The indie-folk duo Barnaby Bright makes its first appearance on Mountain Stage, recorded live in Charleston, W.V. The many instruments the two often use reflect the traditions they've picked up in their travels as musicians. It's not uncommon for the pair to employ harmonium, banjo, ukulele, floorboard bass, thumb pianos and multiple guitars in a single set.
Originally published on Thu December 13, 2012 5:22 pm
Singer-songwriter and guitarist Josh Ritter has blurred the line between narrator and musician. Beyond music, Ritter is also an author; he published his first novel, Bright's Passage, in 2011. He bridges the divide between his two occupations in his lyrics and performances, which always have an air of storytelling about them.
The energy in the room is palpable, as Wynton Marsalis launches into "Dipper Mouth Blues," a tune named for King Oliver's trumpet player, Louis Armstrong. "New Orleans Bump" features the whimsical clarinet of Victor Goines.
Originally published on Mon January 28, 2013 11:41 am
Take a group of heavyweight jazz masters — the kind who helped to make the classic records that defined the modern idiom — and put them together on stage: Of course there'll be fireworks. But the all-star collection known as The Cookers has cohered into a band which has toured for five years now, and released three albums of mostly original compositions. Their latest, 2012's Believe, proudly captures this band's meat-and-potatoes spirit, and brings some deserved attention to its members' storied and ongoing careers.
Singer-songwriter Lucy Kaplansky makes her 10th appearance on Mountain Stage at the Culture Center Theater in Charleston, W.V. Recorded live on the eve of Hurricane Sandy, Kaplansky's performance exudes a sense of urgency and energy, as she was no doubt concerned about beating the storm back to her home and family in New York City.
On a new box set from mail-order house Mosaic Records, Charles Mingus, The Jazz Workshop Concerts 1964-65, the jazz legend's bands usually number between five and eight players. The bassist often made those bands sound bigger. He'd been using midsize ensembles since the '50s, but his new ones were more flexible than ever, light on their feet but able to fill in backgrounds like a large group.