Lilac Wine (left to right): give Reynolds, Jim Culliton, Larissa Mia and Rob Henson. (Photos by Mark Gresham)
Among the great social phenomena of this mid-20th century had joon mobile been the “American folk music revival,” which took root sometime into the 1930s and peaked within the belated 1960s. It absolutely was informed both because of the era’s vibrant grassroots populism, frequently having a governmental activism to match. Ironically, the British Invasion which derived a lot of its craft and sensibilities from US rock ‘n’ roll and blues music started initially to eclipse the movement’s impact within the musical conventional, and also by the late 1970s, people music had become mainly the domain of aficionados.
It had been in this context that the Atlanta region Friends of Folk Music formed in 1981 to aid the explanation for the genre, and contains experienced constant procedure since. Its Fiddler’s Green show began simply 5 years later as well as for a few years had its house at 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 this past year, Fiddler’s Green relocated to Steve’s real time Music in Sandy Springs.
Steve’s, which launched in June 2012, is a perfect venue that is intimate the series, with a capability of 120, somewhat lower than Decatur’s iconic Eddie’s Attic. The sound and sight lines are great, though it seems more amplified in character compared to the Attic’s more delicate bump that is electronic sonic existence. However the immediacy of Steve’s room energizes the paying attention expertise in reasonable contrast to your Attic, by having a significantly lighter feel to its interior environment. But as Atlanta audiences and artists know, there’s still lots of elbow space once and for all little venues around the town.
This Saturday’s installment that is past of Green offered up two fine regional functions, starting with Jim Culliton and Rob Henson, who’ve been playing as being a duo for approximately 10 years. Both are freelance journeyman artists, obliged by that status to be experienced in a number of musical styles. So that it’s difficult to pin them right down to one genre, particularly so when it comes to versatile Culliton. a constant presence in the Atlanta music scene for all years, Atlanta audiences are usually to determine the fiddler/guitarist with bluegrass as well as its progeny, though Culliton’s stylistic range is far wider.
Henson is really an indigenous Atlantan whoever work that is academic jazz studies at Indiana University demonstrably notifies his individual design on bass it doesn’t matter what genre of music he could be playing. He stuck with acoustic bass that is upright today, their playing demonstrating he could be one of the city’s more remarkably imaginative bassists because of the chops to pull it off.
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 A New lifestyle, complemented by some address criteria. These were accompanied by the end associated with the set by Grant Reynolds on mandolin, a demonstrably adept multi-instrumentalist whom Henson tagged year that is late last be a “musical Swiss Army knife” for the next work up, their brand brand new trio, Lilac Wine.
The major ear-opening development associated with night ended up being Lilac Wine’s vocalist, Larissa Mia. Astonishingly, Mia is a new comer to the music that is professional, duration. Lilac Wine is her very first musical organization, and particularly, it was the band’s formal concert first, relating to 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 activities, which can be where Henson and Reynolds discovered her. Her buoyant, usually sultry vocals is sold with an extraordinary normal musicianship, an simplicity of phrasing and disease with spot-on intonation, meshing beautifully because of the playing of her seasoned peers.
Their tracks had been of assorted sources, but many attention-getting had been the inventive lifts of songs from out of one design and dropped into another, including a significantly 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 using the straight straight straight back of the knife ahead of the track started, plus an unexpectedly effective bluegrass-ish type 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, could 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.”