Chicago
fiddler Liz Carroll and guitarist Jim DeWan lent
the serenity and energy of Ireland, as did another Chicago-based
Irish group--accordion player Jimmy Keane, fiddler Sean Cleland,
and bouzouki player Pat Broaders. Bois Sec Ardoin, Edward Poullard,
Danny Poullard, and Charlie Terr let loose Louisiana Cajun music
on their box accordions, fiddles, and guitars. Ralph Blizard showed
that at 81 he could still drive home his trademark Appalachian
Mountain Longbow style as the New Southern Ramblers backed the
Tennessee fiddler on vocals, guitar, fretless banjo, and bass.
The trio Ginny Hawker, Kay Justice, and Tracy Schwarz got the
blood flowing with old-time ballads and gospel songs, including
tributes to the Carter Family, who inspired modern country music.
Scandinavian waltzes and Minnesota narratives flowed from John
Berquist, and the eight-member Keith Eric and Waterhouse band
swirled red, gold, and green as they danced and played reggae,
throwing in at least one Bob Marley cover.
While tickets for the concerts cost from $7 for
students on up to $17 for general admission, fans could catch
their favorite acts for free on Saturday and Sunday during open
workshops at Ida Noyes Hall. In between riffs, performers explained
their approaches to banjo playing, gospel singing, barn dancing,
and more than a dozen other folk traditions.
Speaking from a makeshift stage set up below Ida's
portrait, guitarist Phil Jamison gave his take on the nuances
of traditional Southern folk music to 100 or so people--some toting
their own battered instrument cases--seated in folding chairs
and perched on windowsills. "In bluegrass you wow people with
hot licks," he said, "but old-time music is ensemble music and
when I'm playing in a group, whether I'm in a jam session or performing,
I will consciously let my ears do the walking." Banjo player Gordy
Hinners described his role in a band this way: "What I typically
do behind the fiddle is I try to put an accent on the backbeat.
That basic rhythm helps support the fiddle. It sounds like a train
underneath and I hope it allows the fiddle to go where it wants
to go." Later, to a still-packed library, Arthur Duncan, backed
by his Back Scratchers (who include drummer and Blues Before
Sunrise radio show host Steve Cushing), explained with a smile
his atypical harmonica technique of playing the bass notes on
the right: "They call it 'bottom-up.'"
While the library may have felt more like a friendly
back porch where passersby felt free to pull up a chair and listen
in, the second-floor West Lounge turned into a country clapboard
church. Ginny Hawker urged those who had gathered in a semicircle
for a Saturday workshop on gospel singing to "try some of those
Primitive Baptist things with your voice. You don't want to be
doing piano singing all your life. Good singing depends on what
you do in between the notes." One standard Appalachian technique,
she noted with a laugh, "is like a yodel, and it's best to learn
it in the privacy of your own pickup." On Sunday, the U of C Shape
Note Singers Association took over the attic-like space. With
the light oak floor reflecting the winter sun, they sent the emphatic
rhythms of their far-from-timid gospel throughout the building.
Downstairs, the beams and oversized windows of the
Cloister Club looked less gothic and more barnlike when Ralph
Blizard and the New Southern Ramblers set the mood for upwards
of 30 couples to dance the New England contra under the direction
of the Chicago Barn Dance Company. In the building's every available
nook and cranny, performers mingled and made music. Hanging out
before her evening performance, singer and guitarist Kay Justice
thumbed through the hundreds of CDs for sale in the lobby, settling
on some by Da Costa Woltz's Southern Broadcasters, the Skillet
Lickers, and fellow performer Liz Carroll. The sounds of headliners
jamming with members of the musically inclined public emanated
from the first-floor cloakroom and the second-floor lounge. On
the first staircase landing, her back to an unbroken backdrop
of white snow and clouds, Hawker practiced what she'd preached,
belting out "Family Reunion," supported by guitar, fiddle, bass,
mandolin, and banjo. "Once it gets going," notes co-organizer
Gabriel Rhoads, "the festival just powers itself, and comes alive
with an energy all its own."
And by the time an Irish medley brought the festival
to its crescendo on Sunday night, it wasn't too much of a stretch
to imagine Ida loosening her starched collar, and humming a few
notes herself.