Archive for profiles

living again in the reel world

Reel World String Band. From left: Sharon Ruble, Sue Massek, Karen Jones, Elise Melrood, and Bev Futrell. Herald-Leader staff photo by Mark Cornelison.

Reel World String Band. From left: Sharon Ruble, Sue Massek, Karen Jones, Elise Melrood, and Bev Futrell. Herald-Leader staff photo by Mark Cornelison.

Bev Futrell remembers when the Reel World String Band first played in New York. Already noted nationally as a topically inclined ensemble of music making women from Central Kentucky, the band had Futrell’s then-five year old daughter in tow when it arrived at the club it was to play. At the bar, however, was a social worker who didn’t exactly approve of blending parenting with performing.

“The owner talked to us about it, so we, as band, said we just wouldn’t go up for a second set. But he finally offered us his office upstairs, so she was able to stay and sleep up there.”

Then the memories poured out.

“We were actually onstage when the owner was talking to us,” banjoist Sue Massek recalled. “We walked off the stage.”

“We were like feminist lawyers,” added fiddler Karen Jones with laugh. ‘We were like, ‘This is an affront to working women.”

“That,” Futrell said, “was our first gig in New York City.”

So how does her daughter, now 40, view the experience of being among the many longtime fans of Reel World’s folk, protest and Appalachian themed music?

“She feels like she has five mothers,” Futrell said. “And that’s just fine with her.”

While Reel World will turn 40 next year, its members – completed by bassist Sharon Ruble and pianist Elise Melrood – make no secret that the band’s duty as a fully active performance entity is essentially complete. In the spring, it donated a drove of archival material to the University of Kentucky Libraries to essentially put the wraps on its career. Reel World performs a reunion show of sorts this weekend at the Lyric Theatre and Cultural Arts Center, but there will be little pageantry tied to the event. There is no new recording to promote and no real celebration planned relating to the impending anniversary.

Instead it will offer an opportunity to play music with two long established friends, the Grammy winning folk/country/swing duo of Cathy Fink & Marcy Marxer, as well as one new acquaintance. The latter is Sam Gleaves, 24, a Virginia native now living in Berea who toured overseas this past summer with folk veteran Peggy Seeger. Gleaves cites Reel World as a vital artistic influence. The band views his inclusion in Sunday’s concert as a generational and artistic “passing of the torch.”

“I loved hearing Reel World and Cathy and Marcy together about four or five years ago,” he said. “I loved that combination and wanted to hear it again. I seriously think all the ladies in Reel World have been real inspirations to me. It’s been wonderful to get to know them all as friends.”

The Reel World inspirations being, in effect, bequeathed to Gleaves, were initially realized when the band formed in Lexington in 1977. With local clubs nearing the end of a bluegrass boom that had dominated the region just a few years earlier, Reel World arrived as a string band in terms of instrumentation. Its music, though, largely took its cue from older, pre-bluegrass sounds and mountain harmonies with a pervading sense of social and political consciousness. Bluegrass bands sang of family, faith and lost love. Reel World did, too. But it also addressed, among other subjects, women’s rights, coal workers’ rights and environmental awareness.

“Bluegrass was pretty much male oriented back then,” Futrell said. “We were looking at the music from a new perspective. Our harmonies were really different. Also, for a lot of the bluegrass festivals, we were considered too political.”

“When you see a banjo, you’re thinking bluegrass and not necessarily folk or old timey music,” Jones added. “But that’s okay. It’s all culturally based and pretty closely tied with old time and traditional music. Of course, then we added piano which took us totally out of bluegrass.”

The gradual downshift in Reel World’s visibility in recent years is largely attributable to a focus on other activities. Futrell and Jones perform in TDH4, the newest incarnation of their Tall, Dark and Handsome group. Massek remains an active writer and playwright, Ruble has immersed herself in photography and Melrood plays with the local jazz trio Paper Moon. Still, what has fortified the Reel World members through the years was a personal and professional bond that will carry over into Sunday’s concert and whatever sporadic performance activity the band may or may not involve itself with in the future.

“I don’t know if this is unique to other women or not,” Futrell said. “But the only other group I can think of that stuck together so long was (43 year old vocal group) Sweet Honey in the Rock.”

“For me, it was all about having a purpose for what we did,” Massek said. “But working together has always been such a dear experience for me.

“It wasn’t really ever for the money, either” Melrood added. “That was a good thing. We were really fortunate that we were able to keep it going without having to depend on it for our livelihood.”

The financial compensation for its musical journey was also referenced by Jones when recalling the creative drive sparked by the band’s work with the Tennessee-based, grassroots driven Highlander Research and Education Center early in its career.

“When we came back from Highlander, people who were our mentors said to go back home and find work to do. So we did a once a week thing at the Fishnet (the long defunct downtown music venue and restaurant) where we had a theme each night. It was all social justice stuff, but the Fishnet always let us do whatever we wanted.”

The cover charge for those performances, Jones said, was $2.

“Our price hasn’t really gone up much since then.”

Reel World String Band with Cathy Fink & Marcy Marxer and Sam Gleaves perform at 6 p.m. Nov. 13 at the Lyric Theatre and Cultural Arts Center, 300 E. Third. Tickets: $15. Call 859-280-2218 or go to

still feeling the spirit of the century

The Blind Boys of Alabama. From left to right: Ricky McKinney, Paul Beasley, Jimmy Carter, Ben Moore, Joey Williams. Photo by Cameron Witting.

The Blind Boys of Alabama. From left to right: Ricky McKinney, Paul Beasley, Jimmy Carter, Ben Moore, Joey Williams. Photo by Cameron Witting.

For an artist who has spent nearly his entire life singing in the same gospel quartet, Jimmy Carter never thought much about retirement. But at age 84 – along with a career that spans the entire seven decade lifespan of the Grammy-winning Blind Boys of Alabama – he senses the day will eventually arrive to abandon performance life.

Luckily for everyone, artist and audience, that day is not at hand.

“Never used to think about retiring, but I do now,” Carter said before erupting into sagely laughter. “Oh, I don’t know. I’m going to stay out here as long as I possibly can. I don’t know how long it’s going to be, but I’m feeling good. My health is fair. I’m a diabetic, but I’ve got that under control. So as long as I can hold out, I’ll be here.”

Though the Blind Boys of Alabama began singing together as children in 1939 at the Alabama Institute for the Negro Blind, the last 15 years ignited a crossover into the secular marketplace with a long roster of non-gospel artists as collaborators. That has led to high profile tours with the likes of Peter Gabriel, joint recordings with Ben Harper and, subsequently, a string of five Grammy Awards.

What sparked the extraordinary renaissance was the 2001 album, “Spirit of the Century” – a record that mixed spiritually themed secular songs (Tom Waits’ “Way Down in the Hole,” the Rolling Stones’ “Just Wanna See His Face”) with traditional gospel (“Good Religion,” “Soldier”) and a diverse guest list of contributing artists that included blues veterans John Hammond and Charlie Musselwhite, American guitarist David Lindley and British bassist Danny Thompson. The record opened the Blind Boys up to a huge fanbase, much of which had never heard their singing up to that point. It also won the group its first Grammy.

But the “Spirit” tune that sparked the most attention was a wild mash-up of the spiritual and secular – specifically, a version of “Amazing Grace” sung to the weighty melody of the decidedly non-gospel “House of the Rising Sun.”

“We didn’t want to record that because the arrangement was too much like ‘House of the Rising Sun’ for us,” Carter said. “But we had a great producer in California, John Chelew, who said, ‘Well, let’s put in on there.’ I think that song was what won us the Grammy. Now we never miss a night playing that song.”

Aside from a 2014 holiday album with bluesman Taj Mahal (“Talkin’ Christmas”) that Carter doesn’t sound fully taken with (“It came out okay, but not as good as I thought it would”), the Blind Boys’ last recording was 2013’s “I’ll Find a Way,” produced by Justin Vernon of Bon Iver. The album boasted a guest list that included My Brightest Diamond’s Shara Worden, tUnE-yArDs’ Merrill Garbus and, on a stirring version of Bob Dylan’s “Every Grain of Sand,” Vernon himself.

Carter said the alliance with Vernon proved fruitful once he and the Blind Boys got to know each other.

“Our manager came to us one day said, ‘How would you all like to make a record with Justin Vernon?’ I said, ‘Well, fine. Who is he?’ I was embarrassed because I didn’t know him. But after we met and after we talked, we went to his house. He had a studio in his house. In Wisconsin. In November. To us, it was very cold, but he had a warm house and a warm heart, so everything worked out good.

“We enjoy collaborating with secular artists, but there has to be an agreement that if we need to change something to fit our fervor, we are able to do that. A lot of times, people come to us with songs that are too secular for us. We’re gospel singers, you know? We can’t go too far out, so sometimes we have to change some words. But most times with these collaborations we have, the guys know what we’re looking for and usually present the music in a gospel way where we can use it.”

Curiously, Carter said that one of the ideas being considered for the next Blind Boys’ recording is a repertoire that does away with secular tunes altogether.

“It’s just in the talking stage. We’ve been collaborating with so many people, but I think it’s time that the Blind Boys just go back to basics, back to what brought us here, which is singing traditional gospel music. I think we should go back to that and see how it will work. I think it’s time for us to show the people we are still the Blind Boys of Alabama.”


Big in the Bluegrass featuring Blind Boys of Alabama, Dirty Dozen Brass Band and Roomful of Blue. 7:30 p.m. Nov. 10 at Heritage Hall in Lexington Center, 430 West Vine St. Tickets: $35-$150 at

eric johnson goes acoustic

eric johnson. photo by max crace,

eric johnson. photo by max crace,

The album title should be a tip off. It’s called simply “EJ,” the initials of the Grammy winning guitarist, studio perfectionist, multi-genre composer and vocalist who made it – Eric Johnson.

Two letters, an efficient but purposeful representation of an artist – that’s what we’re provided. Give a listen to the recording and what you hear is essentially the same. Instead of the intricately crafted and keenly produced electric music that has made Johnson part of a long line of heralded Texas guitar-slingers, we have music made primarily with acoustic guitar, voice and, perhaps most surprisingly, piano. Yet it sounds as complete and inventive as any record Johnson has made. Longtime fans may consider it a surprise. Johnson considers the project long overdue.

“Actually, I think I should have done something like this a lot earlier. I was going to do an acoustic record years ago but got sidetracked by a bunch of electric projects, so I put it on the back burner. All of a sudden, it’s something like seven years later. I think now is an okay time, but I wish I had made at least one record like this years ago.”

An Austin native, Johnson’s music has long differed from many of the guitar giants to emerge from Lone Star country during the ‘70s and ‘80s. Less overtly blues-rooted, he began making noise, literally and figuratively, with a fusion band, The Electromagnets. By 1986, his second album, “Tones,” solidified a sound blending psychedelia, jazz undercurrents, rockish foundations and vocals that often seemed meditative. But there were also detours through country, soul and, yes, blues. “Cliffs of Dover,” which mixed several of those styles, won Johnson a Grammy in 1991 for Best Rock Instrumental Performance.

While there have been nods to acoustic music on past albums, it was “EJ” that allowed Johnson to focus on it exclusively. Similarly, his current tour, which brings him to the WoodSongs Old-Time Radio Hour on Monday, departs from his usual electric combo performances for solo acoustic music.

“I wanted to record stuff that was more performance oriented,” Johnson said. “So much of this record occurred live in the studio. Some people are still going, ‘Well, what’s this?’ They’re wondering why I’m not playing electric guitar, but I think this is a good step for me.

“Playing solo, though, is a totally different discipline. I’m not as used to it as I am playing with a band, so it’s a little bit of a challenge. I’m trying to learn to play these songs as well as I can live, which is a lesson in itself. It’s a little more demanding when you’re by yourself, where you have to try to nail everything. I’m getting there, though, slowly but surely.”

While some of the sensibilities within the repertoire of “EJ” are a natural fit, like a quick picking, harmonically altered version of the Simon & Garfunkel classic “Mrs. Robinson” and the album closing original “Song for Irene” (both played as instrumentals), Johnson pulls from sources both unexpected (a giddy, swing-savvy take on Les Paul and Mary Ford’s “The World is Waiting for the Sunrise) and electric. From the latter world comes Jimi Hendrix’s “One Rainy Wish,” which is reworked for piano, acoustic guitar and a light, limber rhythm section without losing any of the psychedelic fancy from the original 1967 version.

“There was some fooling around with different songs that I like. That was one that I thought kind of worked out, that I got a good performance on. But Hendrix’s music has such great songwriting that you can interpret it different ways and it can still work. I thought it intrinsically had this swaying, jazz feel to it. He’s playing these really full chords and doing this kind of swing thing, so it kind lent itself to maybe a different feel.”

Johnson is so taken with the acoustic adventures of “EJ” that he is already making plans to record a sequel. Mostly though, he sees the album as an additional means of opportunity and expression awarded to him by a four decade-long career.

“I find myself having more realizations of what ways I can present my music that can make it more impactful, more meaningful. So that’s what I’m trying to do. We just want to leave the door open for things to happen and try not to get in the way of ourselves.”

Eric Johnson performs at 6:45 p.m. Nov. 7 for the WoodSongs Old-Time Radio Hour at the Lyric Theatre and Cultural Arts Center, 300 E. Third. Also performing are the Gonzalo Bergara Quartet and Emma Moseley. Tickets: $20 public, $5 student. Call: 859-252-8888, 859-280-2218 or go to

frampton comes alive acoustically

peter frampton.

peter frampton.

Having forever solidified his rock ‘n’ roll celebrity status with the release of “Frampton Comes Alive!” 40 years ago this past summer, one might suspect Peter Frampton would kick back a bit as a pop elder. But at age 66, the veteran guitarist and songwriter isn’t about to shut himself away and let his legacy speak for him.

Just look at the recordings he has released in the last decade alone. In 2006 came “Fingerprints,” an all-instrumental album that earned Frampton a Grammy. A platter of new original songs, “Thank You, Mr. Churchill,” followed in 2010. Then he co-produced a 2013 four-disc expansion of “Rockin’ the Fillmore,” Frampton’s landmark live album with Humble Pie, the band that directly prefaced his solo career. A collaboration with the Cincinnati Ballet resulted in 2014’s “Hummingbird in Box.” That brings us to his newest adventure, “Acoustic Classics,” the aptly named 2016 set of predominantly solo reworkings of hits (“Show Me the Way,” “Do You Feel Like I Do”) and assorted career gems (“Fig Tree Bay,” “Wind of Change”).

“My M.O., in general, is I want to play something tomorrow that I can’t play today,” said Frampton, who concludes his third “Raw – An Acoustic Tour” on Saturday at the Opera House. “I want to write something that has a structure, lyrically or musically, that I haven’t done before.”

An initial idea proposed to Frampton as a recording project was to simply re-cut his past hits for a new album, thus allowing him to own the rights to those versions of his work. Disinterested in simply repeating himself, the idea emerged to revisit some of his music in an acoustic setting and then offer them in a more intimate performance environment that allows him to share stories of the inspirations behind his compositions. But being essentially a child of rock ‘n’ roll, Frampton also found such a prospect a little, well, frightening.

“My management remarked that I’ve never done an all acoustic record and said, ‘What do you think?’ I said, ‘Well, there’s a reason for that. I’m scared to death of it.’

“Well, maybe not scared to death. But I was apprehensive. What became so enjoyable about playing acoustic, however, was how different the performances were. We’re playing in these theatres, anywhere from 900 to 1,600 seat places. It’s like being in a large living room. Say you came over for coffee one day and we were just talking and I said, ‘Hey, you want to hear this new song I wrote last night?’ Well, that’s the kind of performance I want to give everybody.

“So when I first started recording ‘Acoustic Classics,’ I thought, ‘Oh, this is just going to take a couple of days. Well, no. I did the first couple and went into the control room and listened. It sounded like me without the band, obviously, but it was like I was performing with the band in my head. So I want to go back to that moment, reverse engineer my songs, and return to one acoustic guitar and one voice. I even lowered the key just a semi-tone here and there so I don’t have to be so forceful, so the music can be much more intimate. I’m not going to be screaming the songs. I’m going to be singing them just as if I was on my own and it was a brand new song.”

Frampton won’t entirely go it alone on Saturday. Guitarist Gordon Kennedy will accompany him with son Julian Frampton, the show’s opening act, sitting in during some of the set.

“You know, I’m playing guitar more now than I was in my teens. It’s a passion that re-energizes itself. Playing guitar is the most important thing to me apart from my family.

“I was very young when I started it. It was something I was using to just hide away and do my thing. I was very shy when I was young, so that was the thing that got me through the night, as it were. And guess what? It still does.”

Peter Frampton performs at 7:30 p.m. Oct. 22 at the Lexington Opera House, 401 W. Short St. Tickets: $95.50. Call 859-745-3000, 859-233-3535 or go to

a transfer of harmony

cheryl bentyne of the manhattan transfer.

cheryl bentyne of the manhattan transfer.

The two groups are essentially a generation removed from each other with stylistically preferences that reflect sometimes markedly different inspirations. But Cheryl Bentyne didn’t take notice of that when she and the other members of the Manhattan Transfer began rehearsals with the singers from Take 6 for their current collaborative tour. Their alliance is, in all senses of the term, harmonious.

“I think what we bring differently to our performances is pretty obvious,” Bentyne said. “In the Transfer, have the four voices – two women and two men – that create a real horn section type sound. But with Take 6, there is this incredible, immediate harmony because they’re all men and they’re all singing within their own structure of ranges. It goes all over the scales. The groups are different, but we’re from the same mother of harmony.”

A blend of jazz and pop harmony with a largely unparalleled command of styles like vocalese (the singing of lyrics to tunes initially composed as instrumental works) made the Transfer – Bentyne, Janis Siegel, Alan Paul and Trist Curless – one of the most distinctive vocal groups of the past four decades. Vocalese was also a passion of group founder Tim Hauser, who died in 2014. Tonight’s Norton Center show will be the quartet’s first regional performance without him.

“Tim was kind of my father/brother figure when I came in into the group (in 1978),” Bentyne said. “He helped define my role by bringing songs for me as a soloist because I didn’t know exactly how I would fit in. They obviously knew how I would fit in, but I certainly didn’t. He had a lot of ideas for me and was always in my corner. He was absolutely insane with information, too. I think he had some kind of photographic or maybe phonographic memory. He had every song he had ever heard lodged somewhere in his brain, along with the B-sides of those records.”

Perhaps the definitive vocalese statement of the Transfer is “Birdland.” Composed by Josef Zawinul for his fusion band Weather Report in 1977, the song was recast with lyrics by Jon Hendricks (of the famed ‘50s/’60s vocal trio Lambert, Hendricks and Ross, seen by many as a precursor to the Transfer).

“I walked in for an audition with them one day in Los Angeles and sang a few songs. After that, we sat down and Janis played ‘Birdland’ for me, the Weather Report version, just to get my response. I said, ‘Oh my God, that’s a great song. You guys are going to sing that?’ So I was thrilled. Jon Hendricks wrote a story about Birdland and the history of jazz in New York City. When we got the lyrics, just pages and pages of them, it blew us away. Even before I was in the group, I don’t think they had done anything of that caliber. It took us quite awhile to break it down and start singing it. Now, it is our foundation piece.”

The song is also part of a musical legacy than has inspired numerous subsequent vocal groups, including Take 6.

“We were talking at dinner last night and Mark Kibble, who is Take 6’s arranger, spoke about seeing us when he was beginning one of his first vocal groups. Hearing that kind of gave us a sense of, ‘Yeah, we really did start something 45 years ago.’

“This group was Tim Hauser’s dream – a vocal group with two men, two women, based on the Count Basie sax section that sang all kinds of music. I think a music teacher told him that once you become categorized, you become disposable. So it was a conscious effort for us, and an easy one, to do all kinds of music with the basis of it always being harmony. We could do almost anything with harmony. We stretch out on all of our different styles because we can. With four voices and harmony you can do that.”

Manhattan Transfer and Take 6 perform at 8:30 p.m. Oct. 21 at Newlin Hall of the Norton Center for the Arts, 600 West Walnut St. in Danville. Tickets: $39-$65. Call 877-448-7469, 859-236-4692

or go to

amanda shires embraces home

amanda shires. photo by josh wool.

amanda shires. photo by josh wool.

When Amanda Shires played a June 2015 performance at the Singletary Center for the Arts, she was in the company of three individuals who, to put it mildly, figure prominently in her personal and professional lives.

The first was her husband, Jason Isbell. That night, the immensely popular Americana songsmith was an unannounced guest but served strictly as Shires’ lone accompanist, a placement she had to re-iterate when an eager audience member shouted out to hear “Cover Me Up,” one Isbell’s more popular tunes. “If you want to request any of Jason’s songs, you’ll have to go his show tomorrow,” Shires replied. “In Chicago.”

The second was the evening’s headliner, John Prine. As a folk elder with a massive fan following that includes Shires and Isbell, Prine likes camaraderie. He invited Shires back to the stage during his set to sing “In Spite of Ourselves,” the title tune to a 1999 album of duets with female artists. Prine just released a sequel of sorts, “For Better, or Worse,” and enlisted Shires again to sing on “Dim Lights, Thick Smoke and Loud, Loud Music,” a barroom swing staple that, curiously, was never designed to be a duet.

Finally, there was her daughter Mercy Rose Isbell, who may have been in the house but had yet to make a formal entrance. Shires was still pregnant with her at the time. In fact, the Singletary show would be among her last before taking a sabbatical from the road to become a mom. It was during the interim period at home – along with the changes, thrills and worries that come with adding “parent” to one’s job description – that songs began to brew for her new “My Piece of Land” album.

“I was about 33 weeks pregnant and started having to go to more doctors’ appointments,” said Shires, who performs Saturday at The Burl. “Being on the road wasn’t the safest or healthiest thing to do in the late part of pregnancy, so I took some time off and stayed at home. While I was there, Jason was still touring, so I did all the things that kind of go along with the hormones and the pregnancy. I did so much cleaning and nesting, as they call it – everything from cleaning out the drawers to hanging up art in the garage, because the baby needs to see that when she comes home.

“I finished everything I could think of to do. I was left to face myself and face the real situation of bringing a child into the world with all the hopes and anticipation and, at the same time, all of the doubt and wondering about what kind of childhood she would have. All of a sudden, I started thinking about home and what that meant to me. Through that, I discovered, for me, how home isn’t at all my address. For me, home is with my friends and family. It doesn’t have to be defined by the four walls that I live in. While those walls are nice and I love them and I love to be at home, for me it’s about being together, sharing things together and making awesome memories together.”

That sentiment soars to the forefront on the closing tune to “My Piece of Land,” an atmospheric meditation called “You Are My Home,” a song of both solace and longing that moves along with slow, fervent solemnity. Then, roughly half way through, Shires picks up her favored musical weapon of choices, the violin, and tears into a solo that matches the jagged, electric intensity Isbell offers alongside her on guitar.

Unlike Shires’ last show here, Isbell’s presence will be his absence this weekend. He will be at home tending to parental duties while Shires digs into a three week tour that marks her longest time away from her daughter.

“I’m lucky to have Jason, who is just the ideal co-parent. But, honestly, I feel today a little bit like I’ve shot myself in the foot because I didn’t know what my limits would be in how long I could go without seeing Mercy. To be gone about 21 days without seeing her – that is a lot, and I’m just now internalizing that. I don’t think that’s ever going to happen again. I’m just pretty much praying I can get through it and set my limits and boundaries a little better next time. I’m not trying to go down a dark road or anything. She’s going to be fine, but she can’t ride in a van for a million hours a day. It’s barely bearable for adults, but it’s for the end goal. I want to work as hard as I can now so I can set her up better for the future.

“But, really, everything is going wonderfully. I feel super lucky and grateful that I get to do this for my job. I mean, I’m really a crappy waitress.”

Amanda Shires and Lilly Hiatt performs at 9 p.m. Oct. 15 at The Burl, 375 Thompson Rd. Tickets: $15, $18. Call 859-447-8166 or go to

a magic hour with aoife o’donovan

aoife o'donovan.

aoife o’donovan.

This time last fall, Aoife O’Donovan already had a pretty good idea of how 2016 would play out. She would release her second solo album, “In the Magic Hour,” in January. The rest of the year would be spent touring, promoting and, eventually, reinventing the record.

First up was the winter release of “In the Magic Hour,” a record that retraced the childhood remembrances of the Massachusetts born and New England Conservatory of Music schooled songstress. Much of the inspiration came from the summers she spent in Ireland, often with her grandfather, who had recently passed away at the age of 93. While O’Donovan’s initial music with the Boston band Crooked Still borrowed heavily from American folk and bluegrass, “In the Magic Hour” also incorporated the inherent influences of her family’s Irish heritage.

“My father is from Ireland and is a great lover of Irish art and of literature. There are even references on my record to a children’s book that was one of my dad’s favorites, an old Irish children’s book called ‘The Turf-Cutter’s Donkey.’

“I think the culture in Ireland, the culture of family, of music, of people getting together and singing – that was such a huge part of how I grew up, of my musical personality. It’s the community and camaraderie you get from playing music. I think putting that into original songs, into a singer-songwriter mold, kind of becomes its own thing. It can feel really trite if you’re not careful, so I really try to access some deeper emotions that other people can relate to in that way.”

With “In the Magic Hour” done, O’Donovan began plotting out a subsequent tour that would reposition the performance spotlight on her own music. Throughout her young career, O’Donovan has been a high profile collaborator with such disparate artists and acts as The Goat Rodeo Sessions (the genre-busting string group with Yo-Yo Ma and Chris Thile), I’m With Her (an all-star trio featuring Sarah Jarosz and Sara Watkins), Garrison Keillor and, in what she called “my most favorite project,” jazz trumpeter Dave Douglas. But for her 2016 tour, O’Donovan wanted a sound altogether different yet still her own, so she enlisted guitarist/bassist/vocalist Anthony da Costa and drummer Steve Nistor and hit the road as a trio.

“I really wanted to take myself out of my comfort zone and just play with some new people, if for no other reason than to just change things up. So I called Steve and asked if we wanted to do this tour with me. But I also wanted to really strip the music down and just have a trio. Then I ended up running into Anthony at a festival in Arkansas. I asked if wanted learn some stuff from my record to see if it worked for the stage. He showed up at my house a couple of weeks later having learned every single thing in my entire catalog – all the harmony parts, all the guitar parts.’ So that happened.

“We got together in December, made our TV debut on “CBS This Morning (Saturday)” after, like, one day of rehearsal and then went on tour. There was kind of an immediate musical history and it’s only improved. These guys have become such close friends of mine.”

The chemistry clicked so rapidly that O’Donovan has already released a concert album of from the tour titled “Man In A Neon Coat: Live From Cambridge.” Placing her in front of what was essentially a hometown audience, O’Donovan retooled the atmospheric Americana and folk from “In the Magic Hour” and her 2013 solo debut album “Fossils” along with covers of Emmylou Harris’ famed Gram Parsons eulogy “Boulder to Birmingham” and Joni Mitchell’s 1972 hit “You Turn Me On, I’m a Radio” to fit the lean but spacious sound of her trio.

“I was so impressed with how this trio was working to recreate the songs from the albums in a very different, new way, especially with Anthony’s singing and guitar playing, that I decided I wanted to make a live album. We recorded at the Sinclair in Cambridge because I grew up in the Boston area. I knew it would be a packed show with really great energy in a really great room. Then I called up Dave Sinko, who is an incredible engineer. For anybody who has seen a Punch Brothers show, he’s the guy who makes it sound great. He’s the best sound engineer ever. He flew up to meet us at the show, brought his recording rig and that was that. It could not have worked out better.”

Aoife O’Donovan and Willie Watson perform at 7:30 p.m., Oct. 13 at the Weisiger Theatre of the Norton Center for the Arts, 600 West Walnut St. in Danville. Tickets are $38, $49. Call 877-448-7469, 859-236-4692 or go to

bela fleck and chris thile dig into ‘big talk’

bela fleck and chris thile. photo by devin pedde.

bela fleck and chris thile. photo by devin pedde.

Among the inviting aspects to the numerous musical duos Bela Fleck has engaged in over the years has been the balance of play and challenge. He could be duking it out on banjo with jazz piano giant Chick Corea, longtime bassist pal Edgar Meyer, banjo mentor Tony Trischka or, in his most favored setting of recent years, banjoist wife Abigail Washburn. The results, though stylistically different in each configuration, have always led to music as rich in its sense of play as it is in stylistic innovation.

For one-time Lexingtonian Fleck, though, there is something else he looks for, an attribute he found in his newest duo with mandolin maverick, Punch Brothers founder and soon-to-be Prairie Home Companion host Chris Thile.

“It was so long from when I became a professional before anyone younger than me could kick my ass,” Fleck, 58, said. “Chris was the first one to show up that was young, that I saw from a beginning musician who turned into a phenomenon, that was stronger than me in many areas. That is what makes me want to work with somebody, by the way. They have to be better than me at stuff.

“Chick has seen that with me. I was a big fan of his since I was a kid. I sent him a recording of my first album, which had ‘Spain’ on it, one of his tunes. I let him know I was a big fan, that he had helped shape me as a musician. At a certain point, we got together when I was in my 30s and did ‘Tales from the Acoustic Planet’ (Fleck’s 1995 return to acoustic music after a string of progressively minded albums with his fusion band The Flecktones). He found a collaborator who knew his music inside out so much that it came out in my playing. That made it very easy us to play together, but it also inspired some new, fresh ideas. That is what Chris is doing for me.”

For Thile, one of the most heralded acoustic musicians of his generation, Fleck provides the same source of elder inspiration that Fleck received from Corea.

“As a musician, you are what you eat and I ate a whole lot of Bela Feck music,” said Thile, 35. “So that manifested itself as a component of my overall musical picture. Obviously that component is incredibly familiar to Bela, so as we play together I think we can cut straight to the chase in a way that maybe that two musicians are seldom able to.

“Bela has been one of my biggest heroes. Just his ‘Tales from the Acoustic Planet’ record alone … I mean, he was a hero even before that. I was seven or eight years old when ‘Drive’ (Fleck’s acclaimed 1988 solo album) came out. That record was so big for me and so big for so many acoustic musicians. But when ‘Tales from the Acoustic Planet’ came out, I wore it out. I learned every note. It had a profound impact on me as a musician, as has just about everything Bela has ever done. So this duo project is a true thrill.”

While the duo performances Fleck and Thile have undertaken represent a new project for both players, their alliance is an established one. Thile played on Fleck’s classically inclined 2001 album “Perpetual Motion” and guested on the 2003 Flecktones’ multi-disc opus “Little Worlds.” But the collaboration essentially began when the banjoist and several of his string music contemporaries (Jerry Douglas, Edgar Meyer and Stuart Duncan, among others) performed on Thile’s “Not All Who Wander Are Lost,” a 2001 record that embraced the jazz-like innovations on bluegrass instrumentation that Fleck had helped pioneer decades earlier.

“It used to be I would see folks, like a bunch of people that loved Punch Brothers, that didn’t know where some of the roots of that music came from,” Fleck said. “That would bother me a little bit. But now I’m kind of thrilled. The idea that I could be part of a great American music like bluegrass that was growing, expanding and finding a way into the modern world is a wonderful thing.

“There have been times, especially times connected to when I lived in Lexington (during the late ‘70s) where I wasn’t sure what I was doing was such a great thing. There were things about the traditional side of bluegrass that were being lost and I felt some shame about that. I was one of those people on the edge of the music pushing it out into other areas, although that was my natural bend. I was just being truthful to myself. But then seeing people like Punch Brothers and all the wonderful new musicians coming around nowadays makes me feel like they’re still getting the essence of what the thing is about and how the music needs to move forward and thrive.”

Added Thile: “We speak a very similar dialect because Bela had such a strong impact on me. There is a lot of understanding. It’s like, ‘I hear you. I got you. I know exactly what you mean. Here, let me comment on that. Allow me to interject.’ It can be one of those easy, free flowing conversations like when you meet someone with whom you have a lot in common. The conversation just goes to a deep place really quickly because small talk isn’t necessary. It’s already understood.

“I think musicians work the same way. Oftentimes, there is a lot of musical small talk you’ve got to get through before you can get deep with someone. Because of the music Bela has made and its position in my life, we can dispense with the small talk. We get right into the big talk.”

Bela Fleck and Chris Thile perform at 7 p.m. Sept. 11 at the Lexington Opera House, 401 West Short. Tickets: $55, $75. Call 800-745-3000, 859-233-3535 or go to

southern musings from an american band

Drive-By Truckers. From left: Matt Patton, Brad Morgan, Patterson Hood, Mike Cooley and Jay Gonzalez. Photo by Danny Clinch.

Drive-By Truckers. From left: Matt Patton, Brad Morgan, Patterson Hood, Mike Cooley and Jay Gonzalez. Photo by Danny Clinch.

It began pretty much the way any Drive-By Truckers album did. Patterson Hood and Mike Cooley – the Georgia-born band’s frontmen, singers, guitarists and writers – composed a set of songs independently of each other, then discovered ahead of recording sessions how like minded their work was.

“I think ‘Southern Rock Opera’ (the troupe’s 2001 double disc opus that defined a rock ‘n’ roll vision almost defiantly removed from what had been considered Southern rock) was the only one that we actually had conversations about as far as what that album was going to be beforehand,” Cooley remarked. “Every time since then, I’m writing some stuff, Patterson is writing some stuff and we come together and wind up pretty much on the same wavelength without actually having had a conversation about it.

The Truckers’ forthcoming “American Band” album (due out Sept. 30) was no different in that sense. But what separated it from 10 preceding studio recordings was how pointedly it viewed the world outside of the South. If the band had ever created what could be called a topical record, “American Band” would claim the title.

“So much of what we have seen, not just in recent years, but over the last 20 or 30 years, the whole time we’ve been playing together, are these things that just keep happening and keep happening and nobody seems to be able to get a grip on just why or what a solution looks like. So we couldn’t help but comment on it and examine it from our own perspective and maybe try to carve out some vision of what a solution looks like, of what ‘better’ actually looks like. I don’t know if we found it or not. But it was more about trying to learn for ourselves than it was saying anything to anybody else.”

Hood’s song “What It Means” has already made selected rounds online with an easygoing musical stride but a volatile storyline torn from headlines of police killings across the country and the racial divisiveness uprooted in their wake. “We’re living in an age where limitations are forgotten,” he sings. “The outer edges move and dazzle us, but the core is something rotten.”

Cooley’s songs are not no less confrontational. On “Ramon Casiano,” the national view moves to immigration-fueled paranoia and militia groups that subsist on it. Unlike “What It Means,” the music on “Ramon Casiano” is all rocking, Neil Young-like guitar grit.

“I was examining what seemed to be a whole phenomenon with these right wing militia type guys,” Cooley said. “They seem to be obsessed with the Mexican border, and that’s not just a new thing. One Saturday morning, I turned on the TV and they’re doing a story on these guys who go down to the border and take all their guns and basically pretend to be patrolling the border because the government isn’t doing it.

“It seems every time you turn around, what everybody is afraid of is coming across the Mexican border – Ebola, ISIS, you name it. I found out about this militia group in Southern California in the early 1960s that claimed to have knowledge of Chinese troops amassing on the Mexican border. So there is a long, long history of people with that mentality.”

Hood and Cooley have never been shy when speaking their minds in song, just as the Truckers have long embraced a wide-open Southern view that differs altogether from the more conservative stance adopted by many country and rock artists of the region. It’s just that on “American Band,” the songs have stated the Truckers’ attitude in a succinct and often blunt manner.

“We always do this,” Cooley said. “This is not really new territory for us, but it’s the first time that it’s been this obvious. It’s the first time it’s been on the surface. But I could go back and almost go song by song and point out what some of the same political undercurrents were in all this music from our past. It just wasn’t right out there in plain view.

But what do the Truckers’ Southern fans (and, more exactly, non-fans) think of such a stance?

“Right now the only gauge you have to go on is what people are doing on social media,” Cooley replied. “I don’t do that. I’ve never even used Twitter or Facebook. I just stay away from it. Mainly, I don’t trust myself to not be overcome in a moment of passion with a little tequila behind it and make a fool out of myself.”

Drive-By Truckers perform at 8:40 p.m. Aug. 27 as part of the Moontower Music Festival at Masterson Station Park, 3051 Leestown Road. Tickets: $49, Call 859-230-5365 or go to

new voices from manchester orchestra

Robert McDowell (left) and Andy Hull of Manchester Orchestra.

Robert McDowell (left) and Andy Hull of Manchester Orchestra.

Andy Hull was looking forward to some down time. He had spent over a decade establishing Manchester Orchestra as a formidably intense indie rock presence that knew how to surprise an audience – like re-imagining the band’s unrelentingly angst ridden “Cope” album from spring 2014 as a lean, largely acoustic session (“sort of a skeletal, angelic twin brother,” as Hull called it) titled “Hope” that was released that fall. What was to follow was supposed to be a break.

Then Hull was contacted by Daniels – namely, filmmakers Daniel Kwan and Daniel Scheinert. The team was familiar with Manchester Orchestra, having directed a video for the title tune from the latter’s 2011 album “Simple Math.” This time, Daniels wanted Hull to be part of its team by scoring the recent offbeat movie “Swiss Army Man.” But there was a catch. The duo didn’t want Hull to use conventional instrumentation. That immediately struck the song stylist as ample reason to take a break from his break.

“I was pretty thrilled at the challenge,” Hull said. “We were going to be on our fifth album, Manchester was. At a certain point, it can be tough to find inspiration and tough to find something new without really looking for it. So I saw this score as a way to totally expand my brain and the way I looked at music. It really felt like that. I mean, it ended up being like a school with the stuff we were learning.

“A really fascinating thing it taught me was how songs don’t have to traditional in structure in order to be moving or emotional. It was a little scary and overwhelming, but in the middle of all that we found inspiration that allowed us to keep pushing forward.”

What Hull and his longtime Manchester co-hort (and brother-in-law) Robert McDowell did was emphasize computerized treatments of Hull’s voice peppered by vocal help from “Swiss Army Man” stars Paul Dano and Daniel Radcliffe. The result is a wildly ambient quilt that alternately recalls Brian Wilson, Peter Gabriel and Brian Eno along with heavily reimagined stabs at “Cotton Eyed Joe” and the “Jurassic Park” theme.

“It’s so cool to be able to create in a totally different environment without any real instruments. It was mostly voices and effects creating a piece of work that, when it’s played by itself, is something I’m proud of and would put up with any record I’ve put out. It’s something I’m proud to have in my discography.

“Robert and I certainly had to re-learn how to talk to each other about our music. There were no longer chords or verses where we could say, ‘Go back to that.’ It was more like, ‘Go back to the ‘ba-ba-ba.’ We would get frustrated learning all that stuff. Ultimately, it really influenced us heading into our next Manchester record. It became like, ‘How far can we experiment with sound?’”

There sits the big question. Hull, McDowell and the rest of Manchester Orchestra will begin recording the band’s next album the day after its Lexington performance this weekend at the Moontower Music Festival. Have the adventures and innovations of “Swiss Army Man” influenced the way Hull will approach that new music?

“I can think of a big way it has. I don’t know if the next record will be of a certain temperament, but the soundtrack certainly struck an ambitious nerve. We want to make a really live record, something that we’ve never really sounded like before, and sort of dive deeper into the intent without having to be super, super loud.

“The soundtrack was a great advancement. It was like, ‘We can really convey the emotions we want to with just our voices.’ So certainly if we add instruments in the correct way, we can experiment and sort of open songs to put some soul into them.”

Even though the soundtrack is credited to Hull and McDowell, the former said the project has only served to strengthen the band spirit within the entire Manchester Orchestra lineup.

“We feel really excited. All the guys have been super supportive of all the soundtrack stuff, realizing this is best for everything with the band. But I know everyone is excited to start this album. We’re super confident in this material. We want to make something really, really great and we’re going to work really, really hard until we have the best possible record we can. That’s the goal for everyone involved.”

Manchester Orchestra performs at 10 p.m. Aug. 27 as part of the Moontower Music Festival at Masterson Station Park, 3051 Leestown Road. Tickets: $49, Call 859-230-5365 or go to

Next entries » · « Previous entries

Terms of Service | Privacy Policy | About Our Ads | Copyright