For WinterWonderGrass, Cold Is a State of Mind

WinterWonderGrass believes that festival season should be experienced year-round. With an impressive lineup of talent, the outdoor music series comes to Stratton, Vermont, on December 14-16, with bands like Railroad Earth, The Infamous Stringdusters, and Keller and the Keels, to name a few. (Early 2019 events are scheduled for Colorado and California as well.) Festival marketing director Ariel Rosemberg fielded a few questions by email.

Putting a festival like this together is definitely a team effort. How would you describe the group of individuals who work behind the scenes at WinterWonderGrass?

Our team is second to none where everyone truly makes contributions at the highest level. We have experts dedicated to sustainability who ensure we’re properly and most effectively managing waste, experts dedicated to curating an ultimate winter fan experience, experts at each of our resort partners and so on. For me being relatively new to the core team, it’s truly a breath of fresh air to be a part of the wheel that is WinterWonderGrass.

WinterWonderGrass will take place in three destinations in the months ahead. As you plan and execute these events, how would you describe your commitment to the community?

The manifestation of community is one of the principles that keeps the WWG ship at sea. Our potential energy immediately transitions into kinetic at the mere rumble of discussion and stoke within our host resort communities. Additionally, since inception, the festival has contributed upwards of $100k to our local/regional non-profit partners and it’s our intent to continue on that path.

Environmentalism is an important aspect of this festival. What steps are taken to ensure this festival is environmentally responsible?

We work very closely on a national level with an organization out of Burlington, Vermont, called Waste-Free Earth. With their help we’re able to confidently promote that we’ve held a diversion rate of 80-90 percent for each festival in California and Colorado. Our intent is to bring that same model to Vermont, by the way. Every bag of trash, recycling, compost, etc., is sorted through on site with the help of volunteers. And the festival has committed to using only reusable or compostable product wherever possible (since ’15) and has eliminated all single-use plastic (since ’16).

A couple quick stats from 2018 alone: WWG diverted +23K lbs of waste from landfills due to composting, recycling or donation programs. It’s estimated that WWG saved +68K single-use compostable cups from being produced thanks to a partnership with Klean Kanteen (all three-day ticket holders receive a Klean Kanteen reusable cup). It’s estimated that WWG saved +76K single-use plastic water bottles from being used thanks to our single-use plastic ban and our free filtered water stations.

Summer festivals are plentiful, of course. Why did the concept of a winter festival appeal to you?

I love this question and we get it a lot. For me in short, there’s nothing better than huddling up with your closest friends (old AND new), listening to your favorite band, sipping a delicious craft beer or whiskey in the dumping snow at the base of the most iconic ski resorts in the country. The idea of being “cold” to a certain degree (no pun intended) can be easily masked by experience. Cold is a state of mind, it’s an opportunity to just let go of all the BS that surrounds us on the daily and just be absorbed by the moment. Plus, there’s no way to ski fresh powder after a humid, rainy, muddy summer festival night!

 

Passes are still available for all three WWG weekends.  Buy your tickets and discover more at winterwondergrass.com

 

Huck Finn Jubilee Makes Big Return for 41st Year of California Bluegrass

For bluegrass fans in Southern California, Huck Finn Jubilee has been a destination for more than 40 years.  After a two-year hiatus, the long-celebrated family event returns to Ontario, California, on Oct. 5-7. This year’s lineup features headliners such as the Infamous Stringdusters, Yonder Mountain String Band, and The Lone Bellow, and BGS will be on site all weekend to present the BGS House Party jam after the main stage sets wrap up…

Leading up to next weekend, the festival’s new owners, Roger and Nikki Malinowski, chatted with The Bluegrass Situation.

Don’t miss our special video sessions highlighting some of the acts you’ll see on the lineup below!

Fans can discover music in so many ways now. What is it about a music festival that is special?

The wonderful thing about music festivals is that they’re shared experiences. They bring people together. Those moments when the audience sings together with the artist, and each other, or when you literally feel the music move you – times like those can’t be beat. Music festivals create communities where neighbors can meet, families reunite and spend time together, where we can get away from it all for just a little while.

What have you learned about the process of booking festivals that has really surprised you?

We’ve been surprised by the amount of love and support from the Huck Finn audience. The festival has a 40-year-plus history, yet it almost ceased to exist. I remember when we made the announcement on Facebook that Huck was back, the messages of gratitude were overwhelming. We’ve also found that putting on a festival of this size is a significant amount of work. The time, energy and effort behind pulling off an event of this size is enormous. The support and love from the bluegrass community and fans of Huck Finn continues to motivate us to create the best experience we possibly can.

When you are selecting artists, do you have a certain audience in mind? In other words, is there a common thread that runs through your lineup and/or your ticket holders?

Absolutely. We want to take our audience on a musical journey. It is important that we honor the traditions of bluegrass music while ensuring that we give space for the evolution of the music. Our hope is that our younger audience gets exposure to the roots of bluegrass and appreciates the amazing musicianship, harmonies and tradition of the genre. We also hope that the entire audience will enjoy how the music itself is progressing, exploring the unique textures and sounds of acoustic instrumentation in more modern takes on the style.

For someone who has never been to Ontario, California, and the area, how would you describe it to them?

Ontario is essentially a suburb of Los Angeles. It has all the amenities one might want in traveling to a new place: great places to eat, drink, shop and stay. It has a small airport and a great number of hotels in the area. The park where Huck Finn is held is a little oasis tucked away within the city. It is absolutely beautiful with two stocked lakes for fishing, a zero-depth splash play area, a sizable playground for kids, and plenty of quiet shaded areas to relax and unwind. There is ample parking, great spots for tent camping and expansive area for RVs. It’s easy to get to, yet far from the busyness of LA. Ontario provides all the conveniences for anyone looking to spend a single day or the whole weekend with us.

People get hungry! How did you choose the vendors for Huck Finn?

The word that has driven all of our decisions this year has been ‘balance.’ We want to accommodate for all tastes, simple and more refined. We wanted to provide the types of foods you might expect at a festival, but also provide some more elevated offerings as well.

What do you hope that attendees will take away from the Huck Finn experience?

We hope to forge connections, ultimately. Connections to the music and the artists performing. Connections to each other, and to their families, neighbors and friends. We hope that people come with an open mind, enjoy a great lineup of music that spans the bluegrass genre, and get to put the stresses and worries that they might have behind them. I hope that they smile at each other and meet new people during the show, eat great food, spend undistracted time with their loved ones and make it something that they will want to bring their friends and family to for years to come.

You can still purchase tickets to HUCK FINN JUBILEE here.

 

STREAM: The Infamous Stringdusters, ‘Laws of Gravity’

Artist: The Infamous Stringdusters
Hometown: AMERICA!
Album: Laws of Gravity
Release Date: January 13, 2017
Label: Compass Records

In Their Words:Laws of Gravity is Duster business at its finest. My favorite project to date. We trusted ourselves to produce, write, and arrange all of the songs with sonic help from the wizard himself, Billy Hume.” — Jeremy Garrett

STREAM: Jeremy Garrett, ‘The RV Sessions 2’

Artist: Jeremy Garrett
Hometown: Nashville, TN
Album: The RV Sessions 2
Release Date: September 27
In Their Words: "This record is the culmination of the landscape-inspired melodies that were gathered over the last couple of years traveling around the U.S. in an RV. In the bluegrass world, many of the greats have paved the way with all-instrumental records, and I felt the artistic desire to make one, as well. I have always wanted to make a 'fiddle' record and play the other instruments that I have loved and practiced so much over the years such as mandolin and guitar. I really enjoy making my own compositions and I carry around recording gear in the RV so that I can create music when I feel the inspiration strike." — Jeremy Garrett

The Natural Course of Things: A Conversation with the Infamous Stringdusters

What do you get when you cross a bunch of roots-minded female singers with a bunch of bluegrass-adjacent male musicians? Why Ladies & Gentlemen, of course the new release from the Infamous Stringdusters which features appearances by Joan Osborne, Lee Ann Womack, Mary-Chapin Carpenter, Abigail Washburn, and eight more of the finest voices roots music has to offer. It's the sixth record in nine years for the band — which is comprised of co-founders Chris Pandolfi (banjo) and Andy Hall (dobro), along with Andy Falco (guitar), Jeremy Garrett (fiddle), and Travis Book (bass) — and it showcases why the Stringdusters are considered one of the most innovative groups currently on the circuit.

First off, kudos on some great guests. [Joan] Osborne and [Lee Ann] Womack are two of my all-time favorite voices. So, did you guys just put a bunch of singers' names on a dart board and start throwing? How'd you figure out who you wanted?

Chris Pandolfi: The concept for this thing was two-fold: On the one hand, we wanted to do something different, as far as an album goes, just to mix it up. But a big part of it was also that we had made a lot of great friends along the way and we thought, “Who could we utilize, in terms of special guests?” And this concept evolved out of that — “What if we call on some of these awesome lady singers that we've met over the years?”

As the process started, the list was mainly comprised of people who were more in our community, in our musical scene. But, then, of course, some of those names were not, necessarily, people that we knew before the advent of this project — like Joan Osborne. The list was a combination of the two and, as the material evolved and we were getting a feel for the aesthetic of these different songs, we just did the best we could. Once the list was close to what we thought it would be and we got some confirmations from people, we — along with our producer — just did our best to match up what songs we thought would be best for each lady.

To me, that's one of the awesome successes of this album: It really uses these artists, I think, in a context that works for them. Look at the Joss Stone track or the Lee Ann Womack track … or Celia Woodsmith, who had the perfect voice for that song. All the ladies, in their own ways, brought their thing to the project and I think, in the process, they helped us take these songs and make them something that we couldn't have necessarily done on our own. They helped us make the most of all these unique and different sounds and styles that they have. It really came together that way. Certain people weren't able to do it, and the list filled out from there. But where we ended up, as far as the guests and what songs they were on, I think that's one of the cool successes of the album. The song “Have a Little Faith” was actually written for Joss Stone, with her in mind. I know that.

I was going to ask … considering that the span does run from Joss Stone to Sarah Jarosz, which came first — the singers or the songs? Did you write for specific voices or was that the only one?

Andy Hall: Yes, I believe so. Aside from that, we all write individually or co-write or whatever and bring songs to the band. So we all had songs, individually, that we were ready to bring to the next project. But I think that was the only one that was written for the singer. In other instances, say for Aoife O'Donovan, hearing that song “Run to Heaven,” it sort of reminded us of Crooked Still, just the way that sounded. In that instance, that became clear that would work that way. Each song just triggered a little something … an idea. That was one of the fun, creative parts — who would sound good on what song.

So how'd you figure out that Joss likes a little bluegrass in her soul?

AH: [Laughs] Andy Falco was hired to play in her band for a Rock in Rio festival a number of years ago. That's how that connection came about. Our connection with Joss was one of the things that inspired this record because Joss came to the States, and we opened up for her in Kansas City. She wanted to do a video of us and her playing together, during the day. She sang our song “Fork in the Road” with us backing her up for this video project she was doing, and it just sounded so cool. That was one of the sparks for this project. But that's also how that connection came about.

Interesting. Who was the first to say yes? And who was the biggest long-shot you can't believe you landed?

CP: Hmmm … Who was the first to say yes?

AH: The first person who recorded with us was, I believe, Jen Hartswick who didn't sing, but played trumpet on a number of songs. Then Mary-Chapin Carpenter was the first vocalist to put her track down. She was in Nashville while we were tracking. But, as far as asking, I don't remember.

How free were the reins when it came time to let them do their thing? Was it, “Have at it, gals!”

CP: Our producer was on hand for every session, I think, except for one or two. He did a really great job with this project — Chris Goldsmith — just in terms of staying true to his vision, which a lot of it was sonic, and he got a really cool, consistent sound across the record, although there is a real variety of styles there. I think that vision extended into how these songs would sound best. But, then again, there were cases — Joss is a great example … that track, by design, was made to let her do her thing which is to cut loose and almost improvise a lot of the phrasing. In cases where that would make the music come to life, that's what happened. In other cases, probably Goldsmith had a clearer vision of how it was supposed to sound. To some extent, every song was about letting these ladies do their thing.

The Sara Watkins track jumps to mind. She has such a compelling vocal on there and it's all because she does her thing. There's a moment where she really goes for it, and she's such an awesome singer and performer that the idea of getting her to do her thing, that's the whole point. So, to some extent, I think that was going on with everyone.

Obviously, all the guest vocalists aren't on the road with you, so how are you touring this record?

AH: We have Nicki Bluhm on the road with us for this whole tour and she is really helping. She's singing a lot of the Ladies & Gentleman songs that we do. Sometimes we'll do a few just on our own, but Nicki's on every show for the whole Spring tour so she's singing a lot of it. We also had Della Mae opening for it on a bunch of it, and Celia Woodsmith would come up and sing her song.

It's amazing how you cross paths with musicians on the road and that's, initially, how we made a lot of these contacts. We ran into Aoife O'Donovan — she was in L.A. when we were there recently, so she came and sang with us, and did a Jam in the Van session with us. We've designed part of the tour to have female bands supporting us, so we have Paper Bird coming out to open some shows and, hopefully, they're going to be able to help share some of the vocal duties. We have a lot of guests, but Nicki is anchoring all that.

More broadly speaking, you guys are very invested in being innovators within “bluegrass.” That's often a very subtle thing, though, right? So break it down … what are some of the things you guys do to open it up a bit and set yourselves apart while still honoring the traditions?

CP: One big thing that we're really focused on, consciously, is playing our own original music. The process of crafting original music is the thing that, simultaneously, helps us develop our sound as a band. We have a lot of co-writing going on, but mostly we arrange the music together. And we just try to figure out new ways to make all these instruments go together and distill all the different styles and influences into one sound that makes sense. We're pretty conscious about that.

We're really conscious about our live show. We're pretty committed to making the live experience really different every night. Of course, we're not the first band to ever do that, but we just try really hard to do our own version of that. And our fan base has come to expect a lot of variation and innovation, as far as on a night-to-night basis. They expect to see something different, and we're playing almost three hours a night, so we have to mix it up for our own sakes, too. Those are two big ones: playing our own stuff and focusing on having that live show be something that is really predicated on being different every night.

AH: One thing, specifically, that I know we've worked on a lot in the past few years is that we don't have a mandolin, which a lot of bluegrass-type bands have. The mandolin is a key rhythmic thing. Since we don't have that, we've had to get really creative with how we play rhythm and play rhythms that are not, say, bluegrass. Like on the Ladies & Gentlemen record, there are a lot of songs that don't have a traditional bluegrass beat. We've consciously spent a lot of time developing unique ways to play our instruments that you wouldn't necessarily expect or hear in other string band contexts. Myself being a dobro player, I take a lot of the rhythmic responsibilities, which is not a common thing. Not having a mandolin, we've had to get somewhat innovative with how we create rhythm and play grooves that aren't necessarily bluegrass. To me, that's something unique that we do.

It seems like there has to be a lot of trust between the band and the fans. You have to trust that they're going to follow you wherever you go, musically. And they have to trust that you're not going to do some crazy, way out of left field thing. Do you ever worry about splitting the difference in such a way that you isolate them … or any part of them?

AH: Well, yeah. The scene of traditional bluegrass and, say, the broader music scene that we're playing more in now, there is quite a difference there. We've chosen to be part of a music scene that is broader, where we play in festivals that are not just bluegrass festivals. I think, in that context, it's not quite as strange to have music that is slightly more creative, record to record. A lot of the fans we're appealing to are a little more used to that. But this is the first time we've ever done a record like this that is a very different, specific vision. Sure, you certainly wonder, “What are people going to think?” [Laughs]

CP: And we have, over the course of our career, definitely alienated people. That's part of the natural course of things. What we do is our thing. We decide where the music goes. That's one of the cool upsides of not being in what most people would perceive as a more popular style of music: You're not really beholden to any record label or anything like that. In the grassroots scene, there is some idea that your fans are going to follow you wherever you will go. Obviously, there's an extreme there and there are anomalies to that rule. But, for the most part, we're lucky: We have these great fans who want to check out all the different voices.

I have a side project that involves electronic elements and it's clearly not for the hardcore bluegrass people of the world. But there are plenty of people in our fan base who, though they don't listen to anything like that, they are excited for that to be their introduction to this musical world. I think that's a good glimpse into the way they think. They're like, “We love this band. We want to see what they're going to do. If this particular thing is not my cup of tea, then there's always going to be another album that comes out.” I think they are getting used to the fact that there are a lot of variations between projects and between songs and the live show, so it's almost part of the whole thing. So, for me, I'm not ever too worried that they're not going to dig it. As long as we make music that we believe in, I think our fans will get behind it.


Photo credit: McCormick Photos & Design, LLC

MIXTAPE: Chris Pandolfi

 

When Chris Pandolfi took to the stage at last night’s IBMA Awards in Nashville, he was ready to take things a little off script.  ‘Presenting an award in T minus 45 mins. I plan to throw a wicked curve at the teleprompter operator.‘ he Tweeted from backstage.  Really, though, that’s how the Infamous Stringdusters’ banjo man seems to live his life: a little off script.  Panda’s not one to play by the rules, even though he understands them thoroughly.  Take for instance his band’s annual festival, The Festy, which launches it’s third year in Nelson County, Virginia next weekend, October 5-7.  Unsatisfied with the structures and lineups of other music festivals, Chris and the ‘Dusters set out to create their own take on the festival experience.  Or consider Pandolfi’s blog, where, after writing his Bluegrass Manifesto in April 2011 about the shifting state of the genre, brought the hot topic to the tip of everyone’s tongue.  His decision to face the debate about The Future of Bluegrass head on lead him all the way to the keynote speaker podium at last year’s IBMA conference.

And to top it all off, Chris also has an excellent and eclectic taste in music, as evidenced in his contribution for The Sitch’s latest MIXTAPE

Track:  Ragged Wood
Artist:  Fleet Foxes

‘These guys blew up when this album came out, but it took me a while to really get into it. Something clicked and I just fell in love with their sound, rich with reverb and rambling gang vocals. It all sounds so grandiose, not to mention the song, which really takes you on a journey through a number of real dynamic changes, but it really works. I love them because they sound like a band really following their own muse.’

 

Track:  The Weight
Artist: The Band

‘When Levon recently passed away, we all dusted off some old Band material. This song just gives me chills once it settles in and Levon starts to sing. I can’t think of a more perfect group of musicians than these guys. We are lucky that they found each other. The body of work they left behind is really pure, like the sound of American history or something like that. I love all their music, and this tune is not an obscure one, but it’s just so perfect.’

 

Track:  Feel It All Around
Artist:  Washed Out

‘Ernest Greene (aka Washed Out) has a really cool thing going on. The name fits the music well, with it’s washy, wooly quality, reminiscent of an earlier era especially in its production value. His songs are so simple and catchy, but they set a great vibe and fill the air in this amazing way. I love his music.’

 

Track:  Peri’s Scope
Artist:  Bill Evans

‘Bill Evans is my favorite improviser ever, and I always come back to his music especially if I want a good jazz fix. This album is one of my favorites, representing the other-worldly trio that Evans did a lot of work with (Scott Lafaro and Paul Motion). It’s insane how well they play together, and on top of it all is Evans’ beautiful and fluid piano playing. His improvising is so stellar–always so full of thought and feeling, never a misused note.’

 

Track:  Black Tin Box  
Artist:  Miike Snow

‘These guys are a really unique band–cool songs with lots of unique production ideas. Two of the three guys are heavyweight producers so the dynamics and sonic properties really move around a lot. A lot of their tunes are pretty dancey but this one is real mellow, featuring some cool vocals from Lykke Li. I love the dreamy vibe and the simplicity of it all.’

For more info on The Festy, visit www.thefesty.com.  You can learn more about Chris Pandolfi, his music, and his other activities through his blog, chrispandolfi.com