Post by jptheprofessor on Aug 15, 2008 2:13:40 GMT -5
Once again, one of this summer's big highlights in this part of the world was the annual Central Pennsylvania Festival of the Arts in State College. Again, thousands descended upon Happy Valley to enjoy five days of arts, crafts, food, refreshments, kids activities, and of course, live music.
First arriving late Friday afternoon (the Festival's third day), I did what I usually do for this event, paying the $5 parking fee and leaving my wheels in the Beaver Stadium parking lot, and riding the CATA bus into downtown State College. As I stepped off the bus at the corner of East College Avenue and Allen Street, I immediately heard a band performing at the Festival Shell up the hill on the Penn State main campus in front of Old Main. I immediately hoofed my way up to investigate…
The band on stage was a Washington, D.C.-based trio called Mojo Nation, and I arrived in time to catch the last three songs of their performance. This group features three established musicians from the D.C. music scene; including guitarist/bassist Earl Carter, a former member of E.U. (who did the funky hit “Da Butt”), multi-instrumentalist/singer Steve Sidley (a former member of east coast funk group Sam’s House), and Mike Corbett on drums. Their style featured a blend of funk, rock, and jam elements, peppered with Steve’s clever use of effects and electronics along the way. Of the three songs I witnessed, I only caught one of the titles, “Absolution,” from their CD Everybody Loves a Happy Ending. Mojo Nation’s execution was tight and crisp, and these guys clearly had fun playing off one another and making each of their tunes into an instrumental adventure. Good stuff!
Mojo Nation, in the latter stages of their performance at the Central Pennsylvania Festival of the Arts.
Mike Corbett of Mojo Nation.
Steve Sidley of Mojo Nation.
Earl Carter of Mojo Nation.
Next, I headed to the Allen Street stage to catch one of Happy Valley's hottest acts these days, Ted McCloskey and the Hi-Fi’s. Ted and the Hi-Fi’s were five members strong this day, with namesake, singer and lead guitarist Ted McCloskey joined by Hi-Fi bandmates Rene Witzke on bass and Daryl Branford on drums, plus Molly Countermine on backing vocals and percussion, and additional guitarist Noah Wotherspoon. Over the course of their one-hour set, these folks tore it up! Ted and the Hi-Fi’s rocked the large Arts Festival crowd with an all-original set of tunes from Ted’s CD’s, as well as a few new songs. The group opened with “Beautifully Dead,” and continued with “Out with the Old Queens” and “Someone Took Away Your Microphone.” Ted then introduced a bluesy number called “End of the Legends,” where Noah demonstrated some tasty slide guitar work. The group brought the tempo back up with “Lowest Common Grain of Salt,” before Ted and Molly showed off some sweet harmonies on “A Little Mystery.” Ted then introduced his ode to the disappearance of local record stores in State College, “Last Independent Record Store.” The next song, “Let-Me-Go-or-Let-Me-In,” erupted into an all-out guitar jam between Ted and Noah. Ted then introduced a new song called “2 AM,” followed by “Looking Good in the Coffin” and “Jet Set Suffragette.” The group then finished out the set in a blaze of glory with the fast-firing “Wait, Wait.” This band was on top of their game from start to end, maintaining an energetic pace and sounding tight and together. The roar of applause grew louder with each song, and Ted McCloskey and the Hi-Fi’s clearly and convincingly won over this crowd. This performance was one of my favorite highlights of this year’s Arts Festival.
Here is some video footage from Ted McCloskey & the Hi-Fis’ performance:
www.rockpage.net/users/jprice/video/MOV01679.MPG
Ted McCloskey & the Hi-Fi’s.
Ted McCloskey.
Guitar fireworks erupt between Ted McCloskey and Noah Wotherspoon.
Ted McCloskey and Molly Countermine.
Again, Ted McCloskey & the Hi-Fi’s.
Again, Ted McCloskey.
Presidential hopeful Barack Obama looks on as Molly Countermine plays the tambourine.
Again, Molly Countermine.
Once again, Ted McCloskey & the Hi-Fi’s.
Once again, Ted McCloskey.
Sitting in with Ted and the Hi-Fi’s, Noah Wotherspoon.
Yet again, Ted McCloskey & the Hi-Fi’s.
One more time, Molly Countermine of Ted McCloskey & the Hi-Fi’s.
I then returned to the Festival Shell stage to catch the last three songs of the Christopher Dean Band’s performance. Based out of New Jersey, this foursome played blues and soul. Namesake Christopher Dean sang and played guitar, flanked by Dave Foti on bass, Chip Dixon on drums and Jim Davis on sax. The group was doing a rendition of Tyrone Davis’ “Turning Point” when I arrived. They then broke into “Sweet Home Chicago,” showcasing crisp solo displays from both Christopher and Jim. Christopher then introduced the funky-flavored title song from his CD, Where I Need to Be, to finish out the set. What I saw from the Christopher Dean Band was solid; I wish I could have arrived earlier to see more.
From New Jersey, the Christopher Dean Band.
Chip Dixon of the Christopher Dean Band.
Jim Davis of the Christopher Dean Band.
Group namesake Christopher Dean.
Dave Foti of the Christopher Dean Band.
Again, Christopher Dean.
Once again, the Christopher Dean Band.
After a dinner break at the Festival's food court, I returned to the Festival Shell stage, where the Warren, PA/Jamestown, NY-based band Lareau was performing. Group namesake Larry Lareau sings lead vocals. Two members of the band, drummer Darrin Payne and bassist Roger Christopherson, used to grace area stages in the 90’s as members of the Buffalo-based band Brandy Lies. Anthony Brown plays keys, and Pete Gool plays guitar. For the duration of their set, Lareau alternated original songs with a variety of cover material. Their original songs demonstrated a melodic pop/rock style not too far removed from Gavin DeGraw, Ben Folds Five or Dave Matthews. The group did a number of songs from their Changes CD such as the title song, “Storm,” “Take a Ride,” “Change My World” and “Step Aside.” The group tackled an interesting assortment of cover material, including the Red Hot Chili Peppers’ “Dani California,” Jethro Tull’s “Locomotive Breath,” Simple Minds’ “(Don’t You) Forget About Me,” Maroon 5’s “This Love,” Alice In Chains’ “No Excuses,” Led Zeppelin’s “Kashmir” and Cream’s “White Room.” Larry demonstrated a clear and rangeful voice, and the group supported him with good harmonies. This performance was pretty strong as well, and was well-received by the large contingent of folks seated on the lawn.
Lareau entertains at the Central Pennsylvania Festival of the Arts.
Lareau namesake and singer Larry Lareau.
Again, Lareau.
Once again, Lareau.
Again, Larry Lareau.
More from Lareau’s performance.
Anthony Brown and Pete Gool of Lareau.
Darrin Payne of Lareau.
One more time, Larry Lareau of Lareau.
I then returned to the Allen Street Stage to witness one more band to close out this day at the Arts Festival, State College’s own Lemonsoul. A huge mass of humanity, including a number of Penn State students, crowded in front of the stage and clear back through the seating area and sides of Allen Street. Singer/guitarist Dan Vidmar, guitarist Ingmar Carlson, bassist Austin Arrington, drummer Tom Connolly and percussionist Landon Evak rewarded the huge crowd with their eclectic blend of rock, funk, reggae, jazz and more. The group mixed original compositions with interesting spins on established classics, continually mixing things up and never staying in one musical place for long. Some of the more interesting highlights included the group’s jazzy and jam-geared take on Marshall Tucker Band’s “Can’t You See,” their funky read of Paul Simon’s “Late in the Evening,” and their harder-edged spin on The Band’s “The Shape I’m In.” The group also bounced between reggae grooves, Little Feat-like funk passages, a percussion jam between Tom and Landon, and more. The huge crowd roared approval after each song, and at the set’s conclusion demanded an encore; Lemonsoul responded with the Grateful Dead’s “Friend of the Devil.” Obviously, Lemonsoul has built a huge following in this town, and this set should only serve to expand and strengthen it.
A mass of humanity crowds in front of the Allen Street stage to see Lemonsoul.
As viewed over a sea of heads, Lemonsoul.
Once again, Lemonsoul and fans.
This closed the Arts Festival for this day. I returned two days later for the Festival's final day, Sunday. Thunderstorms had rolled through the area during the morning, and more were forecasted for the afternoon, so I packed a collapsible umbrella in my camera bag when I parked my car; it turned out to be a wise decision!
At least early on, there wasn’t any music I urgently desired to see, so I took the opportunity to browse the arts and crafts booths; first strolling up on the Penn State main campus and doing my annual ice cream cone at the Penn State Creamery tent, before heading back the other direction and up Allen Street to browse the various booths and crafters near Foster Avenue and towards Memorial Field. I checked out a didjeridoo booth, and later the strum stick vendor. As I continued to stroll, I eventually came up on some entertainment happening at the Central Parklet Stage, as Acoustic Brew was presenting an acoustic gospel/folk music jam session. I watched this for a little while, as a group of 8-9 musicians – including acoustic guitarists, a dobro player, a dulcimer player and a fiddler – played gospel and traditional folk numbers, including a rendition of “Man of Constant Sorrow.” One representative of Acoustic Brew handed me a brochure and told me about the organization’s upcoming Greenwood Furnace Folk Gathering Sept. 12-14, as well as their fall concert series.
The jam session hosted by the Acoustic Brew.
Again, Acoustic Brew’s jam session.
I then headed to the Festival Shell stage in front of Penn State’s Old Main for one of the primary reasons I was attending the Arts Festival this day, Chris Bell & 100% Blues. I was impressed by Chris and his band when they played this festival a few years ago, and was eager to witness more blues fireworks! Flanked by bassist Adam Constantine, drummer Rob, and Happy Valley’s own John “JT Blues” Thompson on keys, Chris Bell performed a fiery mixture of original blues, blues and blues-rock favorites. After opening with two bluesy instrumentals, Chris and his band paid homage to Stevie Ray Vaughan with three songs; doing the Stevie read on Ivory Joe Hunter’s “Empty Arms,” “Tell Me” and “the Sky Is Crying.” Chris then introduced the title song from his latest CD, Real Bluesman, and followed it with another song from that album, “Forgive & Forget.” I had noticed dark clouds on the horizon, and hoped that the clouds would pass north of the Arts Fest. They did not, soon unleashing a steadily intensifying rainfall upon the Arts Festival. My decision to pack an umbrella paid off, as I broke out the umbrella and sat in the rain to take in Chris Bell’s set, while other people scurried for cover. At least two hardcore blues fans didn’t even bother to cover themselves, allowing themselves to get drenched in the downpour while enjoying Chris Bell’s blues. Chris and the band, under the cover of the Shell roof, played on; doing another original tune, “Can’t Keep a Good Man Down,” and another song, “Found Another Man,” before Chris paid homage to the recently departed Bo Diddley with a rendition of “Who Do You Love,” unleashing some excellent slide guitarwork in the process. After the song, Chris commented on how important Bo Diddley was to blues players like him, explaining that “I’ll be playing his licks the rest of my life.” Chris then introduced another songs from his Real Bluesman CD, doing “Money Don’t Grow on Trees.” Chris then performed a solo rendition of “Travelin’ Shoes,” followed by two songs I didn’t recognize, I believe called “Hard Time” and “Way Up Yonder Over There” respectively. Next was another original tune, “Hell Is Too Hot for Me,” before Chris Bell & 100% Blues wrapped up the set with Willie Dixon’s “Let Me Love You Baby,” which closed with Chris doing a solo guitar rendition of “The Star Spangled Banner;” he nailed it! As I had hoped, Chris Bell and his band delivered the goods, performing their blues with the fire and electricity I recalled from before. John “JT Blues,” as he had shown a few weeks earlier when sitting in with Blue Number Nine in Altoona, displayed his versatility and fit right in with Chris and his band; his organ groan making itself right at home. Bottom line – Chris Bell & 100% Blues was worth sitting through a rainstorm to enjoy; enough so that I bought the Real Bluesman CD after their set!
Chris Bell & 100% Blues.
Group namesake Chris Bell.
Again, Chris Bell.
Providing keys for Chris Bell & 100% Blues, John “JT Blues” Thompson.
Again, Chris Bell & 100% Blues.
Once again, Chris Bell.
Adam Constantine of Chris Bell & 100% Blues.
Again, Adam Constantine.
Chris Bell again provides some guitar fireworks.
More Chris Bell.
Chris Bell blows some harp.
Once again, Chris Bell & 100% Blues.
Again, John “JT Blues” Thompson.
After strolling down Beaver Avenue and back up Calder Alley to ponder options for an evening meal later on, I returned to the Festival Shell stage to take in some more blues, courtesy of Happy Valley’s own Holy Smoke Blues.
Holy Smoke Blues – singer/lead guitarist Anthony Stauffer, rhythm guitarist Darryl Carter, keyboardist Doug Whitfield, bassist Kevin Sliman and drummer Bennett Hoffman – played a mix of original blues and blues rock plus select cover material. Their original song selection included such numbers as the slow blues dedication “Covenant,” which Anthony wrote for his wife, Lori,” “No Time for Change,” “Superhero,” and the group’s established closer “No Mojo,” where each member of the band got to showcase his solo skills. The group also did renditions of CCR’s “Travelin’ Band,” Lynyrd Skynyrd’s “Gimme Three Steps,” Stevie Ray Vaughan’s “Pride and Joy,” Tony Vega Band’s “Jimmie Lee” and Robert Johnson’s “Sweet Home Chicago.” Their musicianship was strong, as each member got to showcase his skills. Anthony showcased some scorching leadwork several times along the way, and Doug got to show some impressive flourishes on the keys as well. Holy Smoke Blues received a good response from the Arts Fest crowd, and this set gave me a good preview of what to expect when the group comes to Altoona for the Summer Jazz Concert Series in August.
Here is some video footage from Holy Smoke Blues’ performance:
www.rockpage.net/users/jprice/video/MOV01724.MPG
Holy Smoke Blues.
Anthony Stauffer of Holy Smoke Blues.
Darryl Carter of Holy Smoke Blues.
Again, Holy Smoke Blues.
Bennett Hoffman of Holy Smoke Blues.
Doug Whitfield of Holy Smoke Blues.
Kevin Sliman of Holy Smoke Blues.
Once again, Holy Smoke Blues.
Again, Anthony Stauffer of Holy Smoke Blues.
Again, Doug Whitfield of Holy Smoke Blues.
Once again, Anthony Stauffer.
Again, Darryl Carter of Holy Smoke Blues.
Following Holy Smoke Blues’ performance, I headed to the Corner Room to do a supper break. I then returned to the Festival Shell area to catch the finale of this Festival, provided by State College reggae favorites The Earthtones. A large crowd was already gathering and staking their vantage points to take in this party, and I was soon joined by Nightcrawler Steve and his entourage, also there to witness the performance.
Shortly after 8 PM, The Earthtones kicked off the party, starting off with Burning Spear’s “Hallelujah.” Group singer, rhythm guitarist and ringleader Rodney “RT” Thompson then greeted the audience and welcomed them to “an irie Sunday night, before he and the Earthtones continued with another Burning Spear number, “House of Reggae.” They then visited the Bob Marley catalog for the first of several times, doing “Kinky Reggae.” The grass and sidewalk area in front of the stage quickly turned into a dance zone during these first few songs, with a diverse crowd of people, from kids to college students to seniors, partaking in this international-flavored party. RT, guitarist Chris Younken, keyboard players Roger Emes and Kamau Diallo, bassist Jason Ebersole and drummer John Lynch proceeded with an upbeat number, “Caribbean Man,” followed by a Stevie Wonder tune, “Pastime Paradise.” RT then dedicated the show in memory of Bob Trump, a longtime organizer of Arts Festival entertainment, who recently passed away. The Earthtones continued with Sean Paul’s “Gimme the Light, followed by Culture’s “Slice of Mount Zion.” RT then welcomed his son, Jordan Thompson, to join the band on guitar for a number, before the Earthtones returned to the Bob Marley catalog for “Black Survivors.” Next was Black Uhuru’s “Party in Session,” which incorporated a few licks of Pink Floyd’s “Another Brick in the Wall.” Jordan Thompson returned to the stage to show some more of his guitar skills on Steel Pulse’s “Rollerskates;” this guy can jam! After another number, RT introduced an original song written by Roger called “Seeds of Zion;” this tune was uptempo, displaying an interesting reggae-meets-rock flavor. This was followed by another original number, “New Superpower,” before the Earthtones tapped the Bob Marley collection again for “Concrete Jungle.” Yet another original song followed, called “Out on the Floor,” followed by another Bob Marley tune, “Waiting in Vain,” and another new original, “Trials and Tribulations.” The Earthtones then closed out their set with a soca number, “Spring Garden.” When the huge Arts Festival crowd demanded more, the Earthtones rewarded them with one more song to close out the night.
Once again, The Earthtones successfully closed out the Central Pennsylvania Festival of the Arts on a high note. The electricity between the band and crowd was instantaneous, with the area in front of the stage becoming one huge dance party. More people continued to arrive, and the energy level and joy of the occasion continued to escalate. It was one huge positive vibe through the entire set, and again sent the Arts Festival out with plentiful smiles and happy folks.
The Earthtones kick off their reggae celebration.
People gather in front of the stage as the party gets under way.
Rodney “RT” Thompson of The Earthtones.
Rodney “RT” Thompson and Chris Younken of The Earthtones.
The Earthtones’ party heats up.
Again, RT of The Earthtones.
Kamau Diallo and RT of The Earthtones.
Roger Emes and Kamau Diallo of The Earthtones.
Jason Ebersole, RT and Chris Younken of The Earthtones.
The crowd grows.
…and grows.
Once again, RT of The Earthtones.
RT’s son, Jordan Thompson (on right) joins the Earthtones on stage.
Again, The Earthtones with Jordan Thompson.
Jordan Thompson.
Again, Jordan Thompson.
A massive crowd takes in the Earthtones’ party.
Once again, The Earthtones and a festive crowd.
One more time, RT of The Earthtones.
First arriving late Friday afternoon (the Festival's third day), I did what I usually do for this event, paying the $5 parking fee and leaving my wheels in the Beaver Stadium parking lot, and riding the CATA bus into downtown State College. As I stepped off the bus at the corner of East College Avenue and Allen Street, I immediately heard a band performing at the Festival Shell up the hill on the Penn State main campus in front of Old Main. I immediately hoofed my way up to investigate…
The band on stage was a Washington, D.C.-based trio called Mojo Nation, and I arrived in time to catch the last three songs of their performance. This group features three established musicians from the D.C. music scene; including guitarist/bassist Earl Carter, a former member of E.U. (who did the funky hit “Da Butt”), multi-instrumentalist/singer Steve Sidley (a former member of east coast funk group Sam’s House), and Mike Corbett on drums. Their style featured a blend of funk, rock, and jam elements, peppered with Steve’s clever use of effects and electronics along the way. Of the three songs I witnessed, I only caught one of the titles, “Absolution,” from their CD Everybody Loves a Happy Ending. Mojo Nation’s execution was tight and crisp, and these guys clearly had fun playing off one another and making each of their tunes into an instrumental adventure. Good stuff!
Mojo Nation, in the latter stages of their performance at the Central Pennsylvania Festival of the Arts.
Mike Corbett of Mojo Nation.
Steve Sidley of Mojo Nation.
Earl Carter of Mojo Nation.
Next, I headed to the Allen Street stage to catch one of Happy Valley's hottest acts these days, Ted McCloskey and the Hi-Fi’s. Ted and the Hi-Fi’s were five members strong this day, with namesake, singer and lead guitarist Ted McCloskey joined by Hi-Fi bandmates Rene Witzke on bass and Daryl Branford on drums, plus Molly Countermine on backing vocals and percussion, and additional guitarist Noah Wotherspoon. Over the course of their one-hour set, these folks tore it up! Ted and the Hi-Fi’s rocked the large Arts Festival crowd with an all-original set of tunes from Ted’s CD’s, as well as a few new songs. The group opened with “Beautifully Dead,” and continued with “Out with the Old Queens” and “Someone Took Away Your Microphone.” Ted then introduced a bluesy number called “End of the Legends,” where Noah demonstrated some tasty slide guitar work. The group brought the tempo back up with “Lowest Common Grain of Salt,” before Ted and Molly showed off some sweet harmonies on “A Little Mystery.” Ted then introduced his ode to the disappearance of local record stores in State College, “Last Independent Record Store.” The next song, “Let-Me-Go-or-Let-Me-In,” erupted into an all-out guitar jam between Ted and Noah. Ted then introduced a new song called “2 AM,” followed by “Looking Good in the Coffin” and “Jet Set Suffragette.” The group then finished out the set in a blaze of glory with the fast-firing “Wait, Wait.” This band was on top of their game from start to end, maintaining an energetic pace and sounding tight and together. The roar of applause grew louder with each song, and Ted McCloskey and the Hi-Fi’s clearly and convincingly won over this crowd. This performance was one of my favorite highlights of this year’s Arts Festival.
Here is some video footage from Ted McCloskey & the Hi-Fis’ performance:
www.rockpage.net/users/jprice/video/MOV01679.MPG
Ted McCloskey & the Hi-Fi’s.
Ted McCloskey.
Guitar fireworks erupt between Ted McCloskey and Noah Wotherspoon.
Ted McCloskey and Molly Countermine.
Again, Ted McCloskey & the Hi-Fi’s.
Again, Ted McCloskey.
Presidential hopeful Barack Obama looks on as Molly Countermine plays the tambourine.
Again, Molly Countermine.
Once again, Ted McCloskey & the Hi-Fi’s.
Once again, Ted McCloskey.
Sitting in with Ted and the Hi-Fi’s, Noah Wotherspoon.
Yet again, Ted McCloskey & the Hi-Fi’s.
One more time, Molly Countermine of Ted McCloskey & the Hi-Fi’s.
I then returned to the Festival Shell stage to catch the last three songs of the Christopher Dean Band’s performance. Based out of New Jersey, this foursome played blues and soul. Namesake Christopher Dean sang and played guitar, flanked by Dave Foti on bass, Chip Dixon on drums and Jim Davis on sax. The group was doing a rendition of Tyrone Davis’ “Turning Point” when I arrived. They then broke into “Sweet Home Chicago,” showcasing crisp solo displays from both Christopher and Jim. Christopher then introduced the funky-flavored title song from his CD, Where I Need to Be, to finish out the set. What I saw from the Christopher Dean Band was solid; I wish I could have arrived earlier to see more.
From New Jersey, the Christopher Dean Band.
Chip Dixon of the Christopher Dean Band.
Jim Davis of the Christopher Dean Band.
Group namesake Christopher Dean.
Dave Foti of the Christopher Dean Band.
Again, Christopher Dean.
Once again, the Christopher Dean Band.
After a dinner break at the Festival's food court, I returned to the Festival Shell stage, where the Warren, PA/Jamestown, NY-based band Lareau was performing. Group namesake Larry Lareau sings lead vocals. Two members of the band, drummer Darrin Payne and bassist Roger Christopherson, used to grace area stages in the 90’s as members of the Buffalo-based band Brandy Lies. Anthony Brown plays keys, and Pete Gool plays guitar. For the duration of their set, Lareau alternated original songs with a variety of cover material. Their original songs demonstrated a melodic pop/rock style not too far removed from Gavin DeGraw, Ben Folds Five or Dave Matthews. The group did a number of songs from their Changes CD such as the title song, “Storm,” “Take a Ride,” “Change My World” and “Step Aside.” The group tackled an interesting assortment of cover material, including the Red Hot Chili Peppers’ “Dani California,” Jethro Tull’s “Locomotive Breath,” Simple Minds’ “(Don’t You) Forget About Me,” Maroon 5’s “This Love,” Alice In Chains’ “No Excuses,” Led Zeppelin’s “Kashmir” and Cream’s “White Room.” Larry demonstrated a clear and rangeful voice, and the group supported him with good harmonies. This performance was pretty strong as well, and was well-received by the large contingent of folks seated on the lawn.
Lareau entertains at the Central Pennsylvania Festival of the Arts.
Lareau namesake and singer Larry Lareau.
Again, Lareau.
Once again, Lareau.
Again, Larry Lareau.
More from Lareau’s performance.
Anthony Brown and Pete Gool of Lareau.
Darrin Payne of Lareau.
One more time, Larry Lareau of Lareau.
I then returned to the Allen Street Stage to witness one more band to close out this day at the Arts Festival, State College’s own Lemonsoul. A huge mass of humanity, including a number of Penn State students, crowded in front of the stage and clear back through the seating area and sides of Allen Street. Singer/guitarist Dan Vidmar, guitarist Ingmar Carlson, bassist Austin Arrington, drummer Tom Connolly and percussionist Landon Evak rewarded the huge crowd with their eclectic blend of rock, funk, reggae, jazz and more. The group mixed original compositions with interesting spins on established classics, continually mixing things up and never staying in one musical place for long. Some of the more interesting highlights included the group’s jazzy and jam-geared take on Marshall Tucker Band’s “Can’t You See,” their funky read of Paul Simon’s “Late in the Evening,” and their harder-edged spin on The Band’s “The Shape I’m In.” The group also bounced between reggae grooves, Little Feat-like funk passages, a percussion jam between Tom and Landon, and more. The huge crowd roared approval after each song, and at the set’s conclusion demanded an encore; Lemonsoul responded with the Grateful Dead’s “Friend of the Devil.” Obviously, Lemonsoul has built a huge following in this town, and this set should only serve to expand and strengthen it.
A mass of humanity crowds in front of the Allen Street stage to see Lemonsoul.
As viewed over a sea of heads, Lemonsoul.
Once again, Lemonsoul and fans.
This closed the Arts Festival for this day. I returned two days later for the Festival's final day, Sunday. Thunderstorms had rolled through the area during the morning, and more were forecasted for the afternoon, so I packed a collapsible umbrella in my camera bag when I parked my car; it turned out to be a wise decision!
At least early on, there wasn’t any music I urgently desired to see, so I took the opportunity to browse the arts and crafts booths; first strolling up on the Penn State main campus and doing my annual ice cream cone at the Penn State Creamery tent, before heading back the other direction and up Allen Street to browse the various booths and crafters near Foster Avenue and towards Memorial Field. I checked out a didjeridoo booth, and later the strum stick vendor. As I continued to stroll, I eventually came up on some entertainment happening at the Central Parklet Stage, as Acoustic Brew was presenting an acoustic gospel/folk music jam session. I watched this for a little while, as a group of 8-9 musicians – including acoustic guitarists, a dobro player, a dulcimer player and a fiddler – played gospel and traditional folk numbers, including a rendition of “Man of Constant Sorrow.” One representative of Acoustic Brew handed me a brochure and told me about the organization’s upcoming Greenwood Furnace Folk Gathering Sept. 12-14, as well as their fall concert series.
The jam session hosted by the Acoustic Brew.
Again, Acoustic Brew’s jam session.
I then headed to the Festival Shell stage in front of Penn State’s Old Main for one of the primary reasons I was attending the Arts Festival this day, Chris Bell & 100% Blues. I was impressed by Chris and his band when they played this festival a few years ago, and was eager to witness more blues fireworks! Flanked by bassist Adam Constantine, drummer Rob, and Happy Valley’s own John “JT Blues” Thompson on keys, Chris Bell performed a fiery mixture of original blues, blues and blues-rock favorites. After opening with two bluesy instrumentals, Chris and his band paid homage to Stevie Ray Vaughan with three songs; doing the Stevie read on Ivory Joe Hunter’s “Empty Arms,” “Tell Me” and “the Sky Is Crying.” Chris then introduced the title song from his latest CD, Real Bluesman, and followed it with another song from that album, “Forgive & Forget.” I had noticed dark clouds on the horizon, and hoped that the clouds would pass north of the Arts Fest. They did not, soon unleashing a steadily intensifying rainfall upon the Arts Festival. My decision to pack an umbrella paid off, as I broke out the umbrella and sat in the rain to take in Chris Bell’s set, while other people scurried for cover. At least two hardcore blues fans didn’t even bother to cover themselves, allowing themselves to get drenched in the downpour while enjoying Chris Bell’s blues. Chris and the band, under the cover of the Shell roof, played on; doing another original tune, “Can’t Keep a Good Man Down,” and another song, “Found Another Man,” before Chris paid homage to the recently departed Bo Diddley with a rendition of “Who Do You Love,” unleashing some excellent slide guitarwork in the process. After the song, Chris commented on how important Bo Diddley was to blues players like him, explaining that “I’ll be playing his licks the rest of my life.” Chris then introduced another songs from his Real Bluesman CD, doing “Money Don’t Grow on Trees.” Chris then performed a solo rendition of “Travelin’ Shoes,” followed by two songs I didn’t recognize, I believe called “Hard Time” and “Way Up Yonder Over There” respectively. Next was another original tune, “Hell Is Too Hot for Me,” before Chris Bell & 100% Blues wrapped up the set with Willie Dixon’s “Let Me Love You Baby,” which closed with Chris doing a solo guitar rendition of “The Star Spangled Banner;” he nailed it! As I had hoped, Chris Bell and his band delivered the goods, performing their blues with the fire and electricity I recalled from before. John “JT Blues,” as he had shown a few weeks earlier when sitting in with Blue Number Nine in Altoona, displayed his versatility and fit right in with Chris and his band; his organ groan making itself right at home. Bottom line – Chris Bell & 100% Blues was worth sitting through a rainstorm to enjoy; enough so that I bought the Real Bluesman CD after their set!
Chris Bell & 100% Blues.
Group namesake Chris Bell.
Again, Chris Bell.
Providing keys for Chris Bell & 100% Blues, John “JT Blues” Thompson.
Again, Chris Bell & 100% Blues.
Once again, Chris Bell.
Adam Constantine of Chris Bell & 100% Blues.
Again, Adam Constantine.
Chris Bell again provides some guitar fireworks.
More Chris Bell.
Chris Bell blows some harp.
Once again, Chris Bell & 100% Blues.
Again, John “JT Blues” Thompson.
After strolling down Beaver Avenue and back up Calder Alley to ponder options for an evening meal later on, I returned to the Festival Shell stage to take in some more blues, courtesy of Happy Valley’s own Holy Smoke Blues.
Holy Smoke Blues – singer/lead guitarist Anthony Stauffer, rhythm guitarist Darryl Carter, keyboardist Doug Whitfield, bassist Kevin Sliman and drummer Bennett Hoffman – played a mix of original blues and blues rock plus select cover material. Their original song selection included such numbers as the slow blues dedication “Covenant,” which Anthony wrote for his wife, Lori,” “No Time for Change,” “Superhero,” and the group’s established closer “No Mojo,” where each member of the band got to showcase his solo skills. The group also did renditions of CCR’s “Travelin’ Band,” Lynyrd Skynyrd’s “Gimme Three Steps,” Stevie Ray Vaughan’s “Pride and Joy,” Tony Vega Band’s “Jimmie Lee” and Robert Johnson’s “Sweet Home Chicago.” Their musicianship was strong, as each member got to showcase his skills. Anthony showcased some scorching leadwork several times along the way, and Doug got to show some impressive flourishes on the keys as well. Holy Smoke Blues received a good response from the Arts Fest crowd, and this set gave me a good preview of what to expect when the group comes to Altoona for the Summer Jazz Concert Series in August.
Here is some video footage from Holy Smoke Blues’ performance:
www.rockpage.net/users/jprice/video/MOV01724.MPG
Holy Smoke Blues.
Anthony Stauffer of Holy Smoke Blues.
Darryl Carter of Holy Smoke Blues.
Again, Holy Smoke Blues.
Bennett Hoffman of Holy Smoke Blues.
Doug Whitfield of Holy Smoke Blues.
Kevin Sliman of Holy Smoke Blues.
Once again, Holy Smoke Blues.
Again, Anthony Stauffer of Holy Smoke Blues.
Again, Doug Whitfield of Holy Smoke Blues.
Once again, Anthony Stauffer.
Again, Darryl Carter of Holy Smoke Blues.
Following Holy Smoke Blues’ performance, I headed to the Corner Room to do a supper break. I then returned to the Festival Shell area to catch the finale of this Festival, provided by State College reggae favorites The Earthtones. A large crowd was already gathering and staking their vantage points to take in this party, and I was soon joined by Nightcrawler Steve and his entourage, also there to witness the performance.
Shortly after 8 PM, The Earthtones kicked off the party, starting off with Burning Spear’s “Hallelujah.” Group singer, rhythm guitarist and ringleader Rodney “RT” Thompson then greeted the audience and welcomed them to “an irie Sunday night, before he and the Earthtones continued with another Burning Spear number, “House of Reggae.” They then visited the Bob Marley catalog for the first of several times, doing “Kinky Reggae.” The grass and sidewalk area in front of the stage quickly turned into a dance zone during these first few songs, with a diverse crowd of people, from kids to college students to seniors, partaking in this international-flavored party. RT, guitarist Chris Younken, keyboard players Roger Emes and Kamau Diallo, bassist Jason Ebersole and drummer John Lynch proceeded with an upbeat number, “Caribbean Man,” followed by a Stevie Wonder tune, “Pastime Paradise.” RT then dedicated the show in memory of Bob Trump, a longtime organizer of Arts Festival entertainment, who recently passed away. The Earthtones continued with Sean Paul’s “Gimme the Light, followed by Culture’s “Slice of Mount Zion.” RT then welcomed his son, Jordan Thompson, to join the band on guitar for a number, before the Earthtones returned to the Bob Marley catalog for “Black Survivors.” Next was Black Uhuru’s “Party in Session,” which incorporated a few licks of Pink Floyd’s “Another Brick in the Wall.” Jordan Thompson returned to the stage to show some more of his guitar skills on Steel Pulse’s “Rollerskates;” this guy can jam! After another number, RT introduced an original song written by Roger called “Seeds of Zion;” this tune was uptempo, displaying an interesting reggae-meets-rock flavor. This was followed by another original number, “New Superpower,” before the Earthtones tapped the Bob Marley collection again for “Concrete Jungle.” Yet another original song followed, called “Out on the Floor,” followed by another Bob Marley tune, “Waiting in Vain,” and another new original, “Trials and Tribulations.” The Earthtones then closed out their set with a soca number, “Spring Garden.” When the huge Arts Festival crowd demanded more, the Earthtones rewarded them with one more song to close out the night.
Once again, The Earthtones successfully closed out the Central Pennsylvania Festival of the Arts on a high note. The electricity between the band and crowd was instantaneous, with the area in front of the stage becoming one huge dance party. More people continued to arrive, and the energy level and joy of the occasion continued to escalate. It was one huge positive vibe through the entire set, and again sent the Arts Festival out with plentiful smiles and happy folks.
The Earthtones kick off their reggae celebration.
People gather in front of the stage as the party gets under way.
Rodney “RT” Thompson of The Earthtones.
Rodney “RT” Thompson and Chris Younken of The Earthtones.
The Earthtones’ party heats up.
Again, RT of The Earthtones.
Kamau Diallo and RT of The Earthtones.
Roger Emes and Kamau Diallo of The Earthtones.
Jason Ebersole, RT and Chris Younken of The Earthtones.
The crowd grows.
…and grows.
Once again, RT of The Earthtones.
RT’s son, Jordan Thompson (on right) joins the Earthtones on stage.
Again, The Earthtones with Jordan Thompson.
Jordan Thompson.
Again, Jordan Thompson.
A massive crowd takes in the Earthtones’ party.
Once again, The Earthtones and a festive crowd.
One more time, RT of The Earthtones.