Steve Wildsmith

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Some parting thoughts on love and community and Waynestock 3 …

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There was a moment during Waynestock 3 when the tragedy that spawned this whole beautiful thing came rushing back.

Kevin Abernathy was on stage, singing his heartbreakingly gorgeous song, “Love Alone.” It’s a track that first appeared on his sophomore album, “Beautiful Thing,” and one he re-recorded for his most recent solo effort, “Some Stories.” It’s also the song he played on stage at The Bijou Theatre during Andrew Bledsoe’s memorial service.

Working the front door with Andrew’s dad, Wayne — the guy for whom Waynestock is named — I caught a glimpse of it in the man’s eyes, which brimmed with tears. It wasn’t the only time he got emotional over the weekend — his remarks to the assembled crowd before the all-star jam that brought Waynestock to a close included a few as well — but it was a reminder of how Waynestock started.

“There would be laughter, bouncing off the walls … smiles in photographs up and down the halls … if you could live on love alone …”

The tears, however, were few and far between.

This year’s Waynestock rose money for the Community School of the Arts. Although the past two Waynestocks were held in response to tragedies — the death of Andrew in late 2010 was the catalyst for Waynestock 1, held in early 2011, and the death of beloved local musician Phil Pollard in late 2011 was the driving force behind last year’s event — this year was different. As one of the organizers, I freely admit my uncertainty of how well another Waynestock would be received without such visceral pain driving the momentum.

It’s human nature, really. When Andrew died, those of us who love Wayne wanted to do something, anything, to help our friend. Everyone we asked, from Daniel Schuh at Relix Variety Theatre (the gracious home of Waynestock since the beginning) to the musicians who played that first year to the sponsors who helped get the word out to the donors who gave of their time and equipment, agreed to take part without hesitation. The folks who came to see the music gave generously above and beyond the $5 cover. After such a weekend of magic and beauty, it seemed impossible that we could repeat its success.

But we did, last year. Again, tragedy was the catalyst, but remembrance and love became the legacy. And while there was no single beneficiary, no fallen friend or loved one, to whom Waynestock was dedicated this year, love remains the post-Waynestock emotion that best sums up the whole weekend.

“Tangled up in kisses, on the side of the road, still running on empty with a million miles to roll, if you could live on love alone …”

The doors opened Friday night to a dedicated group of Con Hunley fans who had driven all the way to Nashville and arrived four hours before he was scheduled to take the stage. Warrior-poet Black Atticus charmed and entertained, and Abernathy was the perfect lead-in to the night’s big event.

Every act who took the stage at Waynestock made fans of those in attendance who’d never heard them before, but the act that brought in the most people was Con Hunley, backed by Mic Harrison & The High Score. For Mic and the boys, it was a big deal; family members came to see them share the stage with an icon, and they were in fine form. Mic and guitarists Robbie Trosper and Chad Pelton provided killer licks and sweet backing vocals for Con’s amped-up brand of country soul, and when they opened the show (after Mic and the boys warmed up everybody with “The Colonel Is Dead”) with a rousing, juke-joint inspired version of “Livin’ on the Funky Side,” the exhilaration was palpable. Con’s older fans felt rejuvenated (and even got their balladeer fix on with a few of his slower-tempo numbers), and fans of the local music scene were content to watch in wonder as history was made with Hunley’s return to Central Avenue.

It was the sort of magic that defines Waynestock, and it would be repeated throughout the event. The Rockwells, absent from the local scene for a few years now (save for a single performance last May), were as enthusiastic as the dancers that crowded the stage during their set, with mild-mannered Tommy Bateman peeling off one killer pop-rock lick after another and Jonathan Kelly managing an impressive leap mid-song that would have made Pete Townsend proud. The Mutations, performing in front of a screening of the 1967 Peter Fonda flick “The Trip,” kept the dancers happy, with Harold Heffner getting down among them for a fired-up and impassioned version of Sam Cooke’s “Twistin’ the Night Away.” Yak Strangler, featuring Andrew’s brother, Rylan, on drums, wrapped up Friday night, and with winter weather moving in throughout the day on Saturday, the turnout for night two appeared, at first, to be in doubt.

Those who stayed at home missed a hell of an exotic set from Saturday’s two openers, the Gypsy jazz-influenced Kukuly and the Gypsy Fuego and the klezmer band Dor L’Dor. (Dor L’Dor dad/bandleader Ken Brown even brought out the shofar, the traditional Jewish ram’s horn pipe, for the group’s finale.) Johnny Astro and the Big Bang steered everyone back to the middle of the road with some straight-ahead American rock ‘n’ roll done to perfection, and the Americana outfit Guy Marshall proved that it’s East Tennessee’s answer to the beloved and long-running Murfreesboro band Glossary. Sam Quinn and his Americana power-trio co-horts — Tom Pryor and Jamie Cook of the Black Lillies — were the perfect lead-in to the grand finale.

“Too bad the heart has to have a mind, to tell it what to do when the eyes are blind …”

And once again, art and community and love were elevated into something else. Magic seems too hokey, too generic, to describe it, but what other word fits? What other word accurately captures the wonder of seeing the Tim Lee 3 (Tim and Susan Bauer Lee with drummer Chris Bratta) sharing the stage with Greg Horne, Mike McGill, Kevin Abernathy, R.B. Morris, Black Atticus and Jodie Manross? Atticus flowing smooth the lyrics of R.L. Burnside’s “Snake Drive” while the band powered behind him like a growling muscle car … the boogy-woogy honky-tonk of McGill and the rest howling through his original, “Women, Whiskey and Pain” … Sam Quinn, grinning like a madman and watching the Lees blister through his haunting takes on Neil Young’s “Like a Hurricane” and “Cortez the Killer” … Manross and Morris, trading lead as well as Bonnie Raitt and John Prine ever did on Prine’s “Angel from Montgomery” … the whole damn family, wrapping up the night with a gloriously ramshackle version of Morris’s “Distillery” … that’s the stuff that Waynestock is made of. That’s the juice.

That is magic.

“There’d be no children troubled in their sleep, nothing else desired, nothing else to need, if you could live on love alone …”

After the house lights went up and the instruments were packed away and the last drinks poured, those of us who conceived of this thing felt like exhausted children on Christmas night. We take no credit for the creation of that magic, and like everyone else who walked away amazed and grinning and wearing those “did-that-just-happen?” expressions of slack-jawed joy, we recognize that Waynestock is so much more than just us. It’s so much more than Andrew Bledsoe and Phil Pollard, who no doubt were in the house and dancing and grinning along with the rest of us over the weekend. It’s so much more than the assuaging of grief and the remembrance of those departed and the banding together to overcome tragedy.

It is about celebration. It is about unity. It is about beauty and music and lifting up what is so good and right about this beautiful, brilliant and occasionally bizarre scene. It is about raising a flag in Happy Holler and declaring, “WE ARE KNOXVILLE.”

If we could live on love alone, then we would never have to leave Relix. The kegs would never run dry and the bottles would never dwindle. The sound would never be muddied and the instruments would stay tuned and the infinite possibilities of musical mayhem would play out for the rest of our days.

Love alone, unfortunately, isn’t always enough. And in a way, that’s OK, because Waynestock then becomes this bubble, this magical (yeah, yeah; there’s that damn word again) world to which a door is opened once a year and everything good about who we are as musicians and music lovers and human beings who call Knoxville, Tenn., home manifests itself in vibrant, vivid ways. Shutting that door for another year — and knowing there’s no guarantee it will open again — is bittersweet, but something tells me this will happen again. Part of me screams that it must. It’s too good, too special, to not revisit.

Besides, the key is simple … love. It opens the door. Love alone is all that’s needed to get back to the place that Waynestock shows us is possible. Love alone … well, sometimes it is enough.

Knox music royalty pays homage to Woody Guthrie

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The Laurel Theater, that esteemed church-turned-concert-venue in Knoxville Fort Sanders neighborhood, is a beautiful setting in which to see a show, and it’ll be the perfect setting for a “History Songs: A Celebration of the Life of Woody Guthrie” that’s scheduled for 8 p.m. Friday, Oct. 19.

To celebrate the 100th birthday of the American folk music icon, local artists — including Maggie Longmire, R.B. Morris, Jack Herranen, Sarah Pirkle, Jeff Barbra, Greg Horne and Daniel Kimbro — will gather to recreate Guthrie’s canon, from his dustbowl ballads and traveling songs to his more political songs and writings. When we caught up with Longmire earlier this month, she said the concert is a small token of appreciation on the part of East Tennessee musicians for Guthrie’s influence over the years.

“It’s something we’re looking forward to,” Longmire said. “There are shows going on all year to commemorate this, and some of the big guys are doing their shows at places like the Kennedy Center, but I think this one will be real interesting. It’ll be a mix of music and spoken word, and with everyone we’ve got, it won’t be a straight-edge show.”

Longmire counts among her favorite Guthrie songs “Deportee (Plane Wreck at Los Gatos),” Guthrie’s tale of a plane crash of undocumented Mexicans on their way south out of California, and his scatching indictment of the treatment of the dead.

“You know how you have a song that sort of impacts you? There’s something about that one that tied it together, the telling of these horrific stories through folk songs, for me,” she said. “Sometimes, things just kind of line up, and that’s one I connected with and sang as a young folk singer.”

More information about Guthrie can be found here; the concert, which takes place at the Laurel (1538 Laurel Ave. in Fort Sanders), costs $12.

Announcing ‘Waynestock 2: For the Love of Phil,’ Feb. 2-4 in Knoxville

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Last year’s Waynestock weekend was born out of tragedy — the death of Andrew Bledsoe, oldest son of long-time News Sentinel music writer Wayne Bledsoe.

The organizers — Tim and Susan Lee, Steve Wildsmith, Mic Harrison, Wil Wright and Jason Knight — didn’t know what to expect. All they knew was that a friend was in pain and a lot of mutual friends wanted to do something, anything, to help. And so a festival was born.

Over three days at Relix Variety Theatre in Downtown North Knoxville, musicians played and fans came, and the Bledsoe family received an outpouring of support. It was such a beautiful weekend, filled with love and music and community, that organizers knew almost immediately they wanted to do it again.

In November, tragedy once again struck the music community when Knoxville expatriate Phil Pollard died suddenly in his Virginia hometown. Although Phil departed Knoxville a few years back, the legacy he left behind — and continued to return to contribute to — is monumental in the local scene. Numerous groups benefited from his talent, and the local scene benefited from his whimsical, quirky, intellectual personality. Whenever Phil played, it was truly a show; music and art and some sort of zany magic all combined to make for nights of wonder, laughter and creative genius.

He left behind a wife and three daughters, and once again the East Tennessee music scene is being called upon to give back. Waynestock 2: For the Love of Phil will be a fundraiser for the educational fund of Phil’s three girls. It will be held again at Relix Variety Theatre, and in the same spirit as the original Waynestock, it will be three nights of love and light and remembrance and celebration, all for a good cause.

Performers include: Thursday, Feb. 2 — Songwriters in the Round featuring Jeff Barbra and Sarah Pirkle, Greg Horne, Kevin Abernathy and Jay Clark; Jack Rentfro and the Apocalypso Quartet; Ian Thomas; and Christabel and the Jons. On Friday, Feb. 3 — Sara Schwabe and Her Yankee Jass Band; The Lonetones; Tim Lee 3; R.B. Morris; and King Super and the Excellents. A post-Waynstock after-party, featuring the deejays of Magic Hu$tle (Lil iFFy, Tom Ato and more) will begin at 1 a.m. and continue into the early hours of Saturday, Feb. 4. And rounding out the weekend on Saturday night — The French (featuring Phil’s brother-in-law, Brett Winston); The Theorizt; Todd Steed and the Suns of Phere; Senryu; and finishing off the evening, an All-Star Tribute to Phil, featuring members of his various bands and some of the titans of the music scene paying homage to the man so many knew and loved.

This year’s organizers also include Rusty Odom, editor/publisher of Blank News; and Wayne Bledsoe, the festival’s namesake. In putting together this year’s lineup, organizers wanted to maintain the spirit of community that permeated the original through inclusion of some of last year’s acts, while at the same time including as many of the acts with which Phil was associated as possible. The groups scheduled for Waynestock 2 will continue the Knoxville spirit of talent, grace and beauty of spirit that made the first festival such a weekend of magic, and organizers believe its connection to Phil and the people who loved him will make it every bit as successful.

Admission is $5 per night, and the music begins at 7 p.m. each night. Other activities are being planned around the weekend-long event, the details of which will be announced in the coming weeks.

It’s an opportunity for those who feel they’ve received so much to give back … a chance for remembrance and celebration … a time for musicians and fans of all genres, styles and types of music to come together and lift their hands in unity for a guy who’s spent his life uniting an amazing East Tennessee music scene through his words.

We hope you’ll join us. For more information, check out the website set up for this event — www.waynestock.org, and look for further releases and e-mail blasts as the event draws closer.

Homecoming: Jodie Manross plans local CD release

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In early 2007, singer-songwriter Jodie Manross bid East Tennessee farewell to try her luck in New York City. We wrote about that here. Turns out, she’s done quite well for herself in the Big Apple, collaborating with Mark Lamb, himself a Knoxville expatriate and Circle Modern Dance alum who’s found fame with his own dance company in New York. You can check out some press on a recent work the two put on here and here.

In a couple of weeks, Manross is returning to Knoxville for a CD release show to celebrate her fourth album, “Myth of Solid Ground.” According to a just-in e-mail she sent out, the new album feautures production work from Knoxville’s own Greg Horne as well NYC music producer Sammy Merendino, Andrew Carillo (Joan Osborn’s guitar player), Graham Maby (bass player for Joe Jackson and Natalie Merchant), Rob Hyman (co-writer of “Time After Time” with Cyndi Lauper; producer of artists such as Patti Smith and Joan Osborn) and Darden Smith (Austin singer-songwriter) on back-up vocals.

There’s a song on the album, “Strength in Peace: A Song for Darfur,” that earned Manross an invite to the United Nations, she tells us.

The show takes place at 8 p.m. Friday, Oct. 16, at The Glowing Body, 711 Irwin St. in Knoxville, and will feature guest apperances by Horne (who opens the show), her one-time Knoxville compatriot Laith Keilany (now in remission from a long, arduous battle with Stage 4 cancer) and Nathan Barrett. Lamb will also perform improvised dance during the show. The cost is $5. For more information, call The Glowing Body at 545-4088.

Websites to check out: The Glowing Body online, Jodie’s website, Jodie on Myspace.

Written by wildsmith

September 29th, 2009 at 3:26 pm