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A review of the 2003 Rocky Mountain Ragtime Festival
A Ragtime Festival That Rocks
by Lucille Salerno
(Originally published in the Fall 2003 edition of
Chandelier,
official newsletter of the Terra Verde
Society, reproduced
by permission)
I did my first radio show since attending the
Rocky Mountain Ragtime Festival this morning-three
days since my return to Columbia from Boulder. I
launched the show with great energy and
enthusiasm-planning to chat about the event and treat
my listeners to the many new compact discs I brought
back. Chat I did. And, the CDs, in a line, were
having their turn on air. However, within about thirty
minutes, I was feeling uneasy. I was somehow
missing the mark. The recordings were great but they
paled-'anemic' compared to my memories of the event.
I was not giving my listeners a taste of the event's real
artistic moments-many of them collaborative-creating
art before our very eyes. I have come to believe that
it's the spontaneous melding of virtuosity that is the
hallmark of ragtime's annual 'Rocky Mountain High.'
Peak performance experiences are 'happenings' that
just ripple out-they are birthed in the basement of the
venue, during the Afterburners, on stage -everywhere
enthusiastic performers are gathered. In the presence
of this facile creativity, nobody sleeps-participants try
to miss nothing and performers just cannot govern
their need to express something unique with other
artists. The result is a level of performance that no
festival producer is able to buy-certainly not this sort
of creative flow.
Artists themselves produce the Rocky Mountain
Ragtime Festival. And, in moments, they are not
really playing for the audience but for each other. It's
reminiscent of experiencing a traditional Greek
café-where out of respect for a performer-someone
who has just come out of the audience to dance-alone,
viewers are constrained from applauding. Only
respectful finger snapping acknowledges their
appreciation of the 'act' because it is understood the
performer danced for himself-you are simply a
privileged witness. That is not a totally fitting simile.
The audience in Boulder maintains a respectful quiet
only for the length of a performance. Thundering
applause, whistles, loud calls are the
acknowledgements of pleasure-even when an audience
is awed. All festivals have peak performances and
moments of great beauty. Boulder adds a dimension.
Artists are somehow synergistically locked in their
craft during their sojourn there. You could call it
magical but that would miss explicating the causal
chain. While they are paid performers, not one is "a
hired hand"-artistically, they own the event.
Compensation may be meager but that fact is easy to
transcend. Their rewards are intrinsic-artistic highs,
for the moment, count more than money.
These are the thoughts ran through my mind as I felt
letdown in a show I had begun with such enthusiasm.
I have been doing radio long enough to know the
intimacy of the medium-listeners easily experience my
emotions from the tone and force of my voice, what I
play, how frequently I come on mike to share feelings,
thoughts, ideas, responses. Not to lose them, I began
telling my audience about the emotional soberness that
had come over me-and about the fact that it was
taking me down from the high with which I had
begun. I related most of what I have told you above.
Somewhat helplessly-my witnessing failing-I urged
folks to make the trip to Boulder next year. The
quality of the experience simply could not be recreated
in a radio studio.
It is ironic that I took this writing assignment for a
Terra Verde publication; I do not always groove to
dissonant riffs. Earlier, as I told ragtime colleagues
that I would be going to Boulder, a few answered that
they were not too keen about Terra Verde. I even
confided to one of the festival producers the group
needed to get out from under the Terra Verde label
because I feared that Boulder's turnout was being
suppressed because it's seen as a "Terra Verde event."
After this festival, I can answer with a question:
Aren't we really all into talent? If you share the
opinion of that buzz in ragtime circles-admittedly, I
did-know that there is high art happening in Boulder.
It 's true even if Music Director Scott Kirby responded
to my enthusiastic compliments on the quality of what
he had produced over the entire 4.5 days with a
deadpanned: "Most of it worked but I made some
mistakes." I realized that tacitly he was already
working on the 2004 event. 'Fixing it'-amid the
accolades! That drive tells the story of the gift the
event is to us.
By now you realize that this is not a review, it's an
endorsement. Let's get down to the thrills.
August has now begun, yet I am still able to awaken
the 'high.' It is a lot more difficult to recreate the
specific aspects at which I marveled. I neither
recorded events nor took notes during the festival-I
did not know I was to be asked to take on this task
until the very end of the festival. You will just have to
believe my soul-or wherever the seat of emotion lies.
My professional colleagues point to the amygdala-but
'soul' makes it.
ˇ Sophie Rivard--and her ubiquitous violin-was
astounding. With ease she performed with every
musician in every music style-with grace, charm, wit
and pleasure. Frank French had planned her
contributions to their duets-apparently arriving at the
festival with ready arrangements. Much of her effort
was spontaneous-or hatched in just a few minutes,
perhaps at the Afterburner. As the festival
progressed, her duet appearances were so numerous
that MC Jack Rummel suggested that Sophie should
be invited to autograph every CD purchased. She is
an energetic delight and a most impressive artist.
ˇ Carl Sonny Leyland has a chemistry and talent
that just does not quit. Cheers to the festival
producers for never doubting that they were right to
bring in a Boogie and Blues great. Warm and
personable, Sonny's duets with Scott Kirby were
barnburners-especially the concluding boogie at the
Monday night concert, hosted by the elegant Chris
Finger Family-at which no fewer than seven pianists
are able to perform simultaneously. Rocked by what I
had just experienced, I went in search of anyone who
would listen to my appeal to have the artists agree to
the production of a CD of festival highlights-actually,
I imaged at least two dozen CDs-capturing every
glorious performance. Festival producers agreed-at
least two of them and the engineer but the Music
Director voiced a long-range plan that had me
wondering if I would live long enough-just a little
pressure on you, Scott Dear. If Sophie had a
synergistic impact on the entire festival-and she
certainly did-Sonny, too, energized everyone and gave
us an almost giddy high-even when he played Da
Blues.
ˇ Tom McDermott, another new experience for
me. Originally, a St. Louisian, the Tichenors and DTR
talked about him at events in the Gateway City. He
went off to find his fortune in New Orleans and now
his music is really difficult to 'pigeon hole.' Tom is
unique in style and in the impressive range of his
repertoire, including his own compositions. To my
listeners, I glossed it into "fusion". One day I shall ask
him. At one time a performer with the Dukes of
Dixieland, he has the coolest body rhythm-and,
perhaps, the coolest temperament of any of the artists
at the festival. So cool, in fact, that I found myself
listening more cognitively than emotionally-which is a
little like my response to Bop. I could really get into
some of his music-especially when I was grooving to
those gentle rhythmic motions of his at the piano. I
love the memory of Tom's absolutely placid facial
expression while, as one of five percussionists forming
a rhythm section that had been recruited by composer
French at the Afterburner the previous night, while he
energetically contributed to the debut of Frank's new
composition, Carnevalesca. Tom's performances are
cognitive acts-but he 'dances' at the piano.
ˇ Credited with having 'thought up' the Boulder
Fest, Frank French was at the top of his form at this
the eleventh annual event. At least a part of him has
morphed into Ernesto Nazareth-and his new works
were thrilling-especially Carnevalesca accompanied by
Sophie-and his once-rehearsed 'Rhythm Five'. Frank
was as hot and as enthusiastic performing in the
Afterburners as he was in concert. His talents, his
hands were just simply flowing. Complimented by
many for his compositions and his buoyant
performances, he just smiled a little distantly and
answered-almost spiritually, "Yes, I just have to listen
and it's there, it comes out." I really don't know what
to highlight to convey what he contributed. I just bear
witness to an artist who has come into his own, Big
Time!
ˇ Luis Simas, like Tom, has hypnotic physical
motions that accompany the music he performs. This
was my second experience of Luis's artistry-the first
was also in Boulder. His warmth and charm was
familiar, enjoyable as he performed the music of his
native Brazil-including his own chorinhos. Unfamiliar
at the start, you find yourself lulled by the softness, the
gentle rhythms and Luis's apparent ecstasy as he plays
the music of the land of his birth. It was almost
levitation inducing to hear Luis and Sophie-and, in
Afterburner, Luis and a clarinetist with the sweetest
tone whose name I failed to get-as they performed
Doce de Coco. One wants to hasten to Brazil for
more-actually, just to New York, where Luis now
lives. He is in Oslo as I write-about to perform with
Morten Gunnar Larsen at the Oslo Jazz Festival. I
won't think about it, though-it would make me feel
totally deprived in the midst of this plenty.
ˇ Brian Keenan is the young performer who I
expect will succeed Trebor Tichenor, as the folk
ragtime guru-both as performer and composer. He is
refreshing as he takes you 'down' with the sounds that
once emanated from early 20th century parlors when
the piano was the center of family life. So young a
man with a grasp of a style that likely predates his
birth by 70+ years-and in which he is commanding and
totally at home. I grow fonder of him with each
experience of his pluck and his fine talents. Although
a fine composer, in addition to his own pieces, Brian
performs many compositions of his contemporaries.
He, too, is ready to duet whenever presented with the
opportunity. Brian proved his impressive
sight-reading abilities one night in Afterburner.
Surrounded by the hushed and emotionally tense
audience who three years ago had commissioned a
composition from Reginald Robinson-actually it was a
barter for a piano, Brian, announcing that he was
about to play music he had never before seen, debuted
Reginald's Tears of Joy. It was a sensitive, tender
performance of a piece that Brian understood had
great meaning to both the composer and the
emotionalized 'commissioners' who had gathered in
late night in the hope of hearing 'their' piece. There
we witnessed the artist's impressive grace and his
humanism as he obliged our solicitous group. Brian
had many wonderful stage performances. Yet, I find
myself relating this one in Afterburner to you because
of the spirit and depth of feeling with which it was
performed. I can only hope that I live long enough to
know the fullness of this man's contribution to the
music we love.
ˇ Craig Ventresco and Company-with Tom
Marion that's the description in the program of an
early morning performance-too early for the two
performers who had arrived from California just hours
before. I know Craig as a virtuoso guitarist-this was
my first experience of Tom. It was a bit like a scene
from Saturday Night Live! Gifted musicians both,
they were joined by Dennis Pash and Bob Ault-to
more gifted musicians. Tom has a way of fixing his
gaze on one player, gesturing and commenting to
Craig about him as if the audience-indeed, the other
players-were not there-all the while playing beautiful
mandolin, even playing guitar with a mandolin strum.
Scott joined them at the piano for one set-which I
welcomed because it was an opportunity to experience
Tom's talent. Tom immediately began to play
beautiful harmony to the melody Scott was playing. It
did not quite come together but the act was
enjoyable-funny really. It seemed as if everyone but
Tom played American music. The situation reversed
when they broke into Italian and Latin music-that was
all Tom's. It was good fun-and wonderful to see and
hear Craig and Dennis again after soo long. Bob
seemed to be the only one aware of the fact that there
were about 200 people watching 'the backstage talk
on stage'. He began narrating for the audience as he
smiled his warm smile and played his exotic harp
guitar. You had to be there. The group performed
subsequently in an evening concert as the All Star
String Band--and the fact is that they were Stars in
that pleasurable set-but their first appearance was just
plain fun, albeit perhaps somewhat unintentionally so.
ˇ David Thomas Roberts outdid himself at this
event. For the first time since he composed it, DTR
performed his entire suite, New Orleans Streets, in
one sitting. It was a magnificent experience that, at its
conclusion, left the audience as emotionally drained as
the performer. David, who now seems in demand for
requests for commissioned pieces, premiered two of
his newest compositions-both, he explained, are a
work in progress. Nevertheless, there was no
mistaking DTR's musical signature in the works. It
seems a sort of immortality to have a DTR
composition that relates personally to you, your life
and times. We are fortunate to be in such close touch
with so fine a composer-actually composers-plural,
given all of the talent in the genre.
ˇ Jack Rummel -with his wonderful understated
style, is far and away the genre's BEST MC and, more
and more, his real talent as a composer of beautifully
lyrical melodies is becoming apparent. Sure he is not
always a totally proficient performer but you just wait
for the wonderfully humorous self-description that will
follow and you are grateful for the opportunity to
experience his lighthearted approach to life-and you
would not have it any other way. He is simply a
delightful presence at any festival. For days, the
melodies in When the Work is Done, I'll Dance have
repeatedly played in my mind-especially in duet with
Sophie on violin.
ˇ The Mont Alto Ragtime and Tango Orchestra,
the Rocky Mountain Ragtime Festival's 'house'
orchestra, giving pleasure every year at this
event-including the Afterburner-where leader Rodney
really cut loose in solo piano. While there was a
dance-where you might have expected this group to
play, the music was recorded. The dance was really
an event for dancers-serious ones who are frequently
together and have accompanying vintage
outfits-largely 20s garb. Wonderful to watch-with
you feet tucked under the chair-the space was not
luxurious.
ˇ Scott Kirby-the master himself! It's hard to
paint a picture of this most energetic, most talented
being-who is never satisfied, even with his own
wonderful accomplishments. The Man was on duty all
of the time-every moment of the festival-insuring that
it was coming off, not well, but perfectly. Yet he had
the energy to perform with incredible grace and
lyricism-or drivingly powerfully in duet boogies,
blues-and with Frank doing Escoregondo! In the final
concert, immediately following a series of barnburners
by other performers, Scott steps up and does a
thrilling sweet, poignant, gentle, blues composition. I
cannot tell you the title. The roar of the audience
drowned out Scott's words. MC Rummel came on,
with his gentle smile, gentle tone, and look of wonder,
said: "That's when less is more."
I hope that you are still with me. I should have taken
my cue from Jack's statement. If I had taken notes,
this write-up probably would have been shorter. But I
had only feelings to guide me. It was wonderful to
revisit the event with my heart and share the memories
with you. Clearly, this very personal overview is, in a
sense, giving something back to these most talented
folks who produce, perform and, create, likely,
Ragtime's finest event. Judge for yourself-unless you
can't handle the beauty, the intimacy.
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