Martin Sexton

In jazz, rock, and pop, the songwriting is focused more consistently on the music.  The song is a vehicle for vocal or instrumental fireworks.

There are certainly performing songwriters in the folk genre who are among the best at what they do, instrumentally and vocally.  Mr. Sexton is a great example.  Brooks Williams, Caroline Aiken, and Pete Kennedy are all famous in folk circles and beyond for their guitar work.  Chris Thile on mandolin, and Amanda Shires on fiddle.

Caroline Aiken

Thinking of Caroline Aiken makes me think of Jack Williams, Teri Hendrix, Jeff Black, Eliza Gilkyson, and Guy Clark.  Is there a stronger tradition for mastery at the guitar in folk music from the southland?  (Brooks Williams is originally from Georgia, if I’m not mistaken.)

Folk music success does not always require virtuosity in your instrument, however.  Many of the biggest draws in folk music have found their audience not through their musicianship, but instead, through their songwriting and their ability to engage a live audience in an intimately shared experience.

Ellis Paul; Cheryl Wheeler; John Gorka; Don White; Vance Gilbert, Lori McKenna; Peter Mulvey.  These people play the guitar far better than I’ll ever

Lori McKenna

hope to, and have developed into very competent instrumentalists who accompany themselves extremely well.  But their guitar work is not the focus of their talent. We love these performers because they write terrific songs that reach us in ways that their guitars never will.  We love them for the way they make us feel as if we are their best friends when we are in their audience.

Who are the local folkies whose instrumental prowess is their major asset?  Don Campbell, Jason Spooner, and Dave Rowe on guitar?  Anybody ever hear Lindsey Montana play his guitar?  Ed Howe on fiddle? Joe Walsh on mandolin?

Dave Rowe

On the other hand, which local folkies rely more on their songwriting and performance skills?  Vanessa Torres?  Putnam Smith?  Sara Cox? Christian Cuff?  Jud Caswell?

Your thoughts?

Yours in folk, Bob McKillop

There have been many opinions expressed about what constitutes “folk” music, and I don’t think there’s one answer that is correct or all inclusive.  By definition, folk music is what folks think it is.

Here’s my take, in the form of some examples…

An eighty-year old Catholic nun in a white habit strumming an acoustic- electric signed by Willie Nelson, singing a terrific original tune that sounds like she stole it directly from Hank Williams, to a roomful of senior citizens at an old folks home (Maine singer-songwriter Sister Kay Kay).

Roger Saloom

Veteran folk troubadour Roger Saloom, who made his name down in Worcester, MA back in the late sixties, and the very young, but incredibly talented Seth Glier, killing a very appreciative crowd at the North Star Music Cafe on a Portland Saturday night in early May.

Wiping tears of joy from my eyes as I listen to the stunning melody and chord arrangements written by Maine songwriter and multi-instrumentalist Jeff Trippe (of The Mutineers), to go along with a set of lyrics that I wrote.

Clara Berry

Watching young keyboard ace and gifted Maine songwriter Clara Berry grow and learn, from both mistakes and triumphs, right before my eyes as she performs to a sell-out crowd while opening for Cheryl Wheeler at One Longfellow Square in Portland.

Putnam Smith (photo by Sam Cousins)

Feeling the tingle on my spine as I perceive the great things to come for Durham, Maine  songwriter Putnam Smith, after listening to his stunning new full-length studio album “Goldrush” (CD release at One Longfellow Square on Friday, May 29 at 8:00 – I’ve already bought my tickets!)

Ramblin' Jack Elliott

The surprise and delight in learning that a Maine songwriter, Peter Alexander, is a friend of the legendary Ramblin’ Jack Elliott, and that he has convinced him to come and play a concert in Portland, at the St. Lawrence Center for the Arts, on August 20, 2009 (I’ve already bought my tickets for that show too!)

You get the picture – folk music, for me, is about the heart-grinding, knife-edge experience of a developing performer on stage, in the zone and risking everything.  It’s about the clarity and wisdom of a perfect song.  And it’s about watching the community and communication that arises from the interaction between a songwriter/performer and an intimate audience.

What does folk mean to you?  Let fly with your thoughts!

Maine is full of this type of thing – please go find some, enjoy it, and support it!

Yours in Folk

Bob McKillop