Aaron Price follows his own lead with CD 'Bouquet'
by James Cassara
Rapid River December 2006
As one of Asheville's most recognized and respected musicians, Aaron Price has long been a fixture in this area's musical community. Whether engergetically accompanying the downtown silent film series or skillfully augmenting any number of locally produced recordings at his own Collapseable Studios, Price's contributions are as ubiquitious at they are multi-faceted. Known as a performer, producer, multi-instrumentalist for hire, and composer of theater scores, few musicians can lay claim to a more diverse resume.
Price has produced and collaborated on over 30 albums released by local and regional acts; including Scrappy Hamilton, Vendetta Creme, Acoustic Syndicate, Strut, and Hollywood Red.
He has composed mysical scores for theater productions by two local theater companies and served as musical director on numerous shows, including The Who's Tommy in 2004. As a performer Price has toured internationally with cabaret singer Vendetta Creme, tap-dancer Ira Bernstein as well as on his own.
Adding to that already impressive body of work Price has recently released 'Bouquet," an album of piano instrumentals that demonstrates both his deft playing and exquisite taste. Whether sensitively interpreting such standards as the Gershwin Brothers' "Love is Here to Stay" or the Beatles' "Long and Winding Road," Price captures the essence of the song while impringint upon the melody his own temperment. The album's 14 songs, four of which are Price's own compositions, are as lovely as they are engaging. The intent here is clearly to caress the listener with a cascade of gorgeous playing, putting tone and melody ahead of showmanship.
The album's most intriguiong moment is "justice in a Cradle," written my local musician Malcolm Holcombe. Price's subtle reworking of a song written for guitar is a thing of quiet beauty; on an album replete with shimmering melodies and tuneful expression it stands out.
It's but one more addition to the Price catalog, but one of which the artist should be extremely proud. 'Bouquet" is a truely lovely work, the ideal complement to a tranquil afternoon. It is romantic in the truest sense of the word and an effort deserving of both our admiration and support.
Kim Clark's article on Aaron
in The Laurel of Asheville
May 2006 CLICK!
Americana UK
Malcolm Holcombe “Not Forgotten” (Independent 2006)
Noble fauvist country blues
Holcombe is an American primitive, a rough hewn log cabin of a performer, crafted from traditional material - his voice doesn’t just have the rough edges left on, it is only rough edges. That combined with classic country instrumentation and a no frills style means that what you get is raw and unvarnished, the splinters left in the planks of his songs. His guitar playing lets you know every string and every contact, and each time he plays a note it resonates - this is no mannered gentle picking but bloody fingered hell-fired playing. Even when a B-3 organ is used on ‘Cryin’ Dime’ it doesn’t really alter the dynamic. Holcombe is four-square at the centre and his voice promises phlegm spittle fire and brimstone like a backwoods Beefheart. ‘Not Forgotten’ finds him sounding like Will Oldham might after another twenty years of hard scrabble living. The album is neatly summed up by ‘This Ol’ House’ - ‘this old house creaks and groans / and stays the howling wind’ - the image of him standing steadfast against the march of progress is fitting, though this is the one track where there are added harmonies and piano – the closest we get to a fully realised band sound. His rich rough voice rides roughshod over the sophistication and brings out the best in him. This record is like a chunk of wood in a pile of plastic.
Asheville Global Report
Peggy Seeger says farewell to Asheville with benefit concert
|
By Andrew D'Onofrio |
Since 1994, the legendary folk singer and social activist has been using Asheville, NC, as her home base. Born in 1935, into the acclaimed Seeger family of folk musicians, Peggy has been on the folk music scene for over half a century. An influential figure in the feminist movement, Seeger has lent her talents to numerous political and environmental causes throughout the years. The folk singer has also been active in local politics during her 12 years in Asheville; including campaigning for former Buncombe County commissioner Patsy Keever and ex-mayor Leni Sitnick.
Peggy used the stage as a platform to speak-out on social issues close to her heart, her activist commitment very much in evidence: the folk singer denounced the war in Iraq and on numerous occasions addressed women's rights and environmentalism. She makes no apologies for her political orientations, counting down the hours and days until the end of the Bush administration —— twice.
The show was an intimate occasion. Peggy addressed the crowd as if it were a group of old friends, which undoubtedly many were. In fact, the folk legend often spoke to the audience while sipping tea and relaxing in an armchair. The easygoing setting and friendly atmosphere, coupled with witticisms and sketches between the songs, made the performance resemble what a taping of National Public Radio's "Prairie Home Companion" must be like. The folk spirit ever alive in her, Seeger compelled the audience to join in with the chorus on some songs, even distributing chorus sheets as an aid. Still, the crowd sounded more like a reluctant early morning church congregation than chanting activists. Audience participation aside, the evening was filled with great music.
The concert was a true community event. Joined on stage by her "favorite local musicians," Seeger showcased some of the area's finest talent. Asheville's folk music scene was well represented this evening with local performers Ira Bernstein, Mad Tea Party, Bruce Green and Loy McWhirter, among others. And, multi-talented folk newbie, Aaron Price did everything from sing and play guitar and piano, to tune Peggy's strings and fetch her water. The crowd was treated to splendid performances of traditional Anglo-American songs, original old-time compositions and even a little tap dancing.
Peggy is a legendary instrumentalist. She plays guitar, five-string banjo, autoharp, English concertina and piano. Together, Peggy and friends captivated the audience with superb performances of traditional folk and old time music. Yet some of the most memorable moments of the evening were to be had when the folk legend took the stage alone, sharing gentle musical anecdotes or poems dedicated to memorable individuals she has met. One such moment came when Seeger sang the "Ballad of Jimmy Massey." Massey is a resident of Waynesville, NC, and twelve year Marine Corp. veteran who refused to fight in Iraq after witnessing "the brutality of the US military." Unaccompanied with her guitar on a dimly lit stage, in the "high-lonesome" voice that is akin to Appalachian mountain music, Seeger eulogized the lost ideals of a man who "can't do it anymore." The emotion in the concert hall, after the song, was palatable.
Peggy Seeger said farewell to Asheville, but she was the one giving the gift; raising thousands of dollars for the Dogwood Alliance. "We hope it's not 'goodbye,'" one concert goer said, summing up the crowd's feeling, "we hope it's 'see you later.'"
Check it!!! I recorded this record.
in appreciation,
AP.
for all the latest economic forecasts, money trends, and to find out why an independant artist like Malcolm might crack the Wall Street Journal, visit www.malcolmholcombe.com
Excerpt from
Wall Street Journal
Saturday/Sunday January 28-29, 2006
CD ROUNDUP by Jim Fusilli
Satisfied knowing we'll buy retreads like the recent five-CD boxed set fron the Band--a group that made only two notable studio albums and had already issued two other boxed sets--and pap like Rod Stewart's "Thanks for the Memory....The Great American Songbook IV," the recording industry doesn't put much effort into marketing to baby boomers music by artists who aren't household names. It's as if they haven't they haven't figured out how to nudge us toward such boomer-friendly gems as Paula Morelenbaum's sophisticated samba-electronica blend "Berimbaum" (Universal); "I Never Heard You Knockin' " (Holcombe), Malcolm Holcombe's stunning aural equivalent of found art; and Longwave's smart, sweeping "There's a Fire" (RCA), three discs among the best of 2005.
