32nd Annual Roots Festival
by Jan Hedlun

It was a sunny Sunday (May 1st) when I walked down Adams Avenue towards the 32nd Annual Roots Music Festival, joining a diverse group of music lovers. I wandered amongst the numerous kiosks of jewelry, clothing, paintings, artwork and other goodies, and was counting my pennies as I drooled over a Tibetan Singing Bowl, when I found myself drawn towards the lilting voice of Anna Troy. Accompanied by compatriots Billy Watson and Robin Henkel her strong lyrics drifted from Blues, to Folk, to Pop, her music deeply affecting. It was a shame when her set ended and I moved on, but that was the purpose of each performers 45 minutes. To allow you an eclectic blend of alternative country, Americana, roots, folk, blues, gospel, jazz and bluegrass.

I then encountered Roy Ruiz Clayton at the 34th Street stage, a singer-songwriter with a definitive country influence. Lots of toes were tapping as he swung from one song into another. His latest album Army of Ragged Angels is currently available and you can learn more about this poet, potter and artist on his website.

Wandering down the aisles, sniffing at the aroma issuing from the numerous food booths my attention was attracted to another of the seven available stages. I was immediately captivated by David "Honeyboy" Edwards. His age worn voice evoked images of steamy bayous and riding trains through dusty Southern towns. Folks sitting on porches on sweltering humid evenings. He coaxed the blues from his guitar before he even began to sing.

Born in 1915, his Blues style was influenced by Robert Johnson, the last of the acoustic Delta Blues players. Having played with every blues performer from street corners, clubs music festivals, café's and theaters across the nation for well over 50 years, his style makes him a veritable icon of the Blues. His discography is impressive and if you've never had the pleasure of hearing him sing, hop onto his website www.honeyboyedwards.com for some excellent sound bites and an introduction to a living legend.

Then I discovered Larry Hanks and Mike Marker. I have to say I hadn't heard anyone play a Jew's harp for quite some time, but it pulled me towards the stage like a magnet. Larry's bass voice went well with the cowboy ballads, laments and topical songs are his venue. A twenty-some year alliance between the two men had created a wellspring of old songs to draw on and their guitar and banjo pickin' kept me enthralled.

I prowled past Curt Bouterse who played Appalachian Folk songs on Banjo, Dulcimer, and Autoharp. I got to hear traditional American Folk Music performed by the American Folk Singers (Gregory Page and Tom Brosseau).

About that time I kept hearing the name Odetta being murmured with a tinge of awe and I followed a growing crowd. At the time I didn't realize she was a legendary African-American blues and folk artist, and that does not even begin to describe her! It wasn't until I got home and did some online research that I realized that Odetta is considered one of the most influential artists of the 20th Century. Musicians and songwriters interviewed over the last two years by Folk Music Archives credits her as the "single most important influence in their musical career".

Called Folk Music's "Grand Dame", most of those waiting in that little Adams Avenue park had heard her before and began to applaud as she stood before us. Accompanied on the piano by Seth Hart, musical director of Hair Spray, the very first note from her powerful voice sent chills up my spine and brought tears to my eyes. Odetta began her set with a sing-along version of ""This little light of mine, I'm going to make it shine"", stopping the show when we didn't sing loud enough. Gently admonishing us by stating ""You don't make anybody bigger by making yourself smaller,"" she began again and the crowd's volume increased exponentially.

How do you describe 50 plus years of experience packed into one woman? Her dynamic style has inspired artists as diverse as Bob Dylan, Janis Joplin, Tracey Chapman, Joan Baez and more. In one 45 minute set that covered tunes folk, blues and spirituals, she drew on a range of intense emotions with every song she chose. Using her voice as her instrument her phrasing was subtle, her intonations true. An authentic person who built her life on music, she combines humor, sorrow, playfulness, and history in every performance. She deserved the standing ovation from the crowd. I'm just sorry I missed her gospel performance that was later in the evening.

Her last album, 1999's acclaimed "Blues Everywhere I Go," was her first studio release in 14 years. Her latest album, "Lookin' for a Home" (M.C. Records), is a tribute to Huddie ""Leadbelly"" Ledbetter.

If you want to know more about her start here . I'm already looking to buy her D''s.

I ended my music day with Sourdough Slim, the Yodeling Cowboy. I'm not kidding. Totally retro. Absolutely hilarious (as his website will assure you). It reminded me of someone I saw once upon a time on the old Ed Sullivan show (yes, I'm aging myself here). At first I watched in amazement that somebody still played the accordion. Then I stayed because he was so damn funny. He was exactly what he portrayed. A yodeling cowboy with a repertoire of western lore that he'd toss in between songs. Complete with accordion, 10 gallon hat, paisley silk neckerchief and stitched cowboy boots he was reminiscent of Will Rogers with his comic asides. His fast-paced banter was contagiously funny. Before long he had us all singing the Big Rock Candy Mountain, and the audience was delighted when, for his last great trick, he spun a lariat, played a song on the accord ian, yodeled and did a jig -- at the same time. I know -- it's almost too much to believe. Not only a singer/accordion player/yodeler he's a cowboy poet as well. Check him out on his Official Sourdough Slim website and you can look for his latest album, Six-Guns and Sage.

I sincerely regret missing Little Pink Anderson, a second generation bluesman and the third headliner at the event. I didn't get a chance to listen to Patty Hall playing old time country blues. Or the Neverly Brothers. Kenny Hall. Tomcat Courtney. Texas Bluesman. Bayou Seco. San Diego Cajun Playboys. Mary McCaslin. Tanya Rose. Mimi Wright. The 7 th Day Buskers. The New Smokey Mountain Boys. Los Alacranes. Los Californios. The Balkan Kafe Orchestra. La Bande A Bonnejoie. Ray Bierl. Bob Bovee and Gail Heil. Rock Trio with Joey Harris. The Earl Brothers. The Delta Sisters. The Golden Hills Ramblers. The Budapest Brothers. And last, but not least, the Earl Brothers.

All of these people, and many more that couldn't attend, keep the various styles of American music alive and well. Thanks to Lou Curtiss, who is the driving force behind this festival, and an incredible band of staff and volunteers, there is a yearly gourmet feast of music and musicians to discover. If you missed it this year, make darn sure you join me next April/May for the 33rd Annual Roots Festival. It's definitely worth a Saturday and/or Sunday of your time.