Lilac Wine (left to right): Grant Reynolds, Jim Culliton, Larissa Mia and Rob Henson. (Photos by Mark Gresham)
Among the great social phenomena associated with mid-20th century had been the “American folk music revival,” which took root sometime within the 1930s and peaked into the belated 1960s. It had been informed both because of the era’s vibrant grassroots populism, usually with an activism that is political match. Ironically, the British intrusion which derived a lot of its art and sensibilities from US rock ‘n’ roll and blues music started to eclipse the movement’s impact within the musical conventional, and also by the late 1970s, people music had become primarily the domain of aficionados.
It absolutely was in this context that the Atlanta region Friends of Folk Music hitch profile examples formed in 1981 to aid the cause of the genre, and contains held it’s place in constant procedure since. Its Fiddler’s Green show began simply 5 years later on and for several years had its house during the Garden Hills Recreation Center. The series went on hiatus for a couple of years, but it revived at Anthony’s Pizza and Pasta in Scottsdale as its venue with the recent economic crisis. Then in December of just last year, Fiddler’s Green relocated to Steve’s real time Music in Sandy Springs.
Steve’s, which exposed in June 2012, is a great venue that is intimate the series, with 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 discreet electronic bump in sonic existence. Nevertheless the immediacy of Steve’s room energizes the paying attention experience with reasonable comparison to your Attic, with a notably lighter feel to its interior environment. But as Atlanta audiences and performers understand, there’s still lots of elbow space once and for all tiny venues around the town.
This previous Saturday’s installment of Fiddler’s Green offered up two fine regional functions, starting with Jim Culliton and Rob Henson, who’ve been playing as being a duo for around 10 years. Both are freelance journeyman performers, obliged by that status to be experienced in a number of musical designs. Therefore it’s difficult to pin them right down to one genre, particularly true when it comes to versatile Culliton. a continuing existence in the Atlanta music scene for a number of years, Atlanta audiences are likely to spot the fiddler/guitarist with bluegrass as well as its progeny, though Culliton’s stylistic range is far wider.
Henson is a indigenous Atlantan whoever scholastic operate in jazz studies at Indiana University demonstrably notifies their individual design on bass it doesn’t matter what genre of music he could be playing. He stuck with acoustic upright bass throughout tonite, their playing demonstrating he could be one of many city’s more remarkably innovative bassists because of the chops to pull it well.
Interspersed in their front-line set, the duo performed four of Culliton’s songs that are original their brief, self-released 2000 CD, Every Day the New lifetime, complemented by some address requirements. These people were accompanied at the conclusion associated with set by give Reynolds on mandolin, a demonstrably adept multi-instrumentalist whom Henson tagged year that is late last be described as a “musical Swiss Army knife” when it comes to next act up, their brand new trio, Lilac Wine.
The top discovery that is ear-opening of evening had been Lilac Wine’s vocalist, Larissa Mia. Astonishingly, Mia is not used to the music that is professional, duration. Lilac Wine is her very very first musical organization, and particularly, this is the band’s formal concert first, in accordance with Henson, having previously played only a couple of restaurant music gigs.
Because recently as a 12 months ago, mia failed to sing in public places, limited to by herself in the home. Then she produced individual leap to singing at open mic activities, that will be where Henson and Reynolds discovered her. Her buoyant, frequently sultry vocals includes an amazing normal musicianship, a simplicity of phrasing and illness with spot-on intonation, meshing beautifully because of the playing of her experienced peers.
Their tracks had been of assorted sources, but attention-getting that is most 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 with all the straight straight straight back of a blade ahead of the track started, and an unexpectedly effective bluegrass-ish form of Stevie Wonder’s 1973 hit “Living for the 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 people music, or some of these genres, may be offended because of the musical cross-dressing, but as AAFFM president Chris Moser later opined, “We’d rather lean toward our concerts being more comprehensive than exclusive.”