It is nearly impossible to produce a satisfactory answer to the question – “what is folk music?” Rather than come up with words, perhaps the best response would be to simply to hand the inquirer a weekend pass to the Old Songs Festival and they can discover the answer for themselves.

Once again, the 2007 Old Songs Festival of Traditional Music and Dance had something for everyone. I am always astounded by the diversity of performers and audience. One moment will be spent with a Scottish folksinger, the next with a West African kora player. You might see a group of teenagers swirling the dance floor to the sounds of a contra band, or watching someone from an older generation grooving to the sounds of Chicago blues.

The name “Old Songs” is somewhat a misnomer, as contemporary music has a presence. Andy Spence, the guiding light behind this annual event, once told me that the idea is that performers have roots and an understanding of the tradition and build upon it. Perhaps that is our answer. Folk music is a living entity, and Old Songs celebrates the art form while creating a community that perpetuates the sounds and traditions and adds a few new elements as well.

I arrived Friday night and noticed an ominous cloud rolling over the valley in Altamont, NY. The skies surrounding the area seemed nice and blue, so I thought at best we would see a passing shower. Heck, what would a festival be if it did not have some rain? It helps build character!!!

I sat down for the evening concert with John Roberts and Lisa Preston. (John has just released his first solo album – a project that has been in the conceptual stage since 1977!! More about this brilliant work in a later article.) We were treated to an outstanding performance from the Jeremy Kittel Band to start the festivities. Jeremy is an outstanding young talent. I’ve known Jeremy for a few years now, and it amazing to watch him mature on stage. Jeremy is only 22 years old. I hate to admit this, but I still wear t-shirts that are older than Jeremy! Jeremy began learning fiddle tunes at the age of 8 and was competing in National Scottish fiddling championships at the age of 12. Over the years, Jeremy has begun exploring jazz and bluegrass as well as performed with classical ensembles. At Old Songs he was joined by guitarist Bob Gerics, bassist Andrew Kratzat and Polish-born percussionist Bodek Janke. Bodek astounded audiences throughout the weekend and joined Mamadou Diabate for his main stage performance.

Jeremy’s performance was a perfect start for the evening, and as you can see in the photo that I took, the sun was shining brightly at the start of his set.

Unfortunately, that cloud I saw when I arrived at the Fairgrounds finally made its appearance at the festival just as Steve Tilston began his set. Steve was ready for the weather (more than I was!) and started off with a cover of “Blue Skies”. While I left my umbrella at home (too much positive thinking), I was grateful that John Roberts had three. Not only is the man a treasure trove of songs, he is prepared! I thank John for his kindness in sharing an umbrella, which probably kept me from catching pneumonia at the festival!

It was unfortunate that Steve Tilston had to play through the downpour. His fingers slipped from the guitar at one point, and the audience did not seem to be giving Steve their full attention. Still, it was an admirable set, and the rain ceased by the time he finished his set. Steve was around all weekend, and Free-Reed Records was also present with a new 5 CD box set of his material. It is a proper collection for this gentleman who has been a major part of the British folk scene since the early 70’s.

After Steve’s set, Andy Spence came onstage to announce that they were moving the rest of the evening’s concert into the Dance building that was adjacent to the main stage. While the rain had stopped, there was a possibility of more – plus the forecast called for increasing winds and temperatures in the low 50’s. I have to admit, I was doubtful that they could shift a crowd of this size without disaster. Moving hundreds of people who had arrived hours earlier to get good seats and were now faced with being crammed into a large shed did not appear to be a pleasant task. This moment may actually become a fond memory for people. Not only did they move everyone without any complaints that I could see, everyone was in good humor and made the switch in less than 10 minutes! The sound crew was incredible, and within a few minutes Brian McNeill started his set. The Old Songs crew is a well-oiled machine, and the audience is one big understanding family. This is what folk music is all about.

Brian McNeill, formerly with the Battlefield Band, offered a varied and exciting set. Brian made the crowd feel as if they were sitting in a pub with a group of friends as he ran through a set of tunes, songs and stories that warmed the hearts of everyone present.

Simple Gifts was next. A trio from Pennsylvania: Linda Littleton, Karen Hirshon and Rachel Hall play 12 different instruments between them and perform a variety of ethnic folk styles. Their tunes will stick with you!

Intermission was upon us, and I made a run for the beer truck. The serving of beer has been frowned upon by many festivals – with good reason. Often the beers served at these events are cheap beers that go down easy and create rowdy crowds. That is not the way beer is meant to be enjoyed. The Specialty Ales beer truck, run by Bill Newman, serves micro brewed beer from Saranac Beers and in all the years I’ve attended Old Songs, I have not witnessed any drunken scenes. Quality beer is part of a celebration, and there is nothing finer than to sip an IPA, a fine Pale Ale, or an outstanding Black Forest from Saranac. This is not a commercial endorsement, I do not get paid from the brewery, but if they should happen to send a case or two – I won’t say no! Seriously, I only mention the beer truck because it is another example of how this festival is set apart from others. Old Songs maintains a family atmosphere and there is something for everyone.

The second half of Friday night’s concert featuring the traditional Cajun group The Magnolia Sisters, traditional Malian music from Mamadou Diabate, and traditional Irish music from the David Munnelly Band. The diversity and virtuosity of the performers was evident, and it was a rousing finish to the evening. Following the concert, I headed over to the Dutch Barn for the traditional after-concert sing. Some of the finest music at the festival is shared during these sings.

Friday night’s sing was led by Dick Greenhaus of Camsco Music. Dick is a benevolent host and everyone had an opportunity to lead the group in song. I wish more people would drop by for these sings, even if you are shy and retiring – like me. Just sitting amongst the group as the different songs are called out is an experience that is not shared often enough. Folk music is meant to participate in, and if you feel that you can’t lead the group in a song, just join in on the chorus. I always walk out of there with a few new traditional songs that I’ve never heard before, plus a few “classics” that are always a pleasure to hear.

Saturday was a beautiful sunny day, although the wind gave a fall-like atmosphere to the event. By evening the temperature dropped and a number of people, including emcee Michael Cooney remarked that the weather was reminiscent of the old Fox Hollow Festivals, held late in the summer in New York state. Fox Hollow was the precursor to Old Songs and it’s demise led Andy Spence and friends to start up the Old Songs organization.

There are so many workshops held at Old Songs – over 120 this year! Impossible to catch them all! One of my favorites was “Songs and Tunes of Canada” which featured the Arrogant Worms, Finest Kind and Rika Ruebsaat & Jon Bartlett. Rika & Jon are teachers who maintain their “amateur” status as musicians – but they are professional in their outlook, presentation and love for the music. They shared a wonderful “Candian” version of “This Land is Your Land” which satirizes the modern changes of the nation. The Arrogant Worms are always a treat (see them at the Hurdy Gurdy on Sept. 15!) and their quick wit and musical talent always amaze me. Their “anthems” had the crowd in stitches, and they were drawing large numbers wherever they appeared. Finest Kind live up to their name. (More about them later). There are always a number of Canadian groups and performers at Old Songs, and it is a welcome treat.

Simple Gifts and Shelly Posen of Finest Kind gave an excellent workshop of Jewish Music & Song. I also enjoyed the Traditional Ballads workshop that featured Sara Grey, Danny Spooner, Louis Killen, Cindy Mangsen, and Rika & Jon. There were too many workshops and performance showcases to see, and I only wish I could have heard a dozen more.

There were a couple of Sacred Harp workshops during the weekend. One of the workshops I visited was held in large museum building, and the acoustics for this singing were outstanding. You need to experience Sacred Harp by being in the center of the music.

Saturday night may have been the highlight of my weekend. Ignoring the wind and the cold, the evening concert was outstanding. The evening captured the traditional feel of the festival with a mix of well known names and a few new surprises.

Saturday nights concert was emceed by Michael Cooney, well known as a one-man folk festival all by himself. Looking resplendent in top hat and tails, Michael kept the audience entertained between performers as the sound crew, one of the quickest and talented I’ve ever seen, worked to change the performers and setups. Michael shared stories, songs and campground ditties that are still rambling through my head.

The evening kicked off with a high spirited performance from Les Girls. Founded by two former members of the Canadian group Barachois, Les Girls features these veteran performers teaming up with five young women who are carrying on the musical Acadian styles of Prince Edward Isle. They reminded me of Cherish the Ladies in their performance style – an all female ensemble featuring music a blend of traditional instrumental music and song focused on by key members of the group with a liberal dose of dance and chat. The group has not recorded yet, but based on their performance I predict that we will be hearing more from Les Girls.

Les Girls joked that they were opening for The Arrogant Worms. It is difficult to precede or follow a band like the Worms. The group has become a favorite guest of the festival, and this appearance marks their third visit to Altamont. It was no coincidence that the Arrogant Worms drew the largest crowds at the various workshops and showcases they appeared in over the course of the weekend. Their main stage performance on Saturday night was the pinnacle.

The three members of the Arrogant Worms possess the quickest wit I have ever seen among a group. Each performance is unique as they feed off each other and the audience. Their songs are becoming classics among the Old Stage regulars. I heard many people singing along with on songs such as “We Are the Beaver” and “The Last Saskatchewan Pirate”. Many of their songs poke fun at their native Canada, but the humor is broad and everyone enjoyed it.

It is rare to find someone who does not enjoy them, but one friend of mine falls into that category. His beef with their performance is that they remind him of Junior High School clowns. Well, what is wrong with that? Too often I hear complaints on how folk music no longer attracts young people. Just looking around at the crowd and seeing the smiles and hearing the laughter from an audience consisting of multi-generations is enough reason to disregard that argument. If you truly examine their humor and wordplay, you discover exceptional talent for finding the humor in everyday scenarios. They poke fun at themselves, and no one is offended by their performance. They can sing to Grandma as well as young Junior, and everyone in between. I am really looking forward to their appearance at the Hurdy Gurdy in Fair Lawn, NJ on September 15. I guarantee that it will be a memorable evening that will get you laughing!

While it is tough to follow an act like the Arrogant Worms, Enoch Kent did an admirable job. Back in the 1950’s while still living in his native Scotland, Enoch formed a group called The Reivers that would be signed for a weekly TV series and help spread folk music in that country. Enoch was part of the early 1960’s folk revival in the UK as a member of the Singers Club, where he honed his writing skills as well. Enoch moved to Canada and continued performing, but it took 36 years to record an album! At the age of 70 in 2002 he released “I’m A Working Chap” and since then has recorded three more collections. As a live performer, Enoch has a charm that wins over an audience. His voice was a bit craggy on Saturday, but a quick remark about it made it a minor flaw that was easily overlooked. His between song jokes and stories were gems! He also was joined by Brian McNeill and another musician for the song “When You See the Crematorium”, a song that I do not believe has been recorded but should be! Catch Enoch the next time he comes to town.

Saturday night saw the young Scottish band Bodega take the main stage. Old Songs marked their first official U.S. performance, and you can bet they will be asked back soon! The group formed in 2005 when all five members were attending the National Centre of Excellence in Traditional Music in Scotland. They have since played a number of major festivals in Europe, won the 2005-06 BBC Radio 2 Young Folk Award and released their first CD on Greentrax Records. They sing songs in Gaelic and English and meld together traditional sounds with a youthful funky style! Bodega is going places.

Harmony was out in full force on Saturday. What else can you say about perennial favorites Herdman Hills and Mangsen? Favorites of the festival crowd, HHM delivered a set of well recognized tunes sprinkled with a few new pieces. One of the songs they performed appears on Anne Hills new solo CD “Ef You Don’t Watch out: Anne Hills Sings the Poems of James Whitcomb Riley” (a CD review will be coming soon). “Little Orphant Annie”, the classic poem from Riley, dripped like sweet honey from the voices of the trio. Breathtaking.

Another trio that gave a stellar example of harmony singing was the afore mentioned Finest Kind. The exquisite vocal harmonies of Ian Robb, Shelly Posen and Ann Downey are such a natural and beautiful blend! It is hard to believe that the group started by accident in 1991 when all three happened to be sitting next to each other at a song swap and they realized that something special was occurring when all three joined in on a chorus. At Old Songs they shared Dylan’s “The Times They Are A Changin’” – perhaps the best version I’ve ever heard of the song. Finest Kind has performed two years in a row at Old Songs, but I am sure everyone (especially this writer) if they returned again next year!

There were not too many surprises at this year’s festival in terms of artists that were new to my ears. I know that for a majority of the crowd it was the first time they met Pat Wictor. Pat’s Zen-like quality instantly puts the audience at ease, and I’m afraid it underestimates his skills. Like Joe Dimaggio could make a spectacular catch look rudimentary, Pat Wictor delights in sharing original and traditional songs in his unique style. His original songs are gaining a lot of attention and a number of artists are beginning to record him.

The one “surprise” for me was the blues duo of Paul Rishell and Annie Raines. While the two have been performing together since 1993, they have been on the Boston music scene awhile longer. Paul started gaining a reputation as one of the top guitarists in Boston shortly after he arrived on the scene in the early ’70’s. Annie picked up a harmonica in the early 80’s and became one of the first serious female blues harmonica players in the country. On Saturday night they treated the crowd to a set of Chicago style blues, and in a showcase performance on Sunday they did an outstanding set of acoustic country blues. I also caught up with them at a small workshop they did with Magpie called “Harmonica Hullabaloo”. Let’s hope their music continues to spread.

Oh… I almost forgot about the dancing! I have two left feet, but I enjoy watching other enjoy themselves on the dance floor. It was really good to see so many YOUNG people enjoying the contra dances. You know that old worry about where the next audience for folk music is going to come from? Perhaps it it the dance that will bring them in.

My original intention was to give a brief synopsis of this years Old Songs Festival, but if you are still reading to this point, you probably realize that the event had a huge impact on me. That is what happens at Old Songs – if you are open to the music, it will capture your heart and soul. This festival represents the essence of folk music and its fans. I probably should not use the word “fan” as it has connotations with people who sit back and enjoy the exhibition of a skill. Old Songs is participatory and it doesn’t matter what your level of talent is. Every one of us can make music in some fashion. Whether it is using our bodies as percussive instruments, picking out a tune on an instrument, leading a group in song, or simply joining in on a chorus – folk music is meant to be experienced. The regulars, some who have been coming every year since the first event, know the beauty of Old Songs.

I’m already counting the days until next year. After I came home, someone passed on a rumor that the festival may be moving next year. When I spoke to Andy Spence last fall, she indicated that the festival appeared safe in Altamont for the next few years, but things may change. I will try to find out the real story and share it with all of you.

Regardless of where it will happen, Old Songs will remain a “spirit”. As a church is not defined by the building in which services are held, Old Songs cannot be defined simply by a fairgrounds. I’ll you see you there next year!