Catching Up With: Joshua Black Wilkins

I first came across Joshua when I was looking for a new archtop...kind of a funny way to run across someone, but I guess that's music, right? He intrigued me, so I checked out his music...was hooked...then checked out his photography...was enthralled...then caught his live set last year at Joe Fletcher's 'Nashville to Newport' at NFF. I was immediately made a hardcore fan and I think I made a friend for life. We have kept in touch over the past months and it turned out that he is finally making his way through town. He is headlining a great bill at Atwood's Tavern (http://www.atwoodstavern.com/) in Cambridge on March 25th. Two weeks from today. His music is great, it has an edge to it but still his songwriting is captivating and poignant. Country attitude tinged with haunting folk vibes, its just good stuff. Really, really good stuff. This is going to be an amazing night of music capped off with his performance, be sure to make it out for this one.

1. In a short phrase, describe your sound and what makes you unique. Be it inclusive of influences, your voice, guitar picking style...all that kind of stuff.

JBW: Haunting sounds of Tom Waits, the iconic swell of Bruce Springsteen and the fever of rebellion in Johnny Cash

2. Within Boston and this style of music, there has been a large community building over the past couple of years. I know that there is a similar situation on the east side of the river down in Nashville. Tell us about your experiences living there and mingling with those folks

 JBW: East Nashville is a huge melting pot of extremely talented musicians in many different genres of music. And with any creative community, those people blend their styles and gifts with everyone, so East Nashville doesn't have a "sound" as much as a level of talent that can be overwhelming to anyone/anywhere else.

3. Any particular Nashville songwriters that you would like to turn a broader audience on to?

JBW: Derek Hoke for sure. Now that Joe Fletcher lives here, and Brett Detar just moved to Nashville too from LA, I'm pretty excited that the talent pool is increasing.

4. You have a pretty decent backlog for people to dive into. How has your sound honed itself over the past couple of records? What kind of a set up and sound can people expect to hear at one of your shows on this particular tour?

JBW: I moved to Nashville in Oct 2002 and played with a Rock-a-billy band, and my first two records, 'Black Boots and A Suitcase' and '17th and Shelby', represented that time.  I spent 2.5 years on Lower Broadway at Layla's Bluegrass Inn. I left that scene to focus more on playing rock clubs. I also spent a lot more time studying songwriting and improving on that craft.

   Now that I only tour solo, I've spent the past several years really working on making the "guy with an acoustic guitar" show more interesting to watch/listen to. Playing solo shows has made me a much better guitar player and singer because there isn't anyone else to hide behind (or in front of).  

5. Aside from being a heck of a songwriter, you also are a brilliant photographer. Tell me about how
those two worlds overlap. Is there anything from one that you bring into the other art?

JBW: 9 years ago, I had no intention of being a professional photographer. It had been a hobby since the mid 90's, and I took it up the same time I got into music.

   After moving to Nashville, I would shoot my friends playing music, and then quickly started shooting general publicity stuff for my friends. Then money got involved.

   Only in the past couple years have I let those two worlds coexist.  I have certainly gained followers for music through my photography credits, and vis-versa.  Thankfully I have been able to balance my photography jobs with touring. As a rule, I don't shoot commercial jobs while on tour, but do try to always shoot personal work when I travel.

  A lot of people do make some connections between both of my careers when it comes to subjects and mood and emotion. It isn't intentional,  but I do see why/how the connections are made.

   Music is, and has always been first my priority career, but photography has certainly allowed me to work with some of the very best musicians the world has ever known, and I have never taken that for granted. 

------------------------------------------------

Again Joshua will be in town on Tuesday, March 25th at Atwoods Tavern, 877 Cambridge Street, Cambridge, MA. Also on the bill are Sarah Borrello and Brian Carroll (me, and everyone in the door gets a free download of my new record)
http://www.atwoodstavern.com/

And check out Joshua online at:
http://www.joshuablackwilkins.com/

Tracie Potochnik "The Dream" album review

I tell you, I feel like Eric Lichter should start paying me royalties for  promoting his studio. Every damn record I get from this place is gold. I think part of that is that Eric just has a killer ear for music and is a great engineer...another part of that is that he chooses to work with amazing artists. Tracie Potochnik is one of those amazing artists.

Potochnik sings with a delicate confidence. Her voice floats, seriously floats, high and intricately above the music laid out across the background. While we are on that, the music on this record is great. The sound is full and the arrangements and robust without being too busy. Again, delicate and balance come back to mind when listening to this record. Instrumentation includes banjo, organ, mandolin, and pedal steel, as well as Brown Bird’s MorganEve Swain on fiddle. A heck of a line up of great players.

What strikes me most about Tracie's songs is her keen sense of storytelling. Sure, there are some great lines and hooks, but she really digs deep into the storytelling vein of folk music. She seriously gets you into the narrative with her choose of words. Her writing style is visceral and imaginative, truly inspiring stuff.

We were cutting our teeth
When we made that man bleed
And when we mixed the weed and the wine
We took the AK47 in a 7-11
And they chased us across another state line

The above except is from "Run Like the Devil", a story thats been told before, but has been breathed some new and interesting life. The story of thieves on the run. Trodding along to the banjo, it feels light hearted, but its not. A really cool juxtaposition of theme and sonic quality. Tracie's voice soars in a few parts, she really explores her vocal range a bit and its to the tune's benefit.

"Jimmy Took The Money" is super catchy. Its sticking with me for a long time, and thats a good thing. It just has a bit of make me want to move around in my seat a bit...a little groove, and a little soul.

 (photo by Matt Clowney)

Ok, I do have to try and give some constructive criticism. And per usual, its my issue with length choices. I do have to say that the album might have been just as successful with 10 tracks, but all of the songs are solid so I can't really say what I would toss aside.

Recorded on analog equipment at Dirt Floor Studio in Chester, Connecticut and produced by Eric Lichter, The Dream is a collection of ordinary and extraordinary stories with a Folk/Americana feel, and elements of classic country and 70s folk-rock. Instrumentation includes banjo, organ, mandolin, and pedal steel, as well as Brown Bird’s MorganEve Swain on fiddle. This is Potochnik’s first full length album having previously released a 5-song EP entitled Homespun Recordings, Volume 1. - See more at: http://www.trespassmusic.org/2014/01/06/thedreamtp/#sthash.AvzUl9XF.dpuf

Recorded on analog equipment at Dirt Floor Studio in Chester, Connecticut and produced by Eric Lichter, The Dream is a collection of ordinary and extraordinary stories with a Folk/Americana feel, and elements of classic country and 70s folk-rock. Instrumentation includes banjo, organ, mandolin, and pedal steel, as well as Brown Bird’s MorganEve Swain on fiddle. This is Potochnik’s first full length album having previously released a 5-song EP entitled Homespun Recordings, Volume 1. - See more at: http://www.trespassmusic.org/2014/01/06/thedreamtp/#sthash.AvzUl9XF.dpuf

I have a copy of Tracies first  5-song EP entitled Homespun Recordings, Volume 1 at home as well and its seen some solid spins on the old home stereo. I think this full length will be no different and see its fair share of playing time as well.

Check out Tracie online at http://www.traciepotochnik.com/

And listen on bandcamp at http://traciepotochnik.bandcamp.com/

nstrumentation includes banjo, organ, mandolin, and pedal steel, as well as Brown Bird’s MorganEve Swain on fiddle. This is Potochnik’s first full length album having previously released a 5-song EP entitled Homespun Recordings, Volume 1. - See more at: http://www.trespassmusic.org/2014/01/06/thedreamtp/#sthash.AvzUl9XF.dpuf

nstrumentation includes banjo, organ, mandolin, and pedal steel, as well as Brown Bird’s MorganEve Swain on fiddle. This is Potochnik’s first full length album having previously released a 5-song EP entitled Homespun Recordings, Volume 1. - See more at: http://www.trespassmusic.org/2014/01/06/thedreamtp/#sthash.AvzUl9XF.dpuf

Must Know Musician Monday : Laurence Scudder

The true mark that distinguishes a great musician from a good musician is their ability to create a conversation on stage with other artists. Someone that can take a piece of music, a folk song, a blues number, and bring it to a whole different level than the original composition or the songwriter's idea of what the song could be. They are able to transcend verbal communication in someway and speak through wood and steel in such a clear and profound way that its almost like they are actually speaking to you and the other musicians (using words that is). Laurence Scudder, ladies and gentlemen, is a great musician.

If you frequent any of our favorite local clubs around town you have likely seen Laurence playing. The man sits in with and regularly plays with so many acts around town I have a hard time keeping count, but a few of them happen to be my favorite artists. Danielle Miraglia, Ryan Fitzsimmons, Jim Larkin, Erik White, Dietrich Strause...and that's just the tip of the iceberg. Scudder's playing is on the forefront of what is means to adapt an instrument and bring what it is capable of to a whole new level. I mean, you don't often see a player of violin family instruments lugging around a pedal board with their viola case, do you? Each and every time I get to see Larry play it is a treat and a privilege. He is truly one of the special ones that only come around every so often.

Regretfully for me, I can probably only count on one hand the times I have been lucky enough to grace the stage with Laurence, so I thought it best to get some additional insight from someone who plays with him all the time as well...

"I think one of the aspects that makes Laurence's playing so compelling is that he approaches the viola from a different perspective than most string players.  First of all, he's a violist, and very few string players choose that instrument as a lead voice because of it's lower register.  Larry's playing makes it cut through, and that extra depth gives him a sound that is really his own.  He is informed and influenced by some pretty non-traditional sources for a violist.  Lead guitarists like Jimi Hendrix and Nels Cline figure into the mix, along with a deep knowledge and respect for a wide range of musical genres.  That case of his has Willie Nelson, Beastie Boys and Wilco stickers all displayed right next to each other, and you can hear them all in his playing.  Most string players fall into two camps, those who were raised on traditional fiddle tunes (bluegrass, celtic, etc...), and those who were classically trained.  You usually can hear which side they come from immediately.  While Larry was classically trained, to me his melodic sense seems to come from somewhere else, somewhere that's all Laurence.  He can lay out lines that sound like the most ripping electric guitar solo you've ever heard, then lay down the perfect melodic string backing, and then kick in the effects to take you into some weird other world's atmosphere.  Best of all, he does all of that with true heart and conviction, never afraid to go all-in when necessary." - Ryan Fitzsimmons

Be sure to check Larry out one of these nights...the guy seemingly gigs 7 nights a week so its not that hard!

http://laurencescudder.com/

Locals Covering Locals recording project: We Need Your Help

Support and encouragement are things that run deep within the music community. I think one of the best examples of this has been the Club Passim Iguana Grant and how they have contributed so much, not just to our project at RLR, but to an immeasurable number of musicians and music fans through their contributions from the grant.

We have made enormous headway on our project. 11 tracks, featuring a total of 20 different musicians/songwriters from our community have been recorded and are almost completely mixed. Now, if this was the end of the road we would be golden, but we want to do this thing right. Not just for the folks involved but the people who will be on the receiving end when we launch the project. What does that entail, you might ask?

Well, all 11 tracks still need to be mastered. That means they need to all be leveled a bit, a final polish and volume control so the entire work sounds like it belongs together. We have a great engineer on board for this part of the process already, we just need to pay the man.

I am a purist for having something material that you can unwrap, put in your CD player, read the liner notes of and just have that "this is my copy of this album" feeling about. We want to get this CD pressed and hand out copies to all the folks who attend the release show for no cost. Also, it will be distributed to radio and for the artists involved in the project. Another check on the "costs money" list.

Passim and the Iguana Fund have contributed so much to get us to this point and I cannot begin to thank them enough for letting me see this through, but in the end we need to finish this thing right and do the project justice. Now, while we do not need to raise an exorbitant amount of money for this, we do still need a little help. Any funds up to the costs that we need to cover will go directly to this project (volume 1 that is). Anything we are able to raise on top of that...well, there will be a volume 2 if we are able to raise additional funds. More amazing local musicians covering their favorite artists and the studio is still warm from these last sessions, so if we can fund it, we are ready to roll!

What you get (aside from knowing you are a part of something incredible?). Every 2 dollar donation contributed with get you a track from one of the artists on the project. Every 5 dollars will get you 4 tracks, and every 10 dollars will get you 7 tracks from artists on the project. And for 15 dollars or more you get 7 tracks plus my own personal new release "Miscellaneous". (special higher donations can be discussed if there is something else I can do for you musically - name in liner notes, special thank you, etc.)

The link to help is below...and every dollar truly does help the cause.

http://www.gofundme.com/79g0k0

If you go to ONE show this weekend...

I am a bit supporter of musicians pooling resources for the great good of one another and the community. When one of us stumbles, it seems like a hundred artists line up to lend a hand and lift you back up. Music is a language of the people, something universal and beautiful and it will speak out to help a friend in need this weekend at Johnny Ds in Somerville.

Working my day job in cancer research, when someone is diagnosed it is something that hits me particularly hard. Its such an ugly disease that I am all too close too. If you can get out to one show this weekend, this is the one you want to be at.

Some of my favorite local people including The Swinging Steaks boys, Jimmy Ryan, Billy Beard, Steve Mayone, Christian McNeill and Session Americana's Jim Fitting will be rounding out a really wonderful bill.

Direct from the press release for more information:

SOMERVILLE, MA – Many of Boston’s premier musicians will gather for a special evening of
performances on Sunday, March 9, at Johnny D’s to help raise funds for ailing Nashville radio
host/musician/concert promoter Billy Block in his fight against cancer. Block, who was
diagnosed last month with stage 4 Metastatic Melanoma, has been undergoing treatment for the
disease, and all the proceeds from the show will go to The Billy Block Family Fund at Wells
Fargo Bank. Showtime is 8:00 PM and tickets for the March 9 benefit are priced at $15.00.
People can also support the cause by going to any Wells Fargo Bank and making a donation to
The Billy Block Family Fund. !

Headlining the March 9 event is Lori McKenna, with additional performances scheduled by
Michael Dinallo, Billy Beard, Amy Black, Juliet and the Lonesome Romeos, Jimmy Ryan, Jim
Fitting, The Swinging Steaks (Jim Gambino, Paul Kochanski, Jamie Walker), Susan Cattaneo,
Kevin Connolly, Alastair Moock, Stu Kimball, Amber Casares, Alley Stoetzel, Christian McNeill
and Chris Cote. The house band that night will also include Steve Sadler (lap steel), Jim Scoppa
(guitar), Steve Mayone (guitar/mandolin), Jim Haggerty (bass), and Andy Plaisted (drums). !

For over 17 years, “The Billy Block Show” has been a mainstay of Nashville radio and
television, and his tireless support of up-and-coming musicians in country, Americana, rock and
roots music through his weekly concerts held at some of the city’s best-known clubs has
especially endeared him to the Americana music movement. For more information on Billy
Block, or to listen to his radio show, visit www.billyblock.com.

Random Thought Thursday: Leaving it all on the table

I was listening to my friends Danielle and Jenee's podcast this morning at work and they were talking about gigs, your attitude about certain shows, showing up, missed opportunities, and all that good stuff. One thing that really struck a chord with me was them talking about the battle of branding yourself without compromising who you are. This has been something I have always struggled with in a way until recently.

Being a guy songwriter in what people brand as "Americana" music...though I have come to love and hate the term as of late...has its ups and downs. On the bright side, I am in good company with folks, we have a wonderful and supportive community here in town within that vein and its been beneficial to be very much a part of it. On the other end, there are a lot of us. Guys with guitars and plaid yolk shirts seem to come out of every nook and cranny in this town. Some of them are great, some of them are not. In the past I have felt like I need a beard to fit in and to rock my cowboy boots to shows to fit in. Don't get me wrong, I love my boots and western shirts, but thats not necessarily what my songs say about me. I don't yodel, plough the field or ride the rodeo after all and I don't sing about it. I play what I would consider and have been calling "sadgrass", which I guess is a blend of sad and haunting sounding folk tunes mixed with bluegrass instrumentation. I still love picking a good bluegrass tune too!

It hasn't been until very recently that I have shed the thought that I need to be anyone but myself on stage. I mean sure, there is a hint of confidence I try at least pretend to have on stage that I may not have back in the green room, but for the most part I am "me" and my (often times terrible) banter is the same as you would get talking to me on the street. I often times wear what I would wear on a Friday to my day job to gigs (a suit jacket and jeans) so I guess that "Americana guy" brand is out the window. I have also become more aware that maybe just a good song should be enough if you have the right crowd for it. Which has also prompted me to take less gigs, but better gigs. If I play one or two killer gigs in a month while I am recording my own new record and producing another, that's ok if I went out there an truly enjoyed myself and played my songs with the most heart that I possibly could. I think I am in a good place in that aspect or mindset about music. I think that if you pour 100% of yourself into your music and are honest and sincere, that is absorbed by your crowd. Granted, I'm not going to go play a bar gig and sing sad folk songs ALL night long, but still, put in what you want to get back. I am hoping that at least some of the time that pays out. I just want to enjoy creating music with good people and hope that 5 times out of 10 someone in the audience can latch onto that as well.

What do you all think?

Matt Smith: elected to Folk Alliance International Board

Matt Smith is part of the lifeblood of the folk community in town. Those who know Matt, love Matt and those who don't know Matt personally, but benefit from what Matt does, also love Matt. I am a believer that every so often good things do happen to good people and it is with great pride and joy that I am able to say Matt has been elected to serve on the board of directors at Folk Alliance International. A huge (and well deserved) honor for the 18 year veteran of the community. I mean, the man books over 400 events a year...and all of it is top notch entertainment. I am proud to call Matt not just a booking agent or the guy who occasionally allows me to grace the stage at Passim, but also a friend. He is one of the most generous and caring folks (I mean he gave a skinny kid in a suit jacket with a mandolin a chance to play at one of the most notable listening rooms in history...he's a good dude) I have had the pleasure of meeting in the folk music community in town and many others feel the same. Rather than get into the nitty gritty and the details, I thought it was best to let that community do the talking for me...

“Matt has become one of most watched and respected people in the business. He has earned a reputation for identifying great new talent and also for providing opportunities for these acts to develop,” said Dan Hogan, Executive Director of Passim.  “Matt keeps us relevant to the music community both locally and nationally and will be a great addition to the Folk Alliance Board. "

"Matt Smith is the beating heart of a room where music flourishes night after night. He goes about the superhero task of enriching a community with understated wit and charm. Plus he can bowl candlestick with passing competence and occasional panache." - Peter Mulvey ,  musician

"Matt Smith is the kind of person you meet and are immediately put at ease, because he is professional, organized, and weirder/funnier than you are. In the landscape he lives in, this is vital to the running of a world renowned venue that does 380 (?) shows a year. The addition of Matt to the board of the folk alliance is like watching Larry Bird on the Real World 28: The Strange Hat House." - Jake Hill , musician

"I would say Matt is at the absolute center of what makes this a great music town, not just for folk and roots, but for all kinds of music. Besides being an all around great guy, first and foremost he is a music fan, always aware of new talent while staying in touch with the many people he has helped launch into full fledged music careers. Through the carefully chosen Campfire series he has given unknown acts a shot at wider exposure and the percentage of those who have gone on to bigger things is remarkable, including the now ever present Lake Street Dive. The thing that says the most to me about Matt though is that on any given night he is not working the board at Passim he is just as likely to be in the audience at Toad or the Lizard Lounge just because he likes music so much. Amazing." - Dinty Child , musician

Proof of Dinty's statement:

 

















"In my mind, Matt Smith's passion and dedication to live music qualify him as an honorary musician."- Laurence Scudder , musician

"Matt Smith. He is a tireless optimist when it comes to new music, young music, and somehow still keeps the whole scene grounded. His campfire festival, seasonal local festival stages, commitment to folk music education, and his always-mindful bill-pairings are a big part of why the Boston scene keeps connecting its alumni writers to the fresh writing and performing constantly rising up out of the Boston music academe. What a practical, sleepless visionary we have in him! I can't wait to see what he will bring to Folk Alliance!" - Rose Polenzani , musician

"Matt's years of work here have made Passim what it is today. He definitely carries on the Passim legacy for presenting great folk music, but he's a huge driving force for developing new music of all genres. Just look at Lake Street Dive, the Milk Carton Kids, or Josh Ritter, who all played here early on in their careers. Passim is an amazing place for artists to develop and Matt's devotion to new music is the biggest reason for that. That all influences the work I do here too – a spirit of community and passion for music have remain in the DNA of the organization, even after 50 years, because of Matt." - Jon Dorn , Passim Program Manager / Musician

"We are delighted that Matt Smith was recently nominated to the Folk Alliance board. Matt is a longtime and valued contributor to the music scene in Harvard Square through his work at Passim. He is particularly revered as a contemporary folk music presenter who thoroughly understands and appreciates traditional folk music and its historical roots. We work closely with Matt to promote Passim, as well as other Harvard Square festivals, including Oktoberfest, Mayfair, Folk Music Month, Fete de la Musique and Passim’s annual summer concert series. He is a consummate professional and hard worker. We rely on his musical instinct, sharp intellect and dedication; Matt will bring these attributes to the Folk Alliance Board." - Denise Jillson, Exec. Director, Harvard Square Business Association 

"When I was at Berklee everyone knew that Passim was the place to play and Matt Smith was the guy you had to impress... I called Matt, "Mike" for the entirety of the first Whiskey Boys show ever at Club Passim, which was a huge deal for us. Out of extreme generosity he never corrected me" - David Delaney, musician

"Matt Smith is as important to this generation of musicians as folks like Betsy Siggins and Jim Rooney were to earlier generations. Through his work at Passim, he has not only maintained but advanced the standing of folk music in this community. The Folk Alliance Board is lucky to have someone as committed as Matt, and we're lucky to have him on the Folk Alliance Board." - Ian Fitzgerald, musician

"Matt is one of the most encouraging people I've ever met. He brings a great energy to Club Passim and the local music scene." - Lyle Brewer, musician

"Working with Matt at Club Passim is an incredible learning experience. He's the exception to the rule that people become jaded working in the music business, because Matt is one of the most enthusiastic supporters of music and musicians that I have ever met. A quick glance at Passim's calendar confirms that his taste is impeccable as well, he was one of the earliest supporters of groups like Lake Street Dive, Della Mae, and many more who have gone on to huge success. As a musician, I find that despite the intimidation factor of Club Passim and its legacy, he is very approachable and willing to work with artists at all phases of their career, from their first open mic to headlining slots." - Patrick Coman, Passim sound engineer, musician, radio show host