Lilac Wine (left to right): give Reynolds, Jim Culliton, Larissa Mia and Rob Henson. (Photos by Mark Gresham)
One of many great cultural phenomena of this century that is mid-20th the “American folk music revival,” which took root sometime within the 1930s and peaked within the belated 1960s. It had been informed both by the era’s vibrant grassroots populism, usually with a governmental activism to match. Ironically, the British intrusion which derived most of its art and sensibilities from US rock ‘n’ roll and blues music started initially to eclipse the movement’s impact within the musical main-stream, and also by the late 1970s, people music had become mainly the domain of aficionados.
It absolutely was in this context that the Atlanta region Friends of Folk Music formed in 1981 to guide the reason for the genre, and possesses held it’s place in constant procedure since. Its Fiddler’s Green show began simply 5 years later on as well as for a few years had its house in the Garden Hills Recreation Center. Using the present overall economy, the series continued hiatus for a few years, nonetheless it revived at Anthony’s Pizza and Pasta in Scottsdale as the location. Then in December of this past year, Fiddler’s Green relocated to Steve’s music that is live Sandy Springs.
Steve’s, which exposed in June 2012, is an ideal venue that is intimate the show, by having a capability of 120, somewhat lower than Decatur’s iconic Eddie’s Attic. The noise and sight lines are great, though it seems more amplified in character compared to the Attic’s more subdued bump that is electronic sonic existence. Nevertheless the immediacy of Steve’s area energizes the paying attention expertise in reasonable contrast into the Attic, by having a notably lighter feel to its interior environment. But as Atlanta audiences and musicians understand, there’s still lots of elbow room once and for all venues that are small the town.
This Saturday’s installment that is past of Green offered up two fine neighborhood acts, starting with Jim Culliton and Rob Henson, who’ve been playing as a duo for around 10 years. Both are freelance journeyman artists, obliged by that status to be experienced in a number of musical designs. So that it’s difficult to pin them down seriously to one genre, particularly so when it comes to versatile Culliton. a continuing existence in the Atlanta music scene for all years, Atlanta audiences are usually to spot the fiddler/guitarist with bluegrass and its own progeny, though Culliton’s stylistic range is far wider.
Henson is a native Atlantan whoever educational operate in jazz studies at Indiana University demonstrably informs their individual design on bass it doesn’t matter what genre of music he’s playing. He stuck with acoustic bass that is upright tonite, their playing demonstrating he could be among the city’s more remarkably innovative bassists using the chops to pull it well.
Interspersed within their front-line set, the duo performed four of Culliton’s initial tracks from their quick, self-released 2000 CD, Every Day the New lifetime, complemented by some cover criteria. They certainly were accompanied by the end regarding the set by Grant Reynolds on mandolin, a demonstrably adept multi-instrumentalist whom Henson tagged later this past year to be described as a “musical Swiss Army knife” when it comes to next work up, their brand new trio, Lilac Wine.
The top ear-opening finding for the night had been Lilac Wine’s vocalist, Larissa Mia. Astonishingly, Mia is new to the professional music scene, duration. Lilac Wine is her very first musical organization, and particularly, this is the band’s formal concert debut, based on Henson, having formerly played a couple of restaurant vocals gigs.
Since recently as an ago, mia did not sing in public, only for herself at home year. Then she produced leap that is personal performing at open mic occasions, which will be where Henson and Reynolds discovered her. Her buoyant, usually sultry sound is sold with an extraordinary normal musicianship, a simplicity of phrasing and disease with spot-on intonation, meshing beautifully aided by the playing of her experienced peers.
Their songs had been of assorted sources, but many attention-getting had been the inventive lifts of songs from away from one design and dropped into another, including a notably musically sanitized but engaging acoustical undertake Marilyn Manson’s “Tainted Love,” which is why Henson produced recorded rhythm loop track by scraping the strings of their bass underneath the connection aided by the back of a blade ahead of the track started, and an unexpectedly effective bluegrass-ish type of Stevie Wonder’s 1973 hit “Living when it comes to City.”
Overall, it absolutely was a more atypically offbeat and evening that is even jazzy one might expect of Fiddler’s Green. Some purist fans of folk music, or some of these genres, could be offended because of the cross-dressing that is musical but as AAFFM president Chris Moser later opined, “We’d rather lean toward our concerts being more comprehensive than exclusive.”