Members: Jon Wood (Guitar, Vocals), Jon Brady (Keyboards, Vocals), Alex Lang (Bass), Evan Lintz (Drums)
Sounds Like: An outer space adventure through sound that touches on a diverse universe of elements including electronic, traditional Americana, funk, and improvisational jazz.
For Fans Of: Disco Biscuits, Sound Tribe Sector 9, Dopapod,
Bio: Electric Love Machine is an electronic fusion ensemble from Baltimore, Maryland comprised of longtime veterans of the Baltimore music scene. Electric Love Machine features Jon Wood (guitar), Jon Brady (keys), Evan Lintz (drums), and Alex Lang (bass) and has been delivering their brand of danceable electro-funk across the country since they formed in 2013. Their power-house sound has not gone unnoticed as they won the 2016 Maryland Music Award for best Electronic Act. They released their debut album Xenofonex in 2013, followed by their sophomore release Love Deluxe in 2017. Continue reading Electric Love Machine: Outer Space Adventure→
Roots-rockers Caleb Stine & The Brakemen will release their latest album, Time I Let It Go, Novemeber 7. The band will celebrate the release of the album with a show at the Mobtown Ballroom in their hometown of Baltimore, MD. Brooks Long & the Mad Dog No Good, and the Weisstronauts will open.
Time I Let It Go was recorded when the band decamped to Vermont over the winter. The recording process was captured by filmmaker Michael Patrick O’Leary and will be released as a documentary about the band and what it means to make music.
The new album showcases the band’s timeless style that is colored with deeply personal lyrics which lead one on a journey through the soul of American music. Time I Let It Go moves with ease from the foot-stomping funk of “Hey There Mister,” to the brooding intensity of “Edge of the Riverside,” to the unrestrained joy of simple pleasures in “Butter.” It is an album for all four seasons and every mood.
Track Listing for Time I Let It Go:
Hey There Mister
Edge of the Riverside
You Bet He Was My Friend
Eight Hour Haul
Baby’s Got the Business
Place You Used to Call Home
Time I Let It Go
Check out Honest Tune’s exclusive premiere of “Hey There Mister” from Time I Let It Go:
With an influx of Appalachian migrants who came looking for work in the 1940s and 1950s, Baltimore found itself populated by some extraordinary mountain musicians and was for a brief time the center of the bluegrass world. Life in Baltimore for these musicians was not easy. There were missed opportunities, personal demons and always the up-hill battle with prejudice against their hillbilly origins. Based upon interviews with legendary players from the golden age of Baltimore bluegrass, Bluegrass in Baltimore provides the first in-depth coverage of this transplanted-roots music and its broader influence, detailing the struggles Appalachian musicians faced in a big city that viewed the music they made as the “poorest example of poor man’s music.
Bluegrass in Baltimore examines the highly-influential scene in Baltimore that produced such key figures as Del McCoury, Earl Taylor, Walt Hensley, Alice Gerrard, Hazel Dickens, Mike Seeger, and Mike Munford and explores the impact the music they made had on a wide-range of musical luminaries including Jerry Garcia, Jorma Kaukonen, Sandy Rothman, Pete Wernick, Sam Bush, and many others.
(Excerpted from Bluegrass in Baltimore: The Hard Drivin’ Sound and its Legacy by Tim Newby, published by McFarland Books, June 2015.)
On a cold night in early February 1963, in a small nondescript neighborhood in Southeastern Baltimore, on the corner of Pratt and Chapel Streets, in the shadow of Johns Hopkins Hospital there was a small bar that you would have been hard pressed to find then, and does not exist now. Called the Chapel Café, it had a much too low ceiling with bad lights that seemed to do nothing but provide a ghostly haze that gave life to the heavy cigarette smoke lingering in the dank air. This served to make the ill-mannered, boorish disposition of the locals hunched over the bar even more menacing as they seemed to revel in yelling “play or get out” at the band perched on the small stage every time there was a lull in the music. The fourteen-year-old bassist on stage that night remembers it as “nothing but cigarette smoke and spilled beer, one of them rough places, the kind of place where the bouncer would have to throw out at least one guy a night.” Into this atmosphere, across the sticky beer-splattered floor, beyond the bar area that was just to the right of the door and over towards the stage tucked into the corner on the opposite wall walked a man.
This bar was much like countless other bars that were littered across Baltimore; Jazz City just a couple blocks away on Pratt street in Fells Point, the 79 Club in Federal Hill, the legendary Cozy Inn, and the chicken wire-covered stage at Oleta’s and Marty’s Bar KY. They were all tough beer-and-a-shot joints that were small, worn down, reeking of stale beer, and teetering on the edge of violence each night.
But the man who walked into the Chapel Café that night was not like the countless other patrons who inhabited them. He was a tall man who cut an imposing figure and known to be of few words. He was often referred to as an “ornery old cuss” by those that did not know him, though in reality he was a much more complex man than that simple, limiting description. He also had started a band that lent its name to a still developing sound that had its roots in the mountains of Appalachia, found its way to the city streets, and was now being played in this poorly-lit bar, much like it was at similar other bars around Baltimore. This sound was still shaking off its earlier label of hillbilly, so-named for the migrants who brought this music with them when they came down from the mountains or moved from the south to the cities to find work and a better life, and was beginning to be recognized by another, less derogatory name: Bluegrass.
The man who walked into that small corner bar was Bill Monroe, who with his band Bill Monroe and his Blue Grass Boys had first given shape and life to this new exciting style of music. Bluegrass was born from the old time string band music that Monroe learned in his youth back in his rural home in Rosine, Kentucky, and from the fiddle of his favorite uncle, Pendleton Vandiver, who Monroe went to live with after his parents died when he was a teenager. Uncle Pen would become a role model for Monroe in all aspects of life, but it was through music that he would have his greatest impact on the young budding musician. Years later, after Monroe’s musical genius was widely recognized, he would give credit to his Uncle Pen referring to him as “the fellow I learned how to play from.” Monroe would later immortalize his Uncle in one of his most famous songs, “Uncle Pen,” in which he sang about the late night hoedowns and dances he played at as a teenager with his Uncle.
Monroe mixed his Uncle Pen’s fiddle sound with the country, gospel, and blues that was in the air at the time, and ratcheted it up to a breakneck speed with his distinctive trademark mandolin to create what famed folklorist and musicologist Alan Lomax called “Folk music with overdrive” in a 1959 article for Esquire Magazine. Levon Helm from Rock ‘n’ Roll Hall of Famers The Band saw Monroe as a six-year-old and says this new style of music “really tattooed my brain.” He recalled how Monroe had taken, “that old hillbilly music, sped it up and basically invented what is now known as bluegrass music: the bass in its place, the mandolin above it, the guitar tying the two together, and the violin on top, playing the long notes to make it all sing. The banjo backed the whole thing up, answering everybody.” Country music-outlaw Waylon Jennings would echo Helms’ sentiment about the impact of Monroe and this new style of music he was playing. “In my house, in Littlefield, Texas, it was the bible on the table, the flag on the wall, and Bill Monroe’s picture beside it. That’s the way I was raised.” And for a brief time nowhere was this new style of hillbilly music, this folk music with overdrive, played better, faster, or in such a way that it would leave as permanent a footprint on the history and development of bluegrass than in Baltimore.
The teenaged bassist, Jerry McCoury, who was on stage that cold February night at the Chapel Café in 1963, recalled with a laugh when Monroe walked into the tiny Baltimore bar, “I actually didn’t recognize him at first. He was wearing his glasses and he had a hat on. Then I realized who it was and I was in total awe.” With admiration and high praise in his voice he continues, “It was like meeting God.”
Monroe’s stop in Baltimore was no accident. He had stopped by to see a former member of his band, Jack Cooke, who was playing that evening. Monroe needed a couple of players to fill out his band for an upcoming gig at New York University in New York City for the Friends of Old Time Music on February 8, just a few days later. He was hoping Cooke would join him on guitar, and he wanted to check out the older brother of McCoury who was a banjo player Cooke had recommended.
McCoury’s 22-year-old banjo playing older brother, remembers that same evening when the man rightly called the “Father of Bluegrass” walked in during their set:
We were playing the Chapel Café in Fells Point one night in 1963, when Bill Monroe walked in front of us. I could have fallen over right then and there. The purpose of him stopping by was to take Jack [Cooke] with him up there to play a show in New York City. He didn’t have a guitar player or lead singer at the time. Whoever it was had quit and he thought Jack would do it. He also didn’t have a banjo player either so they took me up there to play.
The banjo player, Jerry’s older brother Delano, joined Monroe’s band, which at the time included Kenny Baker on fiddle and Monroe’s longtime partner Bessie Lee Mauldin on bass. After the show in New York City Delano joined the band full-time, and at the request of Monroe he switched from banjo to guitar and took over lead vocals as well. It proved to be a career-defining break for the young banjo player turned guitarist/singer. Though his time with Monroe was short, it was an influential time as the bluegrass legend helped introduce the world to the voice of Del McCoury, a voice which might be the most perfect in bluegrass, a voice that is the living embodiment of the “high and lonesome” sound, a voice about which country music superstar Vince Gill declares, “I would rather hear Del McCoury sing ‘Are You Teasin’ Me?’ than just about anything.”
Since his brief time with Monroe, McCoury has gone onto establish himself as one of the truly legendary figures in the genre. He was inducted into the International Bluegrass Music Association (IBMA) Hall of Fame in 2011, has released over thirty albums, won fifteen IBMA awards – including being named entertainer of the year nine times (with four straight wins from 1997-2000) – and won two Grammy Awards in 2006 and 2014 for his albums, The Company We Keep and Streets of Baltimore. He is a man whose roots stretch back to the earliest days, but who stands firmly in the now. A man who is not afraid to collaborate with any number of bands who might be assumed to be outside the normal wheelhouse and comfort zone of an aging bluegrass legend, mixing it up with younger bands like Phish, Yonder Mountain String Band, The String Cheese Incident, Old Crow Medicine Show, Leftover Salmon, and Steve Earle. Bands that are pushing the sound his one-time mentor Bill Monroe first created so many years ago into new and bold directions.
For Monroe to stumble upon such an absurdly talented player in Baltimore was no lucky break. During the fifties and sixties Baltimore was teeming with talent and a rare convergence of people. In addition to Del McCoury, a host of other influential pickers and musicians all would emerge from Baltimore during this time, including Mike Seeger, Bill Clifton, Earl Taylor and the Stoney Mountain Boys (the first bluegrass band to grace the stage at Carnegie Hall), the pioneering duets of Hazel Dickens & Alice Gerrard, and the groundbreaking banjo wizardry of Walt Hensley. They would all help to introduce the hard-driving style that was best found in its most pure form in those rough, corner bars on the streets of Baltimore, and bring this energetic style to the music world at large.
Baltimore was one of the few places in the United States where musicians from the mountains and the South could meet and play with folks likely outside of their normal social strata. College-educated city folk and hillbilly migrants from Appalachia mingled easily in Baltimore over the common-ground of music, and in particular string-band and early bluegrass music. Seeger provides the best explanation of Baltimore’s unique personality as a city:
We were quite conscious in Baltimore of being a place where the city and the country met. You’d have tough bluegrass bars, where the city people were the outsiders. You’d have bohemian parties, where the country people were the outsiders. It was a place where different classes and different cultures were meeting. It was a time of curiosity and discovery and friction and exhilaration.
Much of the focus on bluegrass as it relates to its growth in cities tends to revolve around Nashville, with its well-deserved Music City title, and the bluegrass scene that eventually developed in Washington D.C. around such genre-defining bands as the Country Gentleman and The Seldom Scene. While there were many other urban settings at the time with a large population of Appalachian migrants and that also had important urban hillbilly scenes, it can be argued that none of them had the lasting impact that Baltimore did. During those early years that saw the identity of bluegrass truly formed, it was the vibrant, special scene a short drive north of D.C. on I-295 in Baltimore that Seeger recalled which truly laid the foundation. With his trademark chuckle Del McCoury agrees:
There was Nashville, and then there was Baltimore. There were other places, Detroit was pretty big, and Cincinnati, there was a big bluegrass scene in those two cities, and Washington [D.C.] as well, but Baltimore was the hot town for this kind of music back in the fifties and sixties.
In the years following World War II, as the factories and industries boomed there was an exodus from the mountains and the South into the cities and Baltimore found itself the recipient of an extraordinarily talented crop of musicians who settled into an area ripe with possibilities and opportunities. In a house on Eager Street that held weekly gatherings of like-minded urban folk-music people and hillbillies, in neighborhoods across Baltimore called “Little Appalachia,” in “hillbilly ghettos” where migrants clustered in the cramped row houses that hosted nightly pickin’ parties, and in the working-class bars that could just as easily erupt in a brawl as they could in live music, the sound of hillbilly or bluegrass music was not only being played, but redefined and pushed in new directions.
These sounds soon started reaching the ears of young, impressionable musicians across the country who were just beginning to find their way musically. Sam Bush, one of the originators of the modern bluegrass sound that began developing in the 1970s, was a teenager in Bowling Green, Kentucky, and one of those young impressionable musicians in the late 1960s when he first came across the “hard-driving Baltimore-style.” His band, New Grass Revival, was a revelatory shot in the arm to bluegrass music when they burst on to the scene in 1971. They were a bunch of young hot-shot pickers breaking the normal restrained bluegrass mold at the time with their long hair, jeans, and t-shirts; who, with their psychedelic-influenced take on bluegrass fused everything from jazz, funk, blues and rock together. They shook off the shackles that had tethered the genre for too long and changed the face of modern bluegrass. It was an album Bush came across by Baltimore banjo-picker Walt Hensley that proved to be the first time Bush would discover the spark that would ignite his passion to move bluegrass into new realms and hear a term that would go on to define those early years of Bush’s long, storied career. Bush heard Hensley’s groundbreaking 1969 album Pickin’ on New Grass, and it blew away the young artist, instigating the formation of the band, New Grass Revival, and was part of the birth of a new style, “Newgrass.” With his mind fully-blown he explained, “He [Hensley] was stretching the boundaries there.”
Many of those early Baltimore musicians who inspired that young impressionable talent, like Sam Bush, and helped provide such a unique voice to this still developing musical style, would seem to have been within arm’s reach of making it big, of reaching that musical summit, only to fall short due to a litany of reasons. With a scene built around a large influx of poor migrants with limited education, it is not surprising to hear McCoury say that the bands in Baltimore “were less professional” than those in other cities, and to find so many players who were so talented on the music side fail so easily on the business side. This lack of business acumen or professionalism proved to be the biggest hindrance for many musicians from Baltimore.
For every Del McCoury or Hazel Dickens that clawed their way out of Baltimore and achieved that lofty legendary status there are countless stories of those who could not quite obtain what their seemingly unlimited talent placed within their grasp. Whether due to lack of education, poor business sense, too much drink, a lack of faith in one’s abilities, or quite simply bad luck, many of these Baltimore pickers found that instead of etching their name in big letters on the roll call of greats they were more often than not resigned to the overlooked role of early innovator or forgotten influence. The scope of these musicians’ influence was wide and far-reaching, but unfortunately as bluegrass musician Artie Werner (who years later played with many of the early pioneers from Baltimore in Cincinnati) says, “People don’t realize how much bluegrass was influenced by Baltimore-area musicians.” It seems with the passage of time, this has come close to being forgotten, as Baltimore is often overshadowed by their big brother to the south, Washington D.C., and the impact of these pioneering musicians is relegated to a passing memory or a simple mention in a lyric. But Baltimore’s story is the story of early bluegrass. Without it and the musicians who lived and played there, what we know and hear today would not be the same.
The sun starts to set as The Wood Brothers take the stage at Baltimore’s Druid Hill Park. Surrounded by trees and a lawn filled with folk and bluegrass fans, the band begins their set. Multi-instrumentalist Jano Rix, flanked by the brothers Chris and Oliver Wood under the red glow of stage lights, warms his hands on a chilly April evening.
Oliver Wood kicks off the show by picking out a slow folk ballad on his acoustic guitar. His brother outlines the guitar chords on an upright bass, and Rix plays a beat on his self-proclaimed shuitar – a crummy guitar he transformed into a percussion instrument with tuna cans and other noisemakers.
The band sings their stories in soulful three-part harmonies while many audience members sing along.
After opening the set with a few slower, more traditional folk tunes, Oliver trades his acoustic for a hallow-body electric guitar, and Rix takes his place behind his drum set.
Chris uses a bow to play a virtuosic classical-style solo on bass as the festival sits in awe. When his solo comes to a close, his brother comes in with an upbeat, blues-soaked funky guitar riff and Rix launches into a groovy beat on the drums. The crowd can’t help but move to the beat.
Jordan August and Phil Chorney stand off-stage surveying the scene with walkie-talkies in hand and a solemn look on their faces. The co-owners and co-creators of the festival listen to The Wood Brothers’ harmonies and impressive musicianship, but there are more pressing concerns. Will the bus that is taking The Wood Brothers to their hotel make it through the rioting downtown? Is the event running on time? Is everyone enjoying themselves? Are people going to stick around for the last few bands after it gets dark? Will they get back their security deposit on the park? Is the festival living up to its reputation? With so many things that can go wrong, Chorney and August hardly have the time to stop and enjoy their own event.
“Baltimore is a working-class, blue-collar town, with great people, great food, great beer and great music,” Chorney says. “So let’s celebrate that.”
While protests and social unrest were bubbling into riots near Camden Yards on April 25, Baltimore’s Druid Hill Park was an oasis of peace and music as thousands attended the 3rd Annual Charm City Folk and Bluegrass Festival.
The festival featured performances from national and local folk and bluegrass acts including The Travelin’ McCourys, The Wood Brothers, The Seldom Scene, Frank Solivan and Dirty Kitchen, Cris Jacobs, The Bumper Jacksons, Grand Ole’ Ditch, Letitia VanSant, Chester River Runoff, Charm City Junction, The Herd of Main Street and The Manly Deeds. The event also had local craft vendors, selling everything from hula-hoops to cider, beer, banjos, bowties and falafels.
The Charm City Folk and Bluegrass Festival is the latest chapter in a long history of bluegrass music in Baltimore – a history that has been all but forgotten, according to August and Chorney. They share a passion for the craft of bluegrass and folk music and a love for Baltimore. This inspired them to create the festival with the intention of sharing this music, bringing money into the city and raising awareness of bluegrass music in Baltimore, a city that was once a hotbed of folk and bluegrass.
“In the 1950s, it was either Nashville or Baltimore for bluegrass, which is a wild concept because Baltimore doesn’t seem like that place,” August said. “People forgot that bluegrass was even here.”
“That’s the purpose of the festival,” August explained, “to bring back that awareness of bluegrass music that used to exist here.”
Bluegrass and folk music have been a part of Baltimore’s history for a long time. Last year the Baltimore Museum of Industry had an exhibit about the banjo – an instrument with roots in West Africa that has been a part of Maryland tradition since the 1740’s. It wasn’t until the 20th century, however, that this music flooded the streets of Baltimore.
The Great Depression in the 1930’s resulted in the mass northern migration of poor families from the South and Appalachian region. As an industrial center, Baltimore became one of many cities on the receiving end of this migration.
“The proximity of the Appalachia region and the opportunities that existed [in Baltimore] at the time were a huge motivating factor for people looking for a change,” said Tim Newby, author of the forthcoming book Bluegrass in Baltimore: The Hard Drivin’ Sound and its Legacy.
These migrants brought with them their families, their traditions and their cultural tastes, which included folk and bluegrass music. These new-comers were not always welcome, Newby explained. Bluegrass legend Hazel Dickens recalls seeing signs that read “No Dogs or Hillbillies” as she went about town. Often the migrants would cluster together in small neighborhoods around the city, Newby said. The areas of Hampden, Woodbury and Druid Hill Park came to be known as “hillbilly ghettos,” Chorney said. In time, Bluegrass eventually became a staple of the Baltimore music scene.
“You had these migrants who had grown up with this music and you had many younger locals who were into this same kind of music,” Newby said. “They really bonded together and created a special atmosphere that was inclusive of both migrants and those already from the city or surrounding area.”
On the evenings before work these migrants would meet up in bars and basements, bring their instruments and have informal “pickin’ parties,” keeping their traditions alive in a city that proved to be nothing like home. Baltimore was the home to many bluegrass legends, such as Hazel Dickens, Earl Taylor and the Stoney Mountain Boys, Walt Hensley, and Russ Hooper, and Mike Seeger. Del McCoury (father of this year’s festival headliners, The Travelin’ McCourys), was a regular part of that early scene as well, as commuted down to play in the rough and tumble bars of Baltimore from his home in York County, Pennsylvania.
By the 1950’s, Baltimore was the 6th largest city in the United States, Newby said. Folk and bluegrass were the most popular forms of music in the city. There were many bars and clubs that featured local bluegrass musicians, such as the 79 Club, the Cozy Inn and the Blue Jay, giving musicians an opportunity to share their songs and hone their craft.
Soon Baltimore became a center for bluegrass music, with influence in the national music scene. In 1966, “The Streets of Baltimore” by Tompall Glaser and Harlan Howard, was one of the biggest hits on country radio.
The city is a different place than it was when it was known for bluegrass, but August and Chorney are proving with their festival that bluegrass is still here.
“The Charm City Folk & Bluegrass Festival is doing a great job of keeping the spirit and tradition alive of this musical legacy of the city” Newby said. “They are helping to bring awareness to Baltimore’s storied history to a generation of music fans who might be unaware of it.”
A Celebration of Music
The Charm City Folk and Bluegrass Festival unites people of all ages and walks of life in the beautiful Druid Hill Park in a celebration of music. Despite overcast skies, the festival is buzzing with excitement. Two stages are situated at the bottom of the gently sloping hill, an ideal spot for the stage because it is a natural amphitheater. August says that they added the second stage this year to cut down on the time between sets, allowing for the crew to set up for the next act before the previous act finishes.
People stand densely packed in front of the stage, and the hill is covered in lawn chairs and blankets where many festival-goers have settled in. To the right of the stage is the tent of one of the festival’s partners, Union Craft Brewing. As in previous years, the brewery has made a bluegrass themed beer specially for the event, a Bavarian Hefeweizen dubbed The High Lonesome Hefe. Next to the beer tent there is some fierce corn-hole competition.
Up the hill, near the conservatory, is what August calls “vendor village,” where people can choose from a range of food options and also buy items such as banjos, hula hoops, jewelry, bowties and band merchandise. Off to the left side of the stage there are a few chairs set up so that attendees can bring their own instruments and have their own pickin’ parties.
The diversity of the crowd and the vendors is matched by the diversity of the bands playing. Although they all fall under the umbrella of folk and bluegrass, some of the groups could not be more different. On one hand there is the traditional old-school bluegrass group the Seldom Scene, and the exciting and fast paced music of Frank Solivan and Dirty Kitchen and The Travelin’ McCourys, and on the other hand you have the more folk and blues style of the Wood Brothers, and also the unique blend of jazz, bluegrass and early western swing from the Bumper Jacksons. They show the wide range of forms that folk and bluegrass music have taken over the years. The one thing the bands have in common is that they all get the crowd moving.
“A lot of traditional music, in different kinds of cultures, is dance music,” says Jess Eliot Myhre, singer, clarinetist and washboard player for the DC/Baltimore-based group the Bumper Jacksons. “I think that fundamentally people really connect with music that makes them want to dance.”
The music at the festival certainly has that effect on people. There is something simple and lovely about this old-fashioned music played on acoustic instruments, Myhre says. There is nothing standing between the listener and the musician, she explains, which is what makes folk and bluegrass so unique and genuine.
Despite all the positive vibes and good times at the festival, the mood of the event was somewhat odd. Protests and incipient riots are happening only a few miles away as a reaction to the death of Freddie Gray, who was arrested only ten blocks away from the park.
“I think it was a great festival, but it was very strange playing that festival to that audience while the protests were happening so close,” Myhre says.
While Myhre feels the festival seems out of place in the city in turmoil, music can be a source of empathy and understanding.
“Folk and bluegrass tend to be music that tells stories of hardship and struggle,” Chorney explains. “Baltimore has its history of hardship and struggle, and people can relate to it.”
Pickin’ Parties, Paperwork and Permits
The Charm City Folk and Bluegrass Festival all started on Chorney’s porch in Hampden, a neighborhood in Baltimore. August, who is currently a musician in the Jordan August Band as well as Trace Friends Mucho and a freelance photographer, met Chorney, a marketer for Citeligher, through the Baltimore music scene. They would see each other at the 8×10, a bar at which August bar tended, and they became friends when August did a photo-shoot for Yellow Dubmarine, a reggae Beatles cover band that Chorney managed.
Soon after becoming friends the pair began to have regular “pickin’ parties” at Chorney’s. They would sit out on the porch with a case of beer and a bottle of whiskey and play into the night. Before long, these get-togethers sparked the idea for some sort of bluegrass party.
“Let’s throw a bluegrass party,” Chorney said, “let’s get all our friends together who play music… Let’s just do something cool.”
This idea eventually blossomed into the first Charm City Folk and Bluegrass Festival. They raised money and hosted the event in Woodbury at the Union Craft Brewery. The festival was a success, selling out 1,600 tickets nearly a month in advance. While August and Chorney were grateful for the opportunity Union Craft gave them, they realized they had no room to grow and began working with the city to find a new location.
The next year the pair teamed up with District 7 Councilmen Nick Mosby, who selected Druid Hill Park as the new home for the festival. In order to use the park, the festival had to undergo a long process of filing paperwork and permits, making frequent trips to City Hall, and appeasing various governmental organizations such as Parks and Recreation and the Housing Department.
As a for-profit company, the festival had to do a lot to use city property, such as making substantial donations to the city and non-profits, including the Believe in Music Program – a K-12 inner city music education program. The festival was made possible through a collaborative effort between festival and the city, embracing something that brings something artistically and culturally different to the table, Chorney explained.
“I think that’s really unique and special, and I hope to continue that partnership as long as I can,” Chorney said.
In the end, August and Chorney explained, it always comes down to money.
“We don’t make money. We’ve never made money off these events, me and Phil pay out of pocket every year to make sure this happens,” August says.
The city gets money from the permits, donations, payment to use the park and a security deposit. Being able to pay the bands is another huge expense. Then you have to factor in costs for everything from marketing, festival workers, the stage, speakers, lights and tents, all the way to porta-pots.
“Everyone always gets paid no matter what,” August said, “even when you know the bank account about to hit zero, you still make sure they get paid.”
Chorney and August are not the only ones that work to make this event a reality. It requires a lot of effort from many of their friends, who help with everything from social media to band hospitality, working with the vendors, to general volunteering on the day of the event.
With a Little Help From My Friends
On the day of the festival, Chorney, August and their team are a well-oiled machine. While festival-goers are relaxing, enjoying the music and beer, the volunteers work through the day into the night making sure things go smoothly. Between helping with parking, manning the entrance, taking pictures, setting up the equipment on stage and countless other tasks, there is no shortage of jobs that need to be done.
Chorney and August are the busiest of all. When they aren’t zipping around in a Gator truck moving equipment they are organizing the volunteers, greeting festival attendees and acting as the puppet masters, pulling the strings behind the scenes making the festival a reality. Moments where they get to sit, relax, and listen to the music are few and far-between.
August, whose life’s passion is live music photography, explains that one day he hopes he and Chorney won’t have to work the festival so August will be able to photograph his own event. Until that day, Chorney and August are working on keeping the festival growing with the help and support of their friends.
“My favorite part [of the festival] is seeingmy friends smile even though they’ve spend a 14 hour day setting up, breaking down, helping people out,” Chorney says. “And they expect very little in return except a thanks and a chance to be a part of something.”
Honest Tune Features Editor Tim Newby’s new book will chronicle the history of the influential bluegrass scene in Baltimore.
Due to an influx of Appalachian migrants who came looking for work in the 1940s and 50s, Baltimore found itself the recipient of an extraordinarily talented crop of musicians and for a brief time was the center of the bluegrass world.
Based upon interviews with many of the legendary players from this golden-age of bluegrass in Baltimore, who had moved to the city in hopes of a better future and found it in music, Bluegrass in Baltimore: The Hard Drivin’ Sound & Its Legacy, is the first book to take an in-depth look into how the music that was played in Baltimore came to wield influence across a broad musical landscape.
The book will be published by McFarland Books and released May 2015.
Bluegrass in Baltimore looks in detail at the highly-influential scene in Baltimore that produced such key figures as Del McCoury, Earl Taylor, Walt Hensley, Alice Gerrard, Hazel Dickens, Mike Seeger, and Mike Munford and explores the impact the music they made had on a wide-range of musical luminaries including Jerry Garcia, Jorma Kaukonen, Pete Wernick, Sam Bush, Chris Hillman, and many others.
The journey of these Baltimore musicians was not an easy one. They struggled in the face of a music industry that viewed the music they made as the “poorest example of poor man’s music.” There were missed opportunities, personal demons, and the always up-hill battle these pioneers had to fight because of the prejudice against their hillbilly backgrounds. Due to this many of these original Baltimore musicians found they were often resigned to the overlooked role of early innovator or forgotten influence, but the music they made and the influence they had has lasted forever.
Bluegrass in Baltimore: The Hard Drivin’ Sound and Its Legacy is available for pre-order now: McFarland Books
Tickets are on sale now via www.missiontix.com/charmcitybluegrass. General admission tickets are $45 and VIP tickets are $140. For each ticket sold, the festival will donate $2 to the Howard Peters Rawlings Conservatory and Botanic Gardens, which sits next to the festival grounds, to support horticulture education programs.
Check out Honest Tune’s coverage of the previous two years.
Members: Dan Ryan (vocals & guitar), Greg Wellham (vocals & guitar), Jon Birkholz (keyboards), Brian Brunsman (bass), Mike Gambone (drums)
Sounds Like: A glorious assault of thundering guitar-driven indie-pop full of catchy hooks and sing-able melodies.
For Fans Of: Wye Oak, Spoon, Surfer Blood, Cloud Nothings
Bio: Super City formed in 2013 around the song-writing duo of Greg Wellham and Dan Ryan while they were attending Towson University. The pair had known each other and jammed occasionally since first meeting in high-school, but had never actually been in a band together until forming Super City. They recruited Jon Birkholz, Brian Brunsman, and former Bridge drummer Mike Gambome to round out the line-up. Due to the the prolific song-writing of Wellham and Ryan – which benefits from the friendly competitiveness between the two which helps fuel the bands’ fast-growing catalog – Super City released its self-titled EP shortly after forming and is working on their full-length debut which will be released early 2015.