Folk music both profits and suffers from of its strong association with history and preservation. Its ties to the past are more conscious and functional than any other genre’s, as folk’s purpose is often overtly curatorial. Its musical conservatism is thus not “stodgy” or reactionary, but rather an essential part of its protective, preservationist calling. The folk traditions shelter and nurture instruments, techniques, narratives and repertoire that would otherwise be steamrolled and assimilated out of existence at the tempo of pop culture. Even new folksongs and compositions carry the weight and expectations of that tradition. The music profits in grant monies and in the many advantages of rootedness, but suffers by the appearance of a fixed traditionalism, by the denial of the fluid sense of play and innovation that is the birthright of jazz, for example.
In recent years, folk and bluegrass have taken on a quietly revolutionary, exploratory urgency and an openness to fusion, expressed in the global whims of Béla Fleck, the classical crossovers of Mark O’Connor and Edgar Meyer and the indescribable roots/art song of the Punch Brothers and others. Even at its most willing and recombinant, folk clings to its disciplines regarding instrumentation and the play-it-yourself ethic. Consider the case of Walt Michael, the hammered dulcimer master, composer and poly-roots musical curator. Michael’s axe of choice may seem to consign him to the role of the Old World roots purist and advocate (which he is), but his actual compositions have far more relaxed boundaries – allowing in airs of 20th-century Minimalism (for which the hammered dulcimer is delightfully right) and a broad sense of global sourcing.
Walt Michael & Company headline Common Ground on the Mountain, a concert of folk, bluegrass and acoustic music at the Orpheum Film and Performing Arts Center in Tannersville on Saturday, January 16, but there is hardly a slouch on this compact and intriguing bill. Banjoist Tony Trischka knows a thing or two himself about the tradition and innovation. A recognized figure in both old and newgrass for 45 years, Trischka is also a member of Double Banjo Bluegrass Spectacular, which has featured contributions from Steve Martin, Earl Scruggs, Béla Fleck, Tony Rice and many other luminaries.
With a direct lineage to the Band, Professor Louie & the Crowmatix spring directly from the source of the old/new paradox and progressive Americana rock. Members of the group have performed with Dylan, Van Morrison and many others. Singer/songwriter Greg Dayton rounds up the lineup with his fusion of acoustic blues and classic rock. His regular performances with his band at the Triad Theater in New York City over the past four years have been the creative breeding ground for the material for his upcoming CD, scheduled for release in early 2016.
Common Ground on the Mountain begins at 8 p.m. Tickets cost $30 in advance and $35 at the door. For more information and tickets, visit www.catskillmtn.org. The Orpheum Film & Performing Arts Center is located at 6050 Main Street in Tannersville.
Common Ground on the Mountain, featuring Walt Michael, Tony Trischka, Professor Louie & the Crowmatix & Greg Dayton, Saturday, January 16, 8 p.m., $30/$35, Orpheum Film & Performing Arts Center, 6050 Main Street, Tannersville; www.catskillmtn.org.
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