The future of reviving old time folk music is always going
to be in safe hands with artists such as Anna and Elizabeth sharing the wares
of their passionate endeavours. This talented duo from the eastern states of
the US have been wooing British audiences on the current tour and brought the ‘house
full’ sign to Birmingham’s Kitchen Garden Café on this warm August evening.
Those inside, and outside, the regular viewing area were treated to an utterly
compelling show – multi-media in its purest form. Not only was beautiful
musicianship, enchanting song and enlightening inspiration on the menu, but
also the charming world of crankies was revealed to a visual delight.
On several occasions during the brace of sets the duo
delivered, a manually operated canvas scroll was ‘cranked’ into action adding
an eye catching attraction to the song or tale being sung or orated. This
unique art form is at the core of how Anna and Elizabeth play out their desire
to keep the flame of the past burning, alongside giving a voice to the
otherwise forgotten. Self-confessed historians and archive hunters is the part
the duo communicate, while the audience unanimously marvels at the seamless
harmonies, exquisite playing and sheer dedication to an admirable cause.
The duo’s instrumental presentation is focussed on the
stringed trio of a 1937 Martin guitar, fiddle and banjo. Anna Roberts–Gevalt,
originally from Vermont but now based in Baltimore Maryland, splendidly majors
on the first two, while she shares the banjo playing with Elizabeth Laprelle,
a performer heavily steeped in the music tradition of her native Virginia. Elizabeth
also played the shruti box on a couple of songs and adds a special dimension to
the overall sound with her distinct Appalachian vocals.
Themes surrounding the songs ranged from the personal experiences
of meeting inspirational people, the spirit of fiddle playing camps in the wee
small hours and significant historical moments like the American Civil War.
Mixed in with reams of traditional songs were readings, poems and narrations,
all given context whetted by the artist’s enthusiasm.
Among the most memorable songs were ‘Goin' Across the Mountain’ – the story of a Civil War soldier
changing sides, a Kentucky version of ‘The
Cruel Mother/Greenwood Sidey’ – complete with crankie, and one deep in the
second set titled ‘Sing Hymns’. The
crankie also provided the backdrop to the story of Lella Todd, narrated by Anna
and evoking memories of an immortal past frozen in its deepest sincerity. It
also made a final appearance for ‘Father
Neptune’ and a poignant representation of the sea’s mundanity complete with
an atmospheric fiddle accompaniment.
As if to keep in line with the evening’s traditional theme,
the chosen opener was local based folk singer Alice Dillon, who leans heavily
in this direction with her song selection. Alice’s thirty minute support slot
was the perfect warm up performance with her stunning cultured vocals showing
an equilibrium effect whether being guided by a subtle acoustic accompaniment or
excelling in stand-alone mode. Alice showed no intent in hiding her love for
the music of Joan Baez and included a version of ‘Plaisir D’ Armour’ in her set, alongside standard traditional songs
like ‘She Moved Through the Fair’ and
‘Black is the Colour’. Alice has
already been recognised by judges in the BBC Young Folk Performer awards with a
semi-final place and on the evidence of this short showcase is likely to receive
further acclaim in the future.
The impression Anna and Elizabeth left on this fleeting
visit to Birmingham is likely to last a while. It was a privilege to be in the
presence of their captivating show and part of an artist-audience interaction
packed with mutual gratitude. This was pure unfiltered pristine music of a bygone
age presented in a truly innovative way.