Post by jptheprofessor on Aug 17, 2006 15:38:49 GMT -5
It took me a while to incorporate it into my summertime routine, but the annual Central Pennsylvania Festival of the Arts in downtown State College has become one of my favorite summertime events. I look forward to the constant live music on several stages, a variety of food, impromptu surprises here and there, and Penn State University in full summer regalia. This Saturday, I went back to enjoy it all again.
Per my usual routine, I parked my car near Penn State’s Beaver Stadium and took the free CATA shuttle bus service to downtown State College. As soon as I stepped off the bus in front of Schlow Library on East Beaver Avenue, I could hear an acoustic guitar being played only a short distance away. I quickly decided to investigate.
The music was coming from several doors away, as singer/songwriter/guitarist Jackson Monsour was performing to passers-by through a small amplifier set-up in front of Jamaica Junction. Jackson was doing Neil Young’s “Heart of Gold” with a slight reggae twist. He then introduced an actual reggae number, a version of Bob Marley’s “Don’t Rock My Boat.” A few folks applauded Jackson as they walked past, and some tossed money in his guitar case. I watched as Jackson continued with one of his own original tunes, “Everybody Needs Love.” At this point, I spoke with Jackson briefly and obtained a copy of his debut CD, Anywhere But Here; before heading on to check out more of the festival. (This initial contact led to Jackson Monsour hooking up with a “Backyard Rocker” appearance - he’ll be on the show Sunday, Sept. 17.)
Jackson Monsour, performing during Arts Festival weekend in State College.
Once again, Jackson Monsour.
I headed up to the food court area near East Foster Avenue and did a Polish platter (kielbasa, sauerkraut, pierogies and potato pancake). I noted a percussion performance taking place nearby, with several people and passers-by banging away on congas, bongos and other percussion…another of the streetcorner surprises you’re bound to see here and there at this festival.
After my meal, I headed to the Allen Street stage to catch my first look at Voxology. I’ve been aware of this group from seeing their name surface at Harrisburg area events, arts festivals and even the Millennium Music Conference; but until now had never actually seen them perform before. Within a few moments of watching their performance, though, I quickly understood why Voxology has received the attention they have. Performing as a trio, Voxology featured singer Les Vanderlin, singer/guitarist Kevin Neidig, and upright bass player Jason Hennessey. They played a variety of acoustic originals, select folk, blues and traditional numbers. Some of their selections included “Same Ol’ River” from their Under The Covers album; “Man Who Saved the World” from Kevin’s new solo album, Abstract and to the Point; a Civil War-era folk song and a version of Robert Johnson’s “Crossroads,” both featuring Kevin playing mandolin; and more. I was amazed at all aspects of Voxology’s performance, from the beautiful and lush vocals and harmonies to Kevin’s detailed, clean and precise guitar work. Voxology’s talents shined crisp and clear, and the Arts Festival crowd rewarded the group with increasingly loud cheers and approval. I enjoyed my first encounter with Voxology and their music; hopefully it won’t be my last.
Voxology, performing at the Central Pennsylvania Festival of the Arts.
Les Vonderlin and Kevin Neidig of Voxology.
Jason Hennessey of Voxology.
Once again, Les and Kevin of Voxology; this time Kevin is playing mandolin.
At this point, I had a different mission I needed to fulfill. I had learned just days before that a downtown State College institution, Arboria Records, was closing up shop on July 25, after 30 years in business. I had been a fairly steady customer at Arboria dating back to my college days in the early 80’s. I would guess-timate that at least a quarter of my massive vinyl album collection arrived via that store over the years. But the changing times and technology - the proliferation of downloadable music and the advent of mp3 players and iPods - has put a hurt on CD sales. Big national CD store chains have anticipated the demise of CD sales by expanding into other product lines; however, small businesses that rely solely on CD sales like Arboria have felt the crunch, and have become endangered species. So this day, I decided to make one final visit to Arboria, and browse their shelves and bins for whatever vinyl and CD treasures I could find. I browsed through several crates of $1 vinyl albums outside the door, and then went inside and perused the $2 albums and CD bins. I checked out with 18 vinyl albums, filling in some key gaps in my Yes, .38 Special, Ten Years After and Pat Travers album collections. (I didn’t see any CD’s that compelled me to spend money on them.) I chatted with the guys at the check out and told them I’d miss Arboria, and thanked them for all the great albums over the years. So long, Arboria - the end of an era.
Now lugging two bagloads of vinyl albums, I headed up to the main stage in front of Old Main on the Penn State main campus to watch Cliff Turner & the Afterburners, already in progress. Seven members strong, this group was in the process of lighting it up with R&B favorites from the 60’s and 70’s. Bass player/namesake Cliff Turner, guitarist/singer John Phelps, drummer Donnie Rhodes, sax players Darryl Davies and Tom Gallagher, trumpet player Andy Harbison and keyboard player John Wise funked it up with renditions of KC & the Sunshine Band’s “Get Down Tonight,” the Commodores’ “Brick House,” Santana’s “Smooth,” Sam & Dave’s “Soul Man,” Average White Band’s “Pick Up the Pieces” and more. Highlights were numerous, as each member of the band was allowed to showcase his solo talents and shine at various points during the songs and set. John scorched a wild guitar solo and wah pedal fireworks during Stevie Wonder’s “Superstition,” and Darryl lit it up nicely during the set-ending singalong version of “Mustang Sally.” Cliff Turner & the Afterburners’ set was uplifting and soulful, and had the large Old Main lawn audience grooving and cheering along.
John Phelps, Cliff Turner and John Wise of Cliff Turner & the Afterburners.
Cliff Turner & the Afterburners.
Darryl Davies, Andy Harbison and Tom Gallagher of Cliff Turner & the Afterburners.
Group namesake Cliff Turner of Cliff Turner & the Afterburners.
John Phelps of Cliff Turner & the Afterburners.
One more time, Cliff Turner & the Afterburners.
After this set, I walked a short distance to the Penn State Creamery tent to do my traditional annual Arts Festival consumption of the Creamery’s “Peachy Paterno” ice cream. After this, I returned to the Old Main stage for the next act, Zydeco-A-Go-Go.
As the name would indicate, Zydeco-A-Go-Go musically is from Louisiana; physically and geographically, they’re from Philadelphia. Six members strong, Zydeco-A-Go-Go celebrated Louisiana with zydeco favorites and standards, original tunes, New Orleans numbers and more. Some of their repertoire included Hank Williams’ “Jambalaya,” “Cajun Waltz,” “Bon Ton Roulet,” Bill Haley’s “See You Later, Alligator,” Cookie & the Cupcakes’ “Got You On My Mind,” “My Dog,” “Hot Tamale Baby,” “Marina” and more. Shortly into the set, a few folks got up and began dancing, and before long, a full-fledged zydeco dance party had erupted in front of the stage - it almost felt like Johnstown Folkfest! Zydeco-A-Go-Go was very skilled, and kept the vibes upbeat and their Louisiana grooves tight.
Zydeco-A-Go-Go.
Pete Eshelman of Zydeco-A-Go-Go.
On rubboard, Pamela Eshelman of Zydeco-A-Go-Go.
Carl Crabtree of Zydeco-A-Go-Go.
Pamela Eshelman, Randy Lippincott and Pete Eshelman of Zydeco-A-Go-Go.
Again, Zydeco-A-Go-Go.
A few dancers start stirring during Zydeco-A-Go-Go's set.
Zydeco-A-Go-Go's performance has become a zydeco dance party.
Late into Zydeco-A-Go-Go’s party, I departed the Old Main stage to head to the Allen Street stage early, to grab a good vantage point seat close to the stage to view the final performers of the evening, State College favorites The Nightcrawlers. As I observed the group setting up, I noted a fiddle player soundchecking with the band as well - cool! Soon, with Jason Ebersole playing bass this night, the Nightcrawlers commenced with Dire Straits’ “Sultans of Swing,” and mesmerized the crowd with a stunning set mixing classics with original compositions. On the group’s second song, their original “Desert Sun,” the guest fiddle player, John Maryott, made his first appearance. The group continued with another of their originals, “Lover’s Test,” followed by an excellent rendition of the Police’s “Walking on the Moon,” highlighted by trade-off solo fireworks between guitarist/singer Noah Figlin and flute player Aeb Byrne. John stepped back up to play more fiddle on another Nightcrawlers original song, “Blue Silver.” The excitement level continued to escalate with Led Zeppelin’s “Ramble On,” with Noah again going to town on guitar with his best Jimmy Page pyrotechnics. Noah then introduced a new original number, “On My Way,” which started out slow but evolved into a fast-firing rockabilly-flavored number. Then it was Aeb’s turn in the spotlight, as she belted out lead voice on Janis Joplin’s “Me and Bobby McGee.” The cheers grew as the song progressed, and by the time Aeb’s blues howl reached peak intensity, the crowd was going wild! By this point, the seated stagefront fans began to stand up, and soon everybody was standing to cheer on the Nightcrawlers as they began their set-closing favorite, “African Echo.” This became a virtual singalong, with a number of fans singing the song’s lyrics back to the group. By song’s end, the entire Arts Festival audience was roaring approval, and a number of people were demanding an encore. The Nightcrawlers soon responded, introducing one more of their original songs, “Grasslands,” to end the night. I have seen many great performances from The Nightcrawlers, and I knew this band had evolved into one of the hottest tickets in State College - but this performance sealed the deal on both ends. This band brought their A-plus game and stunned the house with their vibrant musicality and musicianship, with a mass of humanity - fans and new observers alike - on hand to witness it all. This hour was pure electricity from start to end, and The Nightcrawlers clearly came, saw and conquered - providing an unforgettable close to my 2006 Arts Festival experience.
Jason Ebersole of The Nightcrawlers.
Noah Figlin of The Nightcrawlers.
With guest fiddler John Maryott, The Nightcrawlers.
Once again, John Maryott.
Aeb Byrne of The Nightcrawlers.
Once again, The Nightcrawlers.
Again, Noah Figlin of The Nightcrawlers.
Steve Arnold of The Nightcrawlers.
Giving that guitar a workout, Noah Figlin of The Nightcrawlers.
More guitar fireworks with Noah Figlin of The Nightcrawlers.
Once again, Noah Figlin of The Nightcrawlers.
Multi-tasking on flute and keys, Aeb Byrne of The Nightcrawlers.
Mesmerizing the Arts Festival crowd, The Nightcrawlers.
Belting out some Janis, Aeb Byrne of The Nightcrawlers.
Once again with John Maryott on fiddle, The Nightcrawlers.
John Maryott alongside Noah Figlin of The Nightcrawlers.
Part of the large contingent of fans watching The Nightcrawlers; fans were even sitting on Allen Street!
Per my usual routine, I parked my car near Penn State’s Beaver Stadium and took the free CATA shuttle bus service to downtown State College. As soon as I stepped off the bus in front of Schlow Library on East Beaver Avenue, I could hear an acoustic guitar being played only a short distance away. I quickly decided to investigate.
The music was coming from several doors away, as singer/songwriter/guitarist Jackson Monsour was performing to passers-by through a small amplifier set-up in front of Jamaica Junction. Jackson was doing Neil Young’s “Heart of Gold” with a slight reggae twist. He then introduced an actual reggae number, a version of Bob Marley’s “Don’t Rock My Boat.” A few folks applauded Jackson as they walked past, and some tossed money in his guitar case. I watched as Jackson continued with one of his own original tunes, “Everybody Needs Love.” At this point, I spoke with Jackson briefly and obtained a copy of his debut CD, Anywhere But Here; before heading on to check out more of the festival. (This initial contact led to Jackson Monsour hooking up with a “Backyard Rocker” appearance - he’ll be on the show Sunday, Sept. 17.)
Jackson Monsour, performing during Arts Festival weekend in State College.
Once again, Jackson Monsour.
I headed up to the food court area near East Foster Avenue and did a Polish platter (kielbasa, sauerkraut, pierogies and potato pancake). I noted a percussion performance taking place nearby, with several people and passers-by banging away on congas, bongos and other percussion…another of the streetcorner surprises you’re bound to see here and there at this festival.
After my meal, I headed to the Allen Street stage to catch my first look at Voxology. I’ve been aware of this group from seeing their name surface at Harrisburg area events, arts festivals and even the Millennium Music Conference; but until now had never actually seen them perform before. Within a few moments of watching their performance, though, I quickly understood why Voxology has received the attention they have. Performing as a trio, Voxology featured singer Les Vanderlin, singer/guitarist Kevin Neidig, and upright bass player Jason Hennessey. They played a variety of acoustic originals, select folk, blues and traditional numbers. Some of their selections included “Same Ol’ River” from their Under The Covers album; “Man Who Saved the World” from Kevin’s new solo album, Abstract and to the Point; a Civil War-era folk song and a version of Robert Johnson’s “Crossroads,” both featuring Kevin playing mandolin; and more. I was amazed at all aspects of Voxology’s performance, from the beautiful and lush vocals and harmonies to Kevin’s detailed, clean and precise guitar work. Voxology’s talents shined crisp and clear, and the Arts Festival crowd rewarded the group with increasingly loud cheers and approval. I enjoyed my first encounter with Voxology and their music; hopefully it won’t be my last.
Voxology, performing at the Central Pennsylvania Festival of the Arts.
Les Vonderlin and Kevin Neidig of Voxology.
Jason Hennessey of Voxology.
Once again, Les and Kevin of Voxology; this time Kevin is playing mandolin.
At this point, I had a different mission I needed to fulfill. I had learned just days before that a downtown State College institution, Arboria Records, was closing up shop on July 25, after 30 years in business. I had been a fairly steady customer at Arboria dating back to my college days in the early 80’s. I would guess-timate that at least a quarter of my massive vinyl album collection arrived via that store over the years. But the changing times and technology - the proliferation of downloadable music and the advent of mp3 players and iPods - has put a hurt on CD sales. Big national CD store chains have anticipated the demise of CD sales by expanding into other product lines; however, small businesses that rely solely on CD sales like Arboria have felt the crunch, and have become endangered species. So this day, I decided to make one final visit to Arboria, and browse their shelves and bins for whatever vinyl and CD treasures I could find. I browsed through several crates of $1 vinyl albums outside the door, and then went inside and perused the $2 albums and CD bins. I checked out with 18 vinyl albums, filling in some key gaps in my Yes, .38 Special, Ten Years After and Pat Travers album collections. (I didn’t see any CD’s that compelled me to spend money on them.) I chatted with the guys at the check out and told them I’d miss Arboria, and thanked them for all the great albums over the years. So long, Arboria - the end of an era.
Now lugging two bagloads of vinyl albums, I headed up to the main stage in front of Old Main on the Penn State main campus to watch Cliff Turner & the Afterburners, already in progress. Seven members strong, this group was in the process of lighting it up with R&B favorites from the 60’s and 70’s. Bass player/namesake Cliff Turner, guitarist/singer John Phelps, drummer Donnie Rhodes, sax players Darryl Davies and Tom Gallagher, trumpet player Andy Harbison and keyboard player John Wise funked it up with renditions of KC & the Sunshine Band’s “Get Down Tonight,” the Commodores’ “Brick House,” Santana’s “Smooth,” Sam & Dave’s “Soul Man,” Average White Band’s “Pick Up the Pieces” and more. Highlights were numerous, as each member of the band was allowed to showcase his solo talents and shine at various points during the songs and set. John scorched a wild guitar solo and wah pedal fireworks during Stevie Wonder’s “Superstition,” and Darryl lit it up nicely during the set-ending singalong version of “Mustang Sally.” Cliff Turner & the Afterburners’ set was uplifting and soulful, and had the large Old Main lawn audience grooving and cheering along.
John Phelps, Cliff Turner and John Wise of Cliff Turner & the Afterburners.
Cliff Turner & the Afterburners.
Darryl Davies, Andy Harbison and Tom Gallagher of Cliff Turner & the Afterburners.
Group namesake Cliff Turner of Cliff Turner & the Afterburners.
John Phelps of Cliff Turner & the Afterburners.
One more time, Cliff Turner & the Afterburners.
After this set, I walked a short distance to the Penn State Creamery tent to do my traditional annual Arts Festival consumption of the Creamery’s “Peachy Paterno” ice cream. After this, I returned to the Old Main stage for the next act, Zydeco-A-Go-Go.
As the name would indicate, Zydeco-A-Go-Go musically is from Louisiana; physically and geographically, they’re from Philadelphia. Six members strong, Zydeco-A-Go-Go celebrated Louisiana with zydeco favorites and standards, original tunes, New Orleans numbers and more. Some of their repertoire included Hank Williams’ “Jambalaya,” “Cajun Waltz,” “Bon Ton Roulet,” Bill Haley’s “See You Later, Alligator,” Cookie & the Cupcakes’ “Got You On My Mind,” “My Dog,” “Hot Tamale Baby,” “Marina” and more. Shortly into the set, a few folks got up and began dancing, and before long, a full-fledged zydeco dance party had erupted in front of the stage - it almost felt like Johnstown Folkfest! Zydeco-A-Go-Go was very skilled, and kept the vibes upbeat and their Louisiana grooves tight.
Zydeco-A-Go-Go.
Pete Eshelman of Zydeco-A-Go-Go.
On rubboard, Pamela Eshelman of Zydeco-A-Go-Go.
Carl Crabtree of Zydeco-A-Go-Go.
Pamela Eshelman, Randy Lippincott and Pete Eshelman of Zydeco-A-Go-Go.
Again, Zydeco-A-Go-Go.
A few dancers start stirring during Zydeco-A-Go-Go's set.
Zydeco-A-Go-Go's performance has become a zydeco dance party.
Late into Zydeco-A-Go-Go’s party, I departed the Old Main stage to head to the Allen Street stage early, to grab a good vantage point seat close to the stage to view the final performers of the evening, State College favorites The Nightcrawlers. As I observed the group setting up, I noted a fiddle player soundchecking with the band as well - cool! Soon, with Jason Ebersole playing bass this night, the Nightcrawlers commenced with Dire Straits’ “Sultans of Swing,” and mesmerized the crowd with a stunning set mixing classics with original compositions. On the group’s second song, their original “Desert Sun,” the guest fiddle player, John Maryott, made his first appearance. The group continued with another of their originals, “Lover’s Test,” followed by an excellent rendition of the Police’s “Walking on the Moon,” highlighted by trade-off solo fireworks between guitarist/singer Noah Figlin and flute player Aeb Byrne. John stepped back up to play more fiddle on another Nightcrawlers original song, “Blue Silver.” The excitement level continued to escalate with Led Zeppelin’s “Ramble On,” with Noah again going to town on guitar with his best Jimmy Page pyrotechnics. Noah then introduced a new original number, “On My Way,” which started out slow but evolved into a fast-firing rockabilly-flavored number. Then it was Aeb’s turn in the spotlight, as she belted out lead voice on Janis Joplin’s “Me and Bobby McGee.” The cheers grew as the song progressed, and by the time Aeb’s blues howl reached peak intensity, the crowd was going wild! By this point, the seated stagefront fans began to stand up, and soon everybody was standing to cheer on the Nightcrawlers as they began their set-closing favorite, “African Echo.” This became a virtual singalong, with a number of fans singing the song’s lyrics back to the group. By song’s end, the entire Arts Festival audience was roaring approval, and a number of people were demanding an encore. The Nightcrawlers soon responded, introducing one more of their original songs, “Grasslands,” to end the night. I have seen many great performances from The Nightcrawlers, and I knew this band had evolved into one of the hottest tickets in State College - but this performance sealed the deal on both ends. This band brought their A-plus game and stunned the house with their vibrant musicality and musicianship, with a mass of humanity - fans and new observers alike - on hand to witness it all. This hour was pure electricity from start to end, and The Nightcrawlers clearly came, saw and conquered - providing an unforgettable close to my 2006 Arts Festival experience.
Jason Ebersole of The Nightcrawlers.
Noah Figlin of The Nightcrawlers.
With guest fiddler John Maryott, The Nightcrawlers.
Once again, John Maryott.
Aeb Byrne of The Nightcrawlers.
Once again, The Nightcrawlers.
Again, Noah Figlin of The Nightcrawlers.
Steve Arnold of The Nightcrawlers.
Giving that guitar a workout, Noah Figlin of The Nightcrawlers.
More guitar fireworks with Noah Figlin of The Nightcrawlers.
Once again, Noah Figlin of The Nightcrawlers.
Multi-tasking on flute and keys, Aeb Byrne of The Nightcrawlers.
Mesmerizing the Arts Festival crowd, The Nightcrawlers.
Belting out some Janis, Aeb Byrne of The Nightcrawlers.
Once again with John Maryott on fiddle, The Nightcrawlers.
John Maryott alongside Noah Figlin of The Nightcrawlers.
Part of the large contingent of fans watching The Nightcrawlers; fans were even sitting on Allen Street!