Jim Price
Moderator
Joined: 07 Dec 2002
Posts: 4817
Location: Altoona, PA
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 Posted: Wednesday Oct 22, 2003 |
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WEEKEND RECAP 9/4/03
FAT VINNY & THE WISEGUYS @ RED CROSS “GRATEFUL LIFE” BLOODMOBILE @ JAFFA MOSQUE, ALTOONA 8/28/03
Almost a month prior, on July 31, the American Red Cross launched their “Grateful Life” tour, a new campaign to attract new blood donors, at Altoona’s Jaffa Mosque during the annual Blair Media Blood Blitz. As part of the promotion, live music was brought aboard, and Felix & the Hurricanes helped kick off the ‘Tour’ by performing at the Blood Blitz.
Well, all tours eventually end, and the regional leg of the “Grateful Life” tour would conclude where it started, at Altoona’s Jaffa Mosque. As part of the festivities during this bloodmobile, the national Red Cross brought a big mobile unit display to the Jaffa Mosque which spotlighted blood donation and how donated blood saves lives. And as with the kickoff event a month earlier, the tour closer event also had live music, this time from Fat Vinny & the Wiseguys.
For their first set, the Wiseguys were a duo, frontman/guitarist E. Vincent “Fat Vinny” Kelly, and bassist Randy “Dawg” Ketner. Returning ‘new’ drummer Ken Dalto would arrive in time for the band’s second set. As the Hurricanes did during the tour opener, Fat Vinny & the Wiseguys entertained awaiting blood donors with unplugged classic rock, blues and original songs. While they still played a few boisterous blues-rocking favorites like Stevie Ray Vaughan’s “Pride and Joy,” George Thorogood’s “Bad to the Bone,” the Stones’ “Honky Tonk Women” and Lynyrd Skynyrd’s “Sweet Home Alabama;” the trio also dug into the softer side of their repertoire, breaking out some earlier original songs like “You Can’t Refuse the Blues;” and milder covers like Marshall Tucker Band’s “Can’t You See.”
The Wiseguys were well-received by most of the awaiting blood donor audience, the Red Cross, and – given that Fat Vinny and Randy are both alumni of the local broadcasting community – much of the radio media assembled to broadcast from the event. Again, the “Grateful Life” tour finale was a success, as the Red Cross again exceeded their blood collection expectations this day. According to regional Red Cross main lady Georgette Ostinowsky, plans are already underway to do the “Grateful Life” tour again next year, even bigger and better.
Fat Vinny sings the blues…
Randy “Dawg” Ketner of Fat Vinny & the Wiseguys.
Fat Vinny & the Wiseguys, keeping the blood donors at the Jaffa Mosque entertained.
Ken Dalto of Fat Vinny & the Wiseguys.
FELIX & THE HURRICANES @ PETER C’S, ALTOONA 8/28/03
Day job duties prevented me from getting to Peter C’s until late this night, so I missed the openers, Infused. I arrived during the last hour of the Hurricanes’ show, and was pleased to again see a good-sized crowd in the house. As expected, the Hurricanes again mixed original songs with classics; I was able to witness renditions of “The Feeling,” “Walkin’ a Straight Line” and the title composition to the ‘Canes’ new CD, “Travelers Not Forgotten;” also a version of Lynyrd Skynyrd’s “Ballad of Curtis Lowe” with Infused drummer Ed Longo behind the kit. As expected, it all sounded good, making me kick myself for having to work late and not get there earlier…
Fans dance the night away to Felix & the Hurricanes.
THIRD GEAR @ PETER C’S, ALTOONA 8/29/03
I caught the Peter C’s debut of a new area trio this night, Third Gear.
Although the name Third Gear itself is new, the musicians making up this trio are familiar names on the Altoona area music scene. Kip Woodring plays guitar and sings; Jamie Shumack sings and plays drums, and D.J. Gates plays bass.
With Kip and Jamie dividing up lead vocal duties, Third Gear entertained a light Peter C’s crowd with a mixture of classic rock from the 60’s, 70’s and 80’s. What I enjoyed about Third Gear was that for the most part, their song selection wasn’t the same classic rock cover list as most other classic rock bands do. Robert Palmer’s “Bad Case of Loving You,” the Kinks’ “You Really Got Me,” John Mellencamp’s “Pink Houses” and Stray Cats’ “Rock This Town” were about the extent of the commonplace covers in their set list this night. Much of the rest of the night was full of surprises, including several songs I hadn’t heard done on a local stage in a long time, if ever. The group dug into the Three Dog Night archives for the Jamie-fronted version of “Never Been To Spain,” dug deep into the Foghat catalog for “My Babe,” and pulled out a not-commonly-done Don Henley number in “Heart of the Matter.” Third Gear forewent the usual Tommy James cover, “Mony Mony,” in favor of “Draggin’ the Line” instead. And the group performed one of the better deep tracks off the self-titled first Foreigner album, “Headknocker.” Other highlights included versions of Bob Seger’s “Mainstreet,” John Mellencamp’s “Rain on the Scarecrow,” the Eagles’ “Witchy Woman” and more.
Overall, Third Gear gave a strong performance. As experienced players, Kip, D.J. and Jamie were solid instrumentally, and both Kip and Jamie did good jobs on the vocal end. The group settled into their groove early in each set, and kept the show moving along with few breaks in the action. While the dance floor never saw heavy action this night, at least a few folks did get up and dance periodically through the course of the night.
In all, a pretty good show, as Third Gear delivered a solid night of upbeat, classic rock and roll. The freshness of their set list sets them apart from much of the rest of the classic rock pack; if you want to see a band that does a few different songs, give Third Gear a look.
Kip Woodring of Third Gear.
Third Gear, on their maiden voyage at Peter C’s.
D.J. Gates of Third Gear.
Jamie Shumack of Third Gear.
JOHNSTOWN FOLKFEST, DAY ONE 8/30/03
Before I expound upon the joys of this year’s Johnstown Folkfest, I must soapbox briefly…
As I was walking through the streets of Cambria City and mingling with music fans and musicians, I heard an ugly rumor. The word is that the organizers of Johnstown Folkfest are talking about moving the event out of Cambria City next year to another location, and possibly charging admission to it.
On both counts, bad move.
First, regarding relocating Folkfest…Part of the appeal and beauty of Folkfest for me is its location in Cambria City. When National Folkfest came to Johnstown years ago and sowed the seeds for Johnstown Folkfest, it selected Cambria City because this neighborhood represented Johnstown’s ethnic heritage. This working-class neighborhood is where European immigrants moved to in the 1800’s to start a new life; and many of the traditions those immigrants brought to America still live in Cambria City; in its people, homes, churches, and community events. The National Folkfest celebrated this heritage and tradition, and Johnstown Folkfest has continued to celebrate that heritage in the aftermath. Cambria City is the heart of Folkfest beyond the music and the food. It gives Folkfest its unique personality and festive, Johnstown-homecoming mood. Moving the event out of Cambria City removes heritage and tradition out of the event, and Folkfest just wouldn’t be the same. Its distinct personality would be altered.
As for charging admission: It’s never a good idea to charge admission to an event that was previously free. I realize that costs for putting on an event like Folkfest continually rise with each year, as does food and electricity costs, etc. But when you cross the line of charging admission to an event like Folkfest, you’re likely to alienate a lot of people, particularly young people. Another part of the beauty of Folkfest is that by celebrating folk traditions, those traditions can be exposed to young people, who can then carry them on and preserve them. Move the event out of Cambria City and lose a big part of that heritage and tradition. Charge admission and many people, especially young people, aren’t going to attend and be able to learn about that tradition. Thus heritage and tradition doesn’t get passed along, and it slowly fades away.
At least to this longtime Folkfest fan and observer from over the mountain: Johnstown Folkfest isn’t broken, and it doesn’t need fixed. Preserve heritage and tradition, and keep Folkfest right where it is, in Cambria City. And keep it free, so everybody is welcome to come and experience it.
I arrived at Folkfest in mid afternoon, and immediately came upon music happening at the 10th Avenue Charter Communications Stage. I sat down and checked it out. It was the Chandler Travis Philharmonic. Visually, the seven members of this band were all decked out in wild, flashy outfits, with the group namesakes himself, Chandler Travis, donning a polka-dotted white cape. Musically, this New England-based group mixed R&B, Dixieland, and acid jazz into an unpredictable, free-form eclectic sound reminiscent of some of Frank Zappa’s experiments. In a nutshell, these guys were weird, but entertaining. Among the more interesting songs I witnessed were the Zappa-esque “Ivan in Paris,” “I Threw Some Meat Into the Pond” with its monk-like chants, a humorous extremely slow version of “I’ve Been Working on the Railroad,” the Dr. John-like “Time Marches On,” and the group’s more Dixieland-like closer, “Someone Somewhere Loves You.” For all their oddities, the Chandler Travis Philharmonic was very talented, tight and together on their brand of music, and mixed in a quarky sense of humor to boot. I hadn’t even procured scrip tickets for food yet, and I had already been impressed with the first band I saw at this year’s Folkfest.
Decked out in zany gear, Chandler Travis (right) and his Philharmonic entertain at Johnstown Folkfest.
The horn section of the Chandler Travis Philharmonic.
An accordion in the mix during Chandler Travis Philharmonic’s set.
I soon purchased my first scrip tickets, procured food and made my way up Chestnut Street to the next stage, the 8th Avenue Ameriserv Stage, where Peter Mulvey was in the midst of his second set. An acoustic performer, Mulvey performed a mix of original songs and a few select covers during the half-dozen songs I was able to witness. He had a bit of a witty, acidic perspective as he introduced songs like Paul Cebar’s “Lovely as the Day Is Long” his own “Denver 6 AM” and Gillian Welch’s “Thinking About Elvis” to end the set.
Peter Mulvey.
After Peter Mulvey’s set concluded, I retreated back to the 10th Avenue stage to check out Deke Dickerson and the Ecco-fonics. Deke Dickerson and his band were in the process of tearing it up with rip-roaring rockabilly and roots rock, tempered with touches of country, honky-tonk, Tex-Mex, surf and more. Brandishing his vintage double-neck guitar, Deke Dickerson led his band through original songs and select remakes from names like Del Reeves, the Everly Brothers, Bill Monroe, Merle Travis and more. While Deke was clearly the focal point with his voice, sense of humor and smoking guitar work; the rest of the Ecco-fonics each received their share of the spotlight as well. Drummer Chris Sprague sang lead on Del Reeves’ “Girl on the Billboard,” while rhythm guitarist Mitch Polzak gave a Texas mountain dancing display before Bill Monroe’s “Molly & Tenbrooks.” Deke’s guitarwork was clean and very on the mark; I was blown away by the clarity of the sounds he was getting out of his instrument. While sharp players, Deke Dickerson and the Ecco-fonics kept the vibe upbeat, friendly and relaxed; and the Folkfest crowd responded with unanimous applause.
Deke Dickerson & the Ecco-fonics.
Deke Dickerson sings and plays his vintage doubleneck guitar.
After witnessing Deke Dickerson, I worked my way back down Chestnut Street towards the 3rd Avenue Highmark Stage, where Those Darn Accordions were scheduled to perform. En route, I noticed the cacophony of bells sounding as I approached St. Stephens Church; as I drew closer, I discovered that the source of the commotion was the annual Folkfest clash of the religions. Every year, a fundamentalist Somerset County-based Anabaptist sect (the same folks who protest rock concerts and hand out leaflets outside the Cambria County War Memorial) take up position outside the church, and their bearded leader decries the decadence of Folkfest and the Cambria City church community that supports it. In recent years, St. Stephens Church has battled this onslaught by ringing their church bells to drown the Anabaptists out. I took a moment and stood on the nearby street corner and took in the scene: the bearded Anabaptist leader shouting his rhetoric, with a few teenagers arguing and yelling back at him; other members of the sect attempting to hand out literature to passers-by; and the loud St. Stephens church bells drowning out most of this din. A few uniformed Johnstown police officers stood nearby just in case anything got out of hand.
Living in America…The Anabaptist leader speaks his piece (on left, in background) as most of Johnstown nation walks by…
Eventually, I did proceed and reach the 3rd Avenue stage, and Those Darn Accordions were most of the way through their first set. Making their second visit to Folkfest, Those Darn Accordions are a unique anomaly – an accordion-based rock band, playing a wild and quirky mix of accordion-driven rock, funk, and even rap/hip-hop originals and several recognizable covers. Lead singer/accordionist Paul Rogers – flanked by three colorfully-costumed lady accordionists, a bassist and drummer – finished their set with the oddball accordion funk/rap “The Wall of Gum” and “Them Hippies Was Right.”
A former accordion player myself, I was intrigued by this group when they first appeared at Folkfest three years ago. I eagerly waited through the 20-minute intermission to see what this San Francisco-based ensemble would throw at us in the nightcap set.
Upon their return to the stage, Those Darn Accordions’ first song alone made me glad I stuck around. The group kicked off their second set with a rocking accordion rendition of the Edgar Winter Group’s “Frankenstein,” which segued into Steppenwolf’s “Magic Carpet Ride.” And no, this wasn’t some stoic polka band sitting on chairs and screeing out chords, either – Those Darn Accordions attacked their instruments with more zeal than many guitar bands, jumping around the stage and even kneeling before their amps to toy with effects and distortion! The group continued to mix oddball original tunes like the slow-country-geared “Rice for One,” “Office People” and more. Along the way, the group broke out a version of War’s “Low Rider;” and they did one obligatory polka (well, they were playing accordions). Then the knockout punch to close their set, a rocking squeezebox rendition of The Who’s “Baba O’Reilly!” Insane! Amazed and entertained, the Folkfest audience gave Those Darn Accordions a rowdy standing ovation for the spectacle they had just witnessed.
Those Darn Accordions, during their first performance of Folkfest weekend.
Paul Rogers of Those Darn Accordions.
Night arrived during Those Darn Accordions’ performance. After their set concluded, I proceeded towards St. Mary’s Church pavilion on 5th Avenue to take in part of the nighttime street party hosted by Yum. This is always a cool scene; one of Johnstown’s best-known hometown party bands, playing to a massive all-ages audience spanning children to senior citizens; all within eye- and earshot of St. Mary’s food pavilion, serving up generous doses of pierogis, halushki, halupki, kolbasi, and other foods I can’t pronounce.
This was the first time I had seen Yum since they expanded to a fivesome, bringing aboard keyboard man/Johnstown music scene vet Scott Barkhimer and bassist Shawn Mock. The group was in the midst of Good Charlotte’s “Lifestyles of the Rich and Famous,” and had a large crowd assembled in front of the stage, some grooving along. The group continued with Kenny Loggins’ “Footloose,” before ending their set with Fountains of Wayne’s “Stacy’s Mom.”
Intermission enabled me to procure some ethnic foodstuffs from St. Mary’s pavilion, and chat with band members. Soon Yum was back onstage to continue their party, as they mixed uptempo current and classic rock favorites. More folks of all ages gathered around stagefront to celebrate, as Yum did Jimmy Eats World’s “Middle,” Charlie Daniels’ “Devil Went Down to Georgia,” Nena’s “99 Redballoons” and more. The mood was festive and fun, as band and crowd fed off each other’s energy to fuel the party. As the festivities escalated, frontman Dan Vavrek became the target of a fan with a spray can of silly string during Men At Work’s “Down Under.” Yum sounded on the mark no matter what direction their set veered off in, and Scott’s keys clearly made a different in giving the group a fuller, more fleshed-out sound. Evidenced by this set, all is well with the 2003 edition of Yum, and they did a good job of keeping the streety party masses happy and celebrating.
Darren Buchko of Yum.
Yum entertains the gathered masses at the St. Mary’s Church street party.
Brian Scalletta of Yum.
Yum continues to bring the party to the fans outside St. Mary’s pavilion.
Midway through Yum’s latter set, I departed to find more Folkfest entertainment. I headed inside Ace’s Lounge to catch more local talent, John Charney & White Mojo. This was more than just a singular band performance; this was actually a showcase of area bands and artists involved with a new benefit compilation CD, “Rocksbury: Musicians For Kids.” Proceeds from the CD sales benefit Dylan’s Heart Fund, which helps out children with serious health-threatening issues and their families.
Himself singing and playing guitar, John Charney and White Mojo – harmonica player Denny Owens, bassist Rick Napolitan and drummer (and John’s Wine Of Nails bandmate) Dom Peruso – mixed classic rock and blues favorites, occasionally dropping in select songs from the “Rocksbury” CD, such as White Mojo’s own rootsy version of “Got My Mojo Workin’” and Johnny Cash’s “Folsom Prison Blues” (performed on the album by Fat Vinny & the Wiseguys). The group also did select numbers from Stevie Ray Vaughan, Eric Clapton, and Thin Lizzy’s “Dancing in the Moonlight (It’s Got Me in the Spotlight).”
Eventually, White Mojo introduced another band involved with the “Rocksbury” CD, Frankie & the Nomads. Fronted by sandy-voiced singer/guitarist Frank Genovese, this trio performed a mini-set of hard-edged blues, classic rock and original tunes, including their songs from the “Rocksbury” CD like “Fool For Your Love.” Frank’s voice was soulful and gritty, and his guitarwork was fiery, particularly after he got going on versions of the Allman Brothers’ “Whipping Post,” Santana’s “Soul Survivor” and Jimi Hendrix’s “Foxey Lady.”
After Frankie & the Nomads’ mini-set, White Mojo – this time joined by local singer/guitarist Dave Distefano – returned to the stage to play more blues-rock and classics. The song selection this time included songs from Van Halen, Santana, Beatles, Led Zeppelin, Stevie Ray Vaughan and more. The musicianship was top-notch; John’s rapidfire precision guitarwork was stunning, Denny’s harmonica wail was timely and passionate, Rick’s and Dom’s rhythms were sharp, and Dave’s acoustic guitar nicely fleshed out the mix. Soon, the members of Somerset County-based jam rockers Grinning Mob – who back Dave on the song “Light The Fire, Get Down” on the “Rocksbury” CD – integrated among the musicians onstage, and commenced an intense, jamming mini-set. The ensemble of musicians did several songs, each building into heated jam displays with exchanges between guitars, harmonica and more. This display also brought about the heaviest dance floor action of the night on Ace’s floor, as audience members picked up on the vibe and let the groove manifest itself on the dance floor. Eventually, the Grinning Mob contingent departed the stage, and White Mojo finished the showcase with one last song, a feisty version of the Doors’ “Roadhouse Blues,” appropriately slamming the lid on the official Folkfest entertainment for this day.
John Charney of White Mojo.
John Charney & White Mojo, bluesing it up at Ace’s Lounge.
Denny Owens blows some harp during White Mojo’s performance.
Frank Genovese of Frankie & the Nomads.
Frankie & the Nomads.
Grinning Mob onstage at Ace’s Lounge.
Grinning Mob lights the fire and gets down…
As the musicians all caught their breath after this exciting performance, I headed out to catch more entertainment. For as the official schedule of Folkfest entertainment was done for this day, the unofficial schedule was not…
BRATTLEBORO BLUES BAND @ PARROT BAY CAFÉ, JOHNSTOWN 8/30/03
While not listed as an official part of the Folkfest music schedule, the Parrot Bay Café – located along Chestnut Street in the heart of the Folkfest route – always features entertainment during Folkfest weekend. I headed there for the nightcap, featuring Pittsburgh’s Brattleboro Blues Band.
As it was pretty late in the night, I only got to see five songs from this five-piece band, including muscular renditions of Cream’s “Crossroads,” the Allman Brothers’ “In Memory of Elizabeth Reed,” “Let The Good Times Roll” and more. Guitarists Don and Mitch Jordan (who both sing), keyboard man Earl Schisler, bassist Joe Niedzalkoski and drummer Dennis Kostley were solid both instrumentally and vocally, and kept the crowd of post-Folkfest revelers happy through the end of the night.
The Brattleboro Blues Band.
JOHNSTOWN FOLKFEST, DAY TWO 8/31/03
Somewhat rested, I embarked back over the mountain to partake in the final day of festivities at Johnstown Folkfest. As with the day before, this day too would hold many highlights and pleasant surprises…
The second half of my 2003 Folkfest experience kicked off with my second look at Those Darn Accordions, this time performing at the 5th Avenue Dodge Stage. (With the beer concession nearby, this is usually the premiere stage of Folkfest, where the biggest audiences usually assemble.) The group mixed more of their eccentric accordion rock original songs with accordion rap, polka and more. They even broke out some accordion reggae on the song “Bowling Man.” Their polkas weren’t standard issue, either; the group came up with such creative polka themes as “The First Bratwurst of Summer” and “The Meaning of Life Polka.” Other interesting tunes included “Hippy with a Banjo,” the title track to their 1999 CD “Clownhead,” “Lithuania” and the accordion rap number “Down at the Armory.” Just like the day before, Those Darn Accordions were no holds barred, jumping and flying about the stage (and their accordions weren’t light instruments to carry, so any mobility is a feat!). Again, it was a wild and crazy set that left the audience amazed and entertained, and the group again received loud and raucous approval from the massive Folkfest crowd.
On a different stage, Those Darn Accordions.
Who ever said accordions couldn’t rock? Those Darn Accordions, going for the feedback and distortion…
I then headed down the street to the 10th Avenue stage to check out the Cool John Ferguson Band. Before this band started their set, a Folkfest spokesperson introduced them onstage, and made the bold statement that after witnessing Cool John Ferguson’s fiery performance at Folkfest the previous day, he thought Ferguson was better than Jimi Hendrix. SAY WHAT? A lofty claim, to be sure. Would this performance deliver the promise of such a lofty remark, or did this Folkfest spokesperson just set us up for a disappointment?
After witnessing Cool John Ferguson, I won’t go as far as to say he was better than Hendrix. But the thought did cross my mind that for every aspiring performer like Jimi Hendrix that made it in the music business, there were probably hundreds of talented and innovative guitarists who didn’t get discovered and remained in relative obscurity. Cool John Ferguson is one of them. A self-taught guitarist who learned to play by ear, Ferguson forged his own unique playing style over the years, and showcased that style this day at Folkfest during another fiery set of electric funk and blues. He could definitely shred, proven on his uptempo versions of “Hey Joe” and Chuck Berry’s “Johnny B. Goode.” He demonstrated a smooth touch on a rendition of Otis Redding’s “Sittin’ on the Dock of the Bay,” and played with distortion and feedback on B.B. King’s “The Thrill Is Gone.” He and his band were tight and seasoned, they not only dazzled during this set, but made it all look incredibly easy! The cheers grew louder after each song, and the Cool John Ferguson Band received a standing ovation from most of the onlookers by set’s end. This was another prime example of the excellent caliber of talent Folkfest brings in every year, that flies under the radar of national notoriety, but is deserving of attention and recognition.
Cool John Ferguson.
The Cool John Ferguson Band.
Again, Cool John Ferguson.
From here, I retreated back down the street to the 5th Avenue stage to watch part of the set from Alex Torres & Los Reyes Latinos. Folkfest usually always brings in an established Latin-geared band; this was Alex Torres’ third Folkfest appearance. Torres and his 12-piece band played music that mixed Latin, meringue, salsa, funk and R&B. Much of the music was either instrumental or sung in Spanish, but Alex Torres did perform at least one English number, the R&B-leaning “There Goes My Soul.” All that I witnessed was uptempo with an emphasis on percussion, as the group mixed up rhythms using a variety of congas and other instrumentation. At least a few people were up and dancing near stagefront as the set proceeded.
Alex Torres & Los Reyes Latinos.
After about five songs, I was off to the 3rd Avenue stage to see what was up. Onstage was Red Meat, performing old-school styled country and honky-tonk. This San Francisco-based group championed good-time country of the “Hee Haw” era; their onstage persona was homey and rural, as the band members quipped about the simple pleasures in life. While I was there, the group raved about gobs, and celebrated en masse when an audience members actually brought a gob up to the stage. Songwise, the group mixed original songs with select remakes, including a traditional country-styled remake of Johnny Cash’s “Ring Of Fire.” Smelley Kelley sang lead on many of the numbers, but bass player Jill Olson demonstrated a smooth Patsy Cline-like voice on “To The Man I Love.” Another highlight of their set was the simple and lighthearted original song “12-Inch 3-Speed Oscillating Fan.” Red Meat did what they did well, and succeeded in taking the audience back to a simpler and more innocent era of country music past.
Putting the western back into country and western, Red Meat.
One of the things that makes Johnstown Folkfest unique is the people. While walking down Chestnut Street between Folkfest stages, I found this performer, just sitting along the sidewalk and entertaining passers-by with a few tunes on the accordion. Note the creative usage of a WD-40 can by his foot as a percussion instrument!
I weaved my way back down Chestmut Street through the crowds and food booths to the 10th Avenue stage for one of the acts I most anticipated seeing this year, the Louisiana Blues Throwdown. In lieu of bringing an actual zydeco band this year (a Folkfest tradition), Folkfest instead presented the Louisiana Blues Throwdown, featuring an “all-star” cast of musicians from some of Louisiana’s top touring acts, including past Folkfest zydeco groups like C.J. Chenier’s band and Terrence Simien & the Mallet Playboys. The Throwdown was anchored by the Marc Stone Band; Marc Stone himself has performed with both C.J. Chenier and Terrence Simien.
I arrived towards the end of the Throwdown’s first set, but arrived in enough time to see one of the prominent guest musicians, rising Louisiana artist Eric Lindell. With Eric singing, the Marc Stone Band did a version of Willie Dixon’s “Can’t Judge the Book By The Cover,” along with the Marc Stone R&B original “It Won’t Be Long,” and “Baby I Need to Be Loved;” which developed into a full-throttled R&B jam to bring the Throwdown’s first set to a close.
Impressed by what I saw during this first set, I stuck around for the second set, which would feature appearances from soul diva Mathilda Jones and zydeco guitar master Harry “Big Daddy” Hypolite. Initially, the Marc Stone Band reconvened things with select blues and R&B numbers from Son House and others, plus an instrumental called “Bat Bat,” which showcased the solo abilities of all the band members. Mathilda Jones was then introduced. Mathilda Jones first surfaced in the 60’s, performing with famous names from the southern R&B scene such as Johnny Taylor and King Floyd. Mathilda demonstrated her robust and soulful voice on Johnny Taylor’s “Who’s Making Love (To Your Old Lady);” also songs by Ann Peters and more. Harry Hypolite was then introduced, and immediately showed off his guitar skills on several blues and R&B numbers, including the instrumental “B-Flat From the One.” During one song, former Who’s Your Daddy/Johnny & the Blues Rockers frontman John Shaffer joined in and contributed some hot harmonica licks. Eventually, the rip-roaring finale as Mathilda Jones rejoined Harry and the rest of the musicians for the ultimate blues ‘throwdown’ of the evening, which had much of the Folkfest audience up and dancing in the aisles and stagefront. As the party culminated with “Let The Good Times Roll,” the Louisiana Blues Throwdown had delivered what its name promised; and outside of an actual zydeco band itself, this was the next best thing as far as Louisiana music parties were concerned.
The Marc Stone Band with Eric Lindell (center) during the Louisiana Blues Throwdown.
Marc Stone of the Marc Stone Band.
Guest Mathilda Jones joins the action during the Louisiana Blues Throwdown.
Mathilda Jones belts out the voice…
Harry “Big Daddy” Hypolite.
With guitar behind his head, Harry “Big Daddy” Hypolite.
Former Who’s Your Daddy/Johnny & the Blues Rockers voice John Shaffer chimes in on harmonica.
Mathilda Jones and Harry Hypolite onstage together as the Throwdown reaches meltdown…
Clouds had steadily been moving in throughout the course of the day, and rain was in the forecast for evening as Folkfest entered its homestretch. I felt the first raindrops as I headed back down Chestnut Street towards the 8th Avenue stage, and a light drizzle had developed as I arrived for the last few songs of Cootie Stark’s set.
As lively and fiery as the just-completed set from the Louisiana Blues Throwdown was, Cootie Stark was a ‘stark’ contrast, performing acoustic Piedmont-styled blues. Cootie strummed his acoustic, sometimes accompanied by a bassist or second guitarist, and performed a selection of blues and even gospel-tinged numbers. His style and mannerisms brought to mind Ray Charles, as his voice varied from rough bluesy growl to Al Green-like high-pitched vibrato. Cootie’s mood was relaxed, as he gently escorted the audience through his musical journey. Although the developing rain chased a few audience members, the brave and soggy souls who remained – including yours truly – cheered hearty approval after each song. I appreciate Folkfest for continuing to bring in elder bluesmen like Cootie Stark, and allowing people to enjoy and appreciate their talents and contributions.
Cootie Stark.
As the rain slowly built in consistency and intensity, I proceeded to the 5th Avenue stage for the final performer on this stage, The Prodigals. Making their second visit to Folkfest, the Prodigals do a punkish, blue-collar brand of Celtic rock, labeled by some as ‘jig-punk.’ Into the latter stages of their show, the Prodigals’ Irish rock party was in full gear. The group devoted the song “Rain” to the large contingent who braved the rainfall in front of the stage, and ended their set with a fiery Celtic rock take on “Ghost Riders (In The Sky).” Even despite a steady rainfall at this point, the audience demanded an encore, and The Prodigals – impressed with the dedication and endurance of westcentral PA music fans – returned and delivered two more songs to end the show.
The Prodigals.
Ray Kelly of The Prodigals.
Gregory Grene of The Prodigals.
I wanted to stick around, but my digital camera and soaking rain don’t tend to get along very well; so I high-tailed it down Chestnut Street towards the dry environment of Ace’s Lounge, where Ribbon Grass was hosting the official last performance of this year’s Folkfest.
As you might recall, Ribbon Grass’ Folkfest finale last year was a hot and sweaty affair that left both band and audience a happy, sweat-drenched mess. I could only imagine how it might be this year, given the obvious rain and humidity outside. Surprisingly, it actually wasn’t too bad; perhaps owing to Ace’s not being as completely jam-packed for Ribbon Grass as they were last year. Frontlady Terri Hilbrecht, her future hubby/keyboard man Dave Single and Ribbon Grass had no problem delivering the heat onstage, as they fired through upbeat favorites from Salt’n’Pepa, Madonna, Wild Cherry, Joan Jett, Van Morrison, an 80’s hair-band medley and much more. While Terri handled the lion’s share of lead vocal duties, Dave did the crooning on Neil Diamond’s “Sweet Caroline” and sassed out the lines on “Play That Funky Music,” and bassman Ron Gallucci supplied some lead voice during the 80’s medley. A guest named Jack sang lead on two takes of Billy Joel’s “Piano Man” (the second take forced by a blown fuse during the first take; apparently Ribbon Grass’ party was too steamy for Ace’s electrical system); Jack received the loudest response of the night at song’s end, when he asked the crowd if the festival organizers should keep Folkfest in Cambria City (the response was a resounding, unanimous “YES!!!”). As expected, Ribbon Grass provided the appropriate high-adrenaline dance party to slam the lid on the official portion of Folkfest, leaving happy people on the dance floor and demanding more at night’s end.
Chris Klym of Ribbon Grass.
Dave Single of Ribbon Grass.
Terri Hilbrecht leads Ribbon Grass during the Folkfest finale.
Ron Gallucci of Ribbon Grass.
Jim “Chico” Mirkovich of Ribbon Grass.
A little psychedelic Ribbon Grass…
Once again, Terri Hilbrecht of Ribbon Grass.
Once again, Ron Gallucci of Ribbon Grass.
As with the night before; while the official Folkfest celebration was over, the unofficial Folkfest post-game party was continuing a few blocks up Chestnut Street…
RED ALERT @ PARROT BAY CAFÉ, JOHNSTOWN 8/31/03
As was the case last year, Johnstown classic-rocking favorites Red Alert were providing the Folkfest post-game party at the Parrot Bay Café. This year, however, they had a little bit of help from some new musical friends.
As I maneuvered my way through the crowded room and procured an empty table, the host band from the Louisiana Blues Throwdown – the Marc Stone Band – was plugging in to perform a mini-set. With Eric Lindell again helping on voice and harmonica, the group performed four songs, including “High Shoes” (with John Shaffer also sitting in on harmonica), a bluesy ballad and “Baby I Need To Be Loved,” featuring some excellent Marc Stone slidework.
The host band, Red Alert, then took the stage (actually, room corner) to finish out the night with a set of classics. The focal point of this band continues to be the incredible powerhouse voice of frontlady Denise Trautman-Karwoski, whose voice excelled on every song. She dueted with special guest Missy Nagle (Johnstown Classic Rockers) on versions of the Beatles’ “Birthday” and the Supremes’ “You Can’t Hurry Love;” and also impressed on everything from Willie Dixon/Foghat’s “I Just Wanna Make Love To You” to Ozzy Osbourne’s “Crazy Train,” to a passionate rendition of Janis Joplin’s “Me and Bobby McGee” to the raucous night-ending version of the Doors’ “Roadhouse Blues.” Red Alert was instrumentally solid, and their set placed the perfect exclamation point at the end of another fun Johnstown Folkfest weekend.
John Shaffer plays harmonica alongside Marc Stone of the Marc Stone Band.
The Marc Stone Band with Eric Lindell entertains at the Parrot Bay Café.
Dueting with Missy Nagle (background), Denise Trautman-Karwoski of Red Alert.
Red Alert, providing the finale to Folkfest weekend at Parrot Bay Café.
Once again, Denise Trautman-Karwoski of Red Alert.
As expected, Johnstown Folkfest was again a fun-filled event, and the music slate again was top-notch. Folkfest organizers later said that attendance was a bit lower overall this year, possibly owing at least partially to the weather. As I commented at the top of this Folkfest weekend review, though, it is my sincerest hope that this event remains in Cambria City where it belongs, thus preserving the unique personality, identity and community spirit that makes this event special. Besides offering up its diverse slate of musical and food tastes, Folkfest is Johnstown’s homecoming celebration, and Cambria City provides the perfect setting for such a gathering. Hopefully the organizers will find other options to deal with rising costs, and options that do not compromise the integrity of the event itself.
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