Two brothers and their cousin who forged their sound in the Florida panhandle and now call Charlottesville home and call themselves the Currys. And products of Wisconsin…a pair who are married to music and each other now based in Knoxville Tennessee called collectively Count This Penny. This edition of In Your Ear features material from two separate Studio A sessions in early 2016, double proof that families who play together, stay together.
Georgia’s five-man Velvet Caravan rolled into RVA back in the April of 2016 with a wagon load of low country gypsy swing and nearly more showmanship than our little 80-seat recording studio could hold. They’ve been a band for only five years but their musicianship obviously goes back much further than that. They obviously owe a great directional debt to pathfinder Django Reinhart. But like all musicians worth their salt, these five engaging vagabonds take the ball and run with it, with great joy.
For this week’s World Music Show (12/31), I’m going to take a different route. Instead of regurgitating every little snippet of what I’ll be playing (though, I know some of you perhaps enjoy the read and the ride as much I enjoy writing them), I’m going to break down my “Best of” list like so many other musical countdowns do across the spectrum, meaning it’ll be a Letterman-esque Top Ten list. If I were to include everything I’m playing this week, the list would be “Top 28.”
One of the many reasons I love the holidays—besides the obvious reasons of family, chilly weather and presents, is because of the music. And, sure I love the classic holiday music, but since I have the honor of running the World Music Show on (12/24), I get to play holiday music not usually heard on many a station or record (or CD) player. It’s with that caveat that I also love pushing the boundaries of what you’ll hear on my annual Holiday World Music Show.
Over just the last two years, Holly Bowling has made a name for herself in the live music community for her uncanny ability to interpret the music of Phish and The Grateful Dead on solo piano. These arrangements include studious takes highlighting both bands’ compositions, spot-on transcriptions of their live concert improvisations, and using the source material as jumping off points for her own creative excursions.