Concert Reviews
These are just a few of the many reviews in every issue

Ali Farka Toure
Artscape, Baltimore, MD July 22, 2000

Perhaps the weather conditions weren't quite what Ali Farka Toure was accustomed to. Undoubtedly, his native Mali is far hotter than any grassy hillside Baltimore has to offer, even in the mid-afternoon sun of a hot July day. The 61-year-old guitarist appeared unaffected by the heat, barely breaking a sweat during his time at center stage for the city's annual Artscape festival. Toure's music was a perfect fit for the day, cool and easy flowing with a steady undercurrent of the blues, transporting his audience temporarily to northwest Africa.

Accompanying Toure on stage were three vocalists, a percussionist (congas), and a bass player. The most essential aspect of the ensemble's appeal however, came from a gentleman seated on the floor of the stage between two monitors. His steady, alternate tap / thumping on the calabash (a dried and hollowed-out gourd) provided the music with a vibrant pulse.

Toure and his band drew heavily on material from his 1999 Hannibal Records release Niafunke. A highlight was the album's lead-off track, which announced to the audience "Ali's Here." Toure sang in his native language. He spoke no English, addressing the audience only briefly and in French.

To close his set, Toure traded his guitar in favor of the njarka (a small fiddle constructed of a died gourd body and a short neck with one string, which is played with a bow). The instrument's voice is hypnotic. In Toure's capable hands, it produced an astonishing wealth of sound as he slid the bow across its single string.

Festivals being what they are, brevity was the order of the day, and Toure's set was finished far too quickly. His 60-minute time allotment, about the length of one of his albums, supplied just enough time for the band to heat up and leave their audience wanting more.

— Annette C. Eshleman (Lancaster, PA)

Kate Wolf Memorial Festival
Sebastopol, CA June 23-25, 2000

It couldn't be more appropriate that the small, beautiful festival to celebrate the life and career of Kate Wolf should take place in her beloved Sonoma County, among the "golden rolling hills" and red-tail hawks of California. The impressive list of musicians who attend each year is testimony to her reputation among singer/songwriters, and they all seem to recognize the profound significance of place in their tribute to her. For four years, Wolf's children, Max and Hannah, have joined with Cloud Moss of Cumulus Productions to put on this excellent festival. It is held on the land of the Caswell Vineyards in a wonderful, contained natural amphitheater, halfway between Sebastopol and Bodega Bay. Space limits the size of the audience — making the event all the more enjoyable — and most days usually sell out. Music was expanded to three days this year, and Friday's audience represented the most faithful. Saturday and Sunday were in full swing, though, and a virtual capacity crowd gathered to listen to artists who represented the broad variety of Wolf's music and who reveled in California themes and images inspired by the surrounding environment.

Mary McCaslin hosted Friday's festivities, which began with an open mic and song swap from a variety of mostly California artists. Some were solo acts, and others were full-fledged bands, but whatever their form, you could easily hear the influence of Wolf in their songs. By mid-afternoon, the stage was set up for more music, and in the meantime, McCaslin and Utah Phillips took the crowd aside for a pair of workshops that addressed guitar tunings and storytelling, respectively. The main stage resumed with a short set of bluegrass/newgrass-inspired music by the Modern Hicks. Wolf's frequent collaborator Nina Gerber, Wolf's protégé and arguably one of the finest guitar players in the world, began her weekend-long contribution to the music. Cyrus Clarke was brilliant in his own right, but one could feel the presence of Wolf in his place-sensitive songs and compositions.

Friday's final artists broke with the California mold and offered music from the truly national new-folk tradition. Patty Larkin was resplendent in iridescent clothes that caught the late afternoon sun. For a brilliant hour she performed familiar songs from her repertoire, as well as debuting new music from upcoming CDs. Like the red-tail hawks of Wolf's Sonoma County, Larkin always soars, and she was absolutely on the mark this Friday afternoon. She is truly at the leading edge of acoustic music as writer, singer, and guitarist.

After Larkin enticed the audience to join her on the boundaries of folk and acoustic music, Greg Brown and his soul mate, Garnet Rogers, finished the afternoon by returning them to a territory more familiar to Wolf's fans. Mellow songs predominated from the two baritones, and Nina Gerber joined in to add her instrumental genius to their fine playing and singing. The sun went down behind the hills by the end of their set, and the intense afternoon heat gave way to a powerful evening chill. Brown covered his overalls and sleeveless shirt with a sweater and pulled his black top hat down over his ears. The audience was clearly just as cold, but no one wanted to stop before there was no choice.

Utah Phillips brought his wit and intelligence to center stage Saturday as master of ceremonies. Phillips is a cultural treasure and a persistent conscience for the country as a whole, and any opportunity to see him is a treat; to see him in a celebration of his dear friend Kate is especially satisfying. Outstanding performances were given by Mustard's Retreat, who celebrate 25 years together, and the duo of Tim O'Brien and Darrell Scott, two of the most technically gifted musicians around today. Workshops came during the mid-day breaks, and an abundance of entertainment for children was available from 10:00 a.m. on.

Tom Paxton returned to the stage to emcee on Sunday, and he oversaw a brilliant day of music and performance. Artists included Clarke, with a celebration of California and its music, and up-and-coming singer Chris Webster, who captivated the audience.

The most memorable contributions, however, were made by three others. The enduring genius of blues guitarist Chris Smither illustrated his personal, distinctive style. After more than 30 years in music, Smither continues to come on strong. At the other end of duration in the business was Catie Curtis with her band. She has matured remarkably in the few years she's had a national audience, and her group was tight and flawless. Finishing the afternoon and the festival was a second set by Greg Brown. Brown is at the very top of his talents as singer, songwriter, and musician, but perhaps more than anything else, Brown's music conveys the remarkable wisdom that was so central to Wolf's vision. Both have a moral, ethical, and spiritual core to their songs, and both speak of the courage necessary to carry on.

— Scott Strickland (Seneca Falls, NY)