Jenkins” and for “ Bon Appétit!”. In 2003, they were GRAMMY nominated for their CD, “POSTCARDS” in the Best Traditional Folk Album category. They received another GRAMMY® nomination in that category for "Banjo Talkin'" They produced and performed on Tom Paxton’s GRAMMY® nominated “Live in the UK” CD and tour. Tom says, "Cathy & Marcy are at home in a dozen musical styles. They swing you, jazz you, and old timey you till you just give up and bliss out." In 2006 the John F. Kennedy Center for the Performing Arts commissioned Cathy & Marcy to create a multi-media theater show on the history of country music for family audiences. “Cathy & Marcy’s Country Music Jamboree” was a hit during the Kennedy Center’s Country Music Festival. Joined by Rickie Simpkins (fiddle), Dave Giegerich (dobro, steel guitar) and Ralph Gordon (bass), Cathy & Marcy brought the roots of country music to life.Their recorded catalogue of CD’s, DVD’s and instructional materials includes an astounding 45 titles. Recognized as top-notch songwriters, were 2006 Grand Prize Winners in the John Lennon Songwriting Contest for the song, “Scat Like That”, title song of their latest family recording on Rounder Records. In 2009 they were finalists in the John Lennon Songwriting Contest and the International Songwriting Contest. Cathy & Marcy have performed at hundreds of bluegrass and folk festivals, appeared on the "Weekend Today Show", “CBS Early Show”, National Public Radio’s “Morning Edition” and “All Things Considered”. In their 25+ years performing together, the Washington Area Music Association has recognized Cathy & Marcy with 50 WAMMY Awards for folk, bluegrass and children’s music.Brother Sun • folk triumvirate Pat Wictor, Greg Greenway, and Joe Jencks have formed a dynamic new male trio. Their harmonies, as much as their lyrics, tell what they are about: warm as a campfire, stirring as a gospel church, rousing as a call to arms. Calling upon contemporary songwriting, and informed by the deep roots of gospel, blues, and folk, the trio weaves a tapestry of harmony that is brilliantly fresh and yet familiar.
Galant, Tu Perds Ton Temps • Quebecois Music Ensemble The group Galant, tu perds ton temps brings together five women and a percussionist around a repertoire of traditional a cappella folk songs. Several elements make this group unique. First of all, it consists mostly of women, which is rather unusual in this field. Second, there is no melodic instrument, as the instrumentation is focused on the voices, whether harmonized or in unison. The only form of accom-paniment comes from foot tapping, bodhran, jig or even, in some cases, a suitcase. Lyrics are pushed in the forefront in order to draw the audience’s attention on the stories they tell, stories that have been handed down to us through the oral tradition. Their performance at the 2003 Mémoire et Racines festival was met with much enthusiasm from both the audience and the festival committee who awarded them the title “Revelation of the 2003 Festival.” Judging from the slew of positive comments made to the group, Galant, tu perds ton temps has been able to determine that there is a niche for this kind of ensemble on the traditional music scene in Quebec. The choice of the a cappella format was motivated by a desire to walk opposite of most folk music groups and, mostly, to bring back the simplicity and spontaneity that inhabited Quebec kitchens not so long ago. It leaves a rightful place to each story told, as if it were a tale or a legend. The percussion is there to enrich the songs, highlighting rhythms, bringing specific colors, framing the lyrics, in other words, delicately supporting the songs. The group received a grant from the Canada Council for the Arts in 2004 to produce its first album Fais-toi pas d’illusions. It has been recorded at the Studio du Rang Quatre by André Marchand member of Les Charbon-niers de l’enfer, and is now available since November 2004. The second album explores two types of songs. One is the light, frivolous or humorous pieces, the other more obscure and sore with those songs called lament. These last ones being too often forgotten and rarely sang by any group. This double CD will be launch in spring 2009. Galant, tu perds ton temps hopes to popularize Quebec traditions here in Quebec and abroad. The various performances of the last seasons have confirmed that they have their place in the greater folk family. Nuala Kennedy • Celtic flute and song Nuala Kennedy's singing and flute playing springs from the traditional music of Ireland and Scotland, and from the fathomless realms of her own imagination. A consummate performer with a buoyant personality, her music has been described as unique, evocative, and soul-satisfying. Nuala grew up in Dundalk, Co. Louth, on the East coast of Ireland; a musical area which is steeped in mythology and has long historical links with Scotland. She started to play traditional music at the age of seven when her father introduced her to her first whistle teacher. Nuala instantly fell in love with the music and started learning traditional tunes as quickly as she could. By the age of twelve she graduated to wooden flute and became a member of a local ceilidh band 'Ceoltoiri Oga Oghrialla'. The band, comprising several now highly respected traditional musicians, won the all Ireland Gradam award for the under twenty-one age group when Nuala was just thirteen. ˜I never dreamed when I started playing in that very social and visceral way, that something that was such an organic part of my childhood would lead to a career in music. All I knew was that I loved the music and I wanted to play all the time. She also began lessons in classical piano, and at fifteen was accepted to study with the renowned professor John O'Connor at the Royal Academy of Music in Dublin. At the age of eighteen, Nuala moved to Scotland to study at Edinburgh College Of Art. She was immediately captivated by the vital traditional music session scene, and there made many friends, including fellow Irish expatriate Cathal McConnell, whose music has had a huge influence on her, and who has become something of a mentor to her over the years. It was in Edinburgh that Nuala's passion for traditional music was further strengthened and where she honed her instrumental skills. The result was a comprehensive repertoire of Scottish tunes, as well as Irish, and led to the formation of her first real band, the trio Fine Friday, alongside guitarist Kris Drever and fiddler Anna-Wendy Stevenson. The trio toured widely in Europe, Canada and Australia, before disbanding in 2006, and released two critically acclaimed albums: Gone Dancing and Mowing the Machair. At the same time Nuala's on-going interest in Scottish Gaelic song was beginning to come to the fore, adding to her already large repertoire of Irish songs. In 2007 she decided to deepen her knowledge of Scots Gaelic and moved to Inverness in the Highlands to undertake a year of intensive study. The combination of the best influences of the two cultures, Scotland and Ireland, is what has made Nuala the artist she is today. Bruce Molsky • The Rembrandt of Appalachian fiddle Bruce Molsky stands today as the premier old-time fiddler in the world, the defining virtuoso of Appalachia's timeless folk music traditions. That must feel odd for a former engineer from the Bronx, who didn't begin a music career until he was forty. But folded into those strange facts is the secret to his unique genius. In addition to a prolific solo career, performing on fiddle, guitar, and banjo, Molsky frequently joins genre-busting supergroups, like the Grammy-nominated Fiddlers Four, and Mozaik, with Hungarian Nikola Parov, and Celtic giant Donal Lunny. He was on Nickel Creek's farewell tour, and performs in a trio with Scottish fiddler Aly Bain and Sweden's great Ale Moller. "Playing in these kinds of groups is an important part of what I do," Molsky says. "Regionalism was one of the hallmarks of traditional music in the old days; now we're in the Information Age, and I don't think that's what folk music does anymore. But the more cultures I discover, the more I realize that folk music performs the same function for everybody; and therefore is the same thing everywhere - just spoken with different accents." Great fiddlers ask him to teach at their fiddle camps, including Alasdair Fraser, Jay Ungar, and Mark O'Connor, who says Molsky has "a mystical awareness of how to bring out the new in something that is old." "Young people realize this is a guy who's tapped into the real deep emotional wellsprings of this music," says Matt Glaser, director of Berklee's American Roots Program. "He has a way of removing everything that's unnecessary; and young people are very hungry for something real. Bruce has that in spades." Molsky was born in the Bronx in 1955, and fell in love with old-time music as a teenager. He moved to Virginia in the '70s, learning directly from old masters like Tommy Jarrell, and seeing how the music fit into people's lives. "It was only the older people, of Tommy's generation, who still had the music as part of their everyday existence," Molsky says. "At first, I wanted to live like that; but then I realized I didn't want to claim the culture as my own - I just loved the music." That personal authenticity deeply informs his music. Whether performing an ancient reel from Virginia, a Swedish waltz, or a loping cowboy ballad, Molsky presents himself as exactly who he is. Rob Simons, executive director of the Cedar Cultural Center in Minneapolis, says that's the key to Molsky's enormous appeal as a live performer: "He's that unique blend of virtuoso and humble, nice guy that is irresistible to audiences." Since March of 2003, Comas has been together as a band. They previously toured individually in top acts such as The Drovers, Orion, Eileen Ivers Band, Urbantrad, and with the internationally acclaimed Liz Carroll...to name just a few. Although coming from diverse musical backgrounds, and residing in different parts of the globe, they found each other through their similiar approach to music, bringing together their many cultural influences to forge a unique blend of Traditional Irish music that literally had them, within months of coming together, playing major festivals in Ireland, Belgium, France, England, Denmark and Holland. This achivement alone is worthy of note. As further testimony to their deep rooted talents, they were immediately asked back to every Festival at which they played "before we even had time to put our instruments away", as Philip aptly put it. By the end of 2003 Comas had built up a sizable enough repution to be hailed in the press as: "The Revelation Of 2003" (S.Vandenberghe-NVFOLK) and as: "The best traditional band around"(Folkspot). When you hear Comas you'll know that their choice of name was no mere coincidence (translating from Irish/Gaelic as POWER). And power is exactly what this band is about. Depicting their own driving power coupled with a fine sensitivity for the inner strands of magic inherent in Irish music. Here, their Fiddle player, Aidan Burke comes into his own, delving deep into his Irish roots to pluck out a pure sound that transcends time and place guaranteed to touch any lover of Celtic music. Aidan's dexterity is evenly matched by the awesome talents of Isaac Alderson (flutes, pipes), Philip Masure (Guitar) and Jackie Moran (percussion.) "Comas plays enormously fast but with a lot of feeling" (S.feys-folkroddels) Comas are a band firmly rooted in Irish music, but with enough space to allow in original compositions. With their openness to the new coupled with their respect for the ways of the past, Comas stands at the fore-front of traditional music today. Patrick Ball • Celtic Harp and Story Patrick Ball is one of the premier Celtic harp players in the world and a captivating spoken word artist. He has recorded nine instrumental and three spoken word albums which have sold well over one-half million copies internationally and won national awards in both the music and spoken word categories. Cassie & Maggie MacDonald Cassie and Maggie MacDonald are a dynamic Celtic sister duo who have emerged onto the music scene as the ones to watch. Mulebone • Innovative Blues duo Mulebone is a partnership comprised of multi-instrumentalist, John Ragusa and roots music specialist Hugh Pool. The launching pad for their musical expression is traditional blues. Together they have recorded a CD which spent 15 weeks in the Top 100 Albums in America. Along with playing live and TV appearances, they won blues artist of the year at radio stations from Seattle, Washington to Red Bank, New Jersey. Any given week, you may find them playing clubs in NYC or entertaining at private parties thrown by David Rockefeller, Bruce Wasserstein and list of other East Coast residents who are enthusiastic about bringing these boys in for a party by road, sea or air. John Ragusa plays, conch shell, Jews harp, cornet, all manner of flutes, tin whistle, and chimes in on the harmony vocals. He is member of Beth Nielsen Chapman's group as well as his own John Ragusa outfit, and plays regularly in conjunction with Deepak Chopra's speaking engagements. Amongst dozens of studio credits are contemporary jazz greats Joe Taylor, Jeremy Wall and world music icon Tom Ze. Hugh plays guitars, harmonica, boot board and sings, all with a mouth full of whiskey and a giant heart. He has played his brand of blues in clubs and at festivals from Jakarta, Indonesia to North Cape, Norway; From Vienna, Austria to Ottawa, Ontario and has been critically lauded by The New York Times, New York Press, The Village Voice, Pittsburgh Press, Cleveland Plain Dealer, Blues Revue Magazine...the list goes on. Together in Mulebone, Hugh and John play slide guitar boogies, 1 chord trance riffs a la Howlin Wolf, the uptempo rags of Reverend Gary Davis and country blues of all shapes and colors. Sometimes they play close to the source, almost as if tracing the image, and at other moments, they re-examine the source, float above it, take a new look as one understanding their home from a distant land. |
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