Folk music, with cookies

Fall Fiddle Festival returns to CCMS

Led by faculty of Concord Community Music School, the Fall Fiddle Festival is back for its seventh year. It’ll be a lively day of workshops, jam sessions, learning, listening — and cookies. The latter is a longstanding tradition at the event, which welcomes all skill levels and promises a party atmosphere.

“The Fiddle Fest isn’t just about learning; it’s also about connecting,” Liz Faiella, Folk Department chair at CCMS, said recently. “I love getting a bunch of folk musicians together, all of us talking and playing, and it’s not really a party without cookies. You can ask any of my students how emphatically I insist on having them at our events.”

Faiella will run three workshops. Learning By Ear is aimed at novices and begins the morning. Then it’s an intermediate Jig Rhythm and Bowing Workshop, followed by an advanced gathering in the afternoon, Varying a Tune. She’ll also host the afternoon intermediate/advanced jam, Fiddle Tune Free-For-All!

As the name implies, the latter session will be wide-ranging.

“I find that there are a lot of fiddlers around here who enjoy a variety of genres and have very eclectic fiddling interests,” Faiella said. “I’m one of them, so I decided to host a jam where we can feel free to enjoy playing tunes from a mix of different folk traditions.”

Three more jams focus on regional styles; all include Faiella’s guitarist brother Dan. These are Quebecois Tunes from the New England Repertoire and Scottish Tunes! respectively with guest faculty with Pascal Gemme and Jenna Moynihan, and New England Fiddle Tunes with CCMS faculty member Audrey Budington. All three fiddlers also lead workshops.

This learning and collaboration differs from the regular CCMS curriculum.

“Fiddle Fest can be kind of a think-outside-the-box day for our students,” Faiella said. “It provides opportunities for fiddlers to jam with others if they’re not yet accustomed to that, get new techniques and perspectives from different teachers, connect with new musicians, [and] experience fiddling styles they may not have heard before.”

The evening concert is a separately ticketed event; non-musicians are encouraged to attend. It includes the faculty who participated in workshops. Joining them is Yann Falquet, a Québécois guitarist and co-founder of traditional music trio Genticorum. Faiella loves the spontaneity and surprise that’s always part of the finale.

“I’ve had the opportunity to play alongside some of the fiddlers I most admire in the evening concert,” she said. “Last year, I learned a couple of tunes and a harmony part in the days leading up to the Fiddle Fest so that I could play it along with Hanneke Cassel, a fiddler I’ve long admired. It was a rush … to play alongside someone whose music I love so much.”

The Fiddle Fest was inspired by a similar mandolin-focused event launched in the early 2000s and led by David Surette until his death in 2021. Renamed the David Surette Mandolin Festival, it continues to happen every March. Faiella remembers Surette’s love of folk music and helping others access it.

“David really built the Folk Department here,” she said. “I think about his approach to teaching and to music all the time, as we in the folk faculty try to carry on the work he started … building community, and welcoming folks of a variety of ages, experience levels, and musical interests to participate in the fun and beauty of traditional folk music.”

There’s a lot ahead at the school, she continued. “Several folk ensembles are getting underway and there’s still time to join if you want to check one out. We have a Celtic Fiddle Ensemble which I’m leading, mixed-instrument Teen and Adult Folk Ensembles, and the delightfully named Fret Friends Ensemble, for fretted instrument players.”

There’s also the Noony Tunes Folk Jam on Wednesdays, and plans are underway for a Fall Folk Gathering on Nov. 6 at 6 p.m. that will be free and open to the public. “It’ll include a slow jam, some student group performances, and then a fast jam at the end,” Faiella said. “We’ve also got a couple of Christmastime folk concerts in the works, so stay tuned!”

Fall Fiddle Festival
When: Saturday, Oct. 4, 9:30 a.m. to 5 p.m. – concert at 7:30 p.m.
Where: Concord Community Music School, 23 Wall St., Concord
Tickets: $130 for all workshops and concert, $20-$25 for concert only at ccmusicschool.org

Featured photo: Clockwise from top left, Liz Faiella, Pascal Gemme, Jenna Moynihan, Audrey Budington.Courtesy photo.

The Music Roundup 25/10/02

By Michael Witthaus

mwitthaus@hippopress.com

Let’s laugh: Enjoy a stacked bill of comedy topped by Boston funny man Chris Tabb, whose credits include the weird and charming 2022 movie Salesman. Tabb has shared the stage with Jim Breuer, Mo’Nique, D.L. Hughley, Bill Bellamy and Jim Norton, and he’s also appeared on NESN’s Comedy All-Stars. Steve Blackwood and Joshua Royer open the show. Thursday, Oct. 2, 7:30 p.m., SoHo Asian Restaurant & Bar, 49 Lowell Road, Hudson, comedyonpurpose.com.

Emo show: A photo of two wind turbine repair techs trapped and embracing atop a burning tower inspired Pintail’s new EP, Bury A Body, Grow A Person, a meditation on masculinity with standouts like the loping and moody “How Can I Be A Good Man, If I’ve Never Met One?” The Boston quartet performs an area show with Ezra Cohen & the Big City Band, Café Crush and Time Eater. Friday, Oct. 3, 6:30 p.m., BAD BRGR, 1015 Elm St., Manchester, pintail-ma.bandcamp.com.

Prog night: A rare chance to see New Hampshire’s leading purveyors of the genre, Rocking Horse Music Club leans into progressive rock for its only appearance in the state. Led by producer Brian Coombes, the band includes musicians from his Pittsfield studio. The show will range across their catalog, including the rock opera Circus of Wire Dolls. Andy Graziano of Band Geeks opens. Saturday, Oct. 4, 7 p.m., LoFaro Center, 722 Gulf Road, Henniker, rockinghorsemusiclub.com.

Triple up: Toad the Wet Sprocket arrives in Concord with support from two acts that regularly headline their own shows, KT Tunstall and Vertical Horizon. Blending folk-inspired rock and thoughtful songwriting, the California band has achieved multi-decade success while amassing a dedicated fan base. Sunday, Oct. 5, 7 p.m., Capitol Center for the Arts, 44 S. Main St., Concord, $68 and up at ccanh.com.

Nineties redux: With an all-acoustic show that’s sure to include the early 2000s hit, “Headstrong,” Trapt plays the back room at Shaskeen on a weeknight. The nu-metal band got itself into some hot water a few years ago when front man Chris T. Brown (not the infamous rapper) made some ill-advised statements on social media, but it did get the one-hit wonders some notice that its music couldn’t. Tuesday, Oct. 7, 7 p.m., Shaskeen Pub, 909 Elm St., Manchester, $25 at trapt.com.

Lilith Fair: Building a Mystery (TV 14)

Get ready to feel super nostalgic, Gen X-ers and elder millennials, with this documentary about the 1997 through 1999 music festival Lilith Fair and its creation by Sarah McLachlan — just in time for the release of her new album Better Broken.

If you are old enough to have regularly purchased physical, not digital, albums and a person with a singer-songwriter interest, it’s likely you’ll realize as you watch Building a Mystery that you probably own or owned from nearly every singer who appears as a talking head or in clips from the fair (thank you, Columbia Record Club). These were the female musicians of the late 1990s. The documentary joyfully explains McLachlan’s vision — an all female show in a music business that still thought you couldn’t play two female artists’ songs back to back on the radio — and how she pursued it, expanding the musical genres featured and adding second stages. The second stages in particular offer some fun clips of artists at the beginnings of their music careers, including Dido, India.Arie and Christina Aguilera. The festivals sought to be good business for the performers but also provided local activists with places to do outreach and local nonprofits with donations. The documentary also highlights the joyful vibe of the concerts — from the teary videos of concert goers at the time to the memories of performers now about what a welcoming (and pregnancy- and baby-friendly) working environment the festival was. In addition to making you (or at least the “you”s of a certain age) wish you were there, the documentary highlights the way Lilith informed future concerts and performers. A Streaming on Hulu.

All Consuming, by Ruby Tandoh

(Knopf, 304 pages)

Did we really need another book about food? Yes, foodies, we most certainly did. Ruby Tandoh’s All Consuming is a fresh take on an old subject, a disjointed romp through the world of bubble tea, Magnum ice cream and TikTok recipes that is both an indictment of and a tribute to food culture.

Tandoh was a runner-up on The Great British Bake Off, one of the most popular TV series to cross the pond. Just 20 years old when she applied to the show after being encouraged by her mother to watch it, she parlayed the experience into a food- and cookbook-writing career. As she demonstrates in a New Yorker piece about the show, not only can Tandoh cook, but she can write, in a breezy tone and with a sardonic wit that invites you to follow along whether you’re interested in this stuff or not. You may not have realized you wanted to know the history of the All Recipes website or the vagaries of the New York automat, but Tandoh somehow makes even the most useless information fascinating.

She begins with a reflection of why we eat what we eat, and how that has changed. Until the past century, our food choices were shaped by availability and family tradition: “Conversations, meals together, some person you want to be more like, some person you hate, a myth about this or that, a recipe taught to you, a story about witches.”

“Not always, not for all people, but as a rule: almost everything you knew about food, you probably learned either in the kitchen or at the table,” she writes.

But in the middle of the 20th century, she explains, tastes and diets began to be determined by corporations and advertising. This trend was exacerbated by the internet, which shapes our appetites with photographs and recipes that seduce us into embracing whatever is the hot new trend (think sriracha and kombucha) while we order groceries and meals from our couches while salivating over TikTok recipes and restaurant reviews on our phones. The most influential restaurant critic in America right now, Tandoh says, is a TikToker named Keith Lee who has 15 million followers and admits he knows very little about food.

“I love it. I love humankind’s inexhaustible capacity for nonsense,” Tandoh writes. She herself has fallen under the spell of TikTok food, saying as soon as she saw the videos of a certain kind of chocolate-covered strawberries, “I knew two things: I was going to buy them, and it was going to be a mistake. … The algorithm brought these videos to me tenderly but insistently, the way a cat drops a dead mouse on the carpet.” The staggering number of people looking at these strawberries — 150 million at her last count — added to the appeal, just like lines outside a Shake Shack make the meals inside seem more desirable than they are. Fear of missing out, she says, is responsible for 80 percent of her biggest food mistakes.

She devotes a chapter to explain the rise of bubble tea — usually a concoction of tea, milk, assorted add-ins and tapioca pearls — that originated in Taiwan, soon overran China and started showing up in California in the 1990s. “There is no practical reason to drink bubble tea, no culture to which it is truly traditional…. In fact, in most places, the point is exactly that it’s fun and unserious.” It’s also hard to define, having become “an umbrella term for a miscellany of Instagrammable drinks, many of which don’t have tea, milk or even tapioca pearls.” (Her recommendation to friends who want to try it but are bewildered by the choices: get the brown sugar boba milk tea, the archetype.)

There’s another chapter on food influencers like Nara Smith, who absurdly show us how to, for example, prepare grilled-cheese sandwiches for toddlers by first making the bread from scratch, and then the cheese, and the fresh pesto, and eventually, yes, even the butter, seasoning it delicately with parsley, garlic and sea salt. These sorts of influencers make Martha Stewart look like a slacker, and they have arisen even as the gold standards of food magazines, like Gourmet, have gone out of business, which she clearly rues.

Martha Stewart does not go unskewered; in fact one of the chapter titles, “Cook remaining 100 lobsters,” is apparently one of the more precious lines from her debut book Entertaining. Real cooking, Tandoh informs us, is “making the same five dishes on rotation for 363 days of the year, and then getting wildly above your station for the remaining two.” And about entertaining? It is, she says, “an invented and avoidable problem. Nobody is making you do this.”

This is a very British book — it begins by examining how food content in British newspapers led to the foodies of today and ends with Tandoh’s visit to Wimpy, a U.K. fast-food chain. But it’s impossible to talk about food without America being a large part of the story — for example, how a handful of tech nerds at the University of Washington, in the early days of the internet, were casting about for websites that would be enormously profitable and landed on the idea of cookierecipe.com. Launched with just a couple dozen recipes in 1998, the venture expanded to other categories — there would be a pierecipe.com and a thanksgivingrecipe.com, for example, before all this gloriously combined into allrecipes, which is usually one of the first websites to turn up when you look for a recipe on the internet.

Tandoh talks to the Iowa woman who uploaded “Banana Cake VI” to the website in 1999 — distinguishing it from many other banana cake recipes is that you put it in the freezer for 45 minutes after taking it out of the oven — and explains how “Carrot Cake XII” — a disastrous cooking experience because of its use of canned carrots — made it onto the website. She also explains the origin of “crockpot squirrel” which is another one of those things that I didn’t know about, but very much needed to know.

After a spin through cookbooks, ice cream and tonic water, Tandoh grants us all absolution. She wonders whether she’s ever had an original craving for anything. “For anyone who has ever been anxious about food, getting pulled over the event horizon of your feelings, I have to tell you — it feels amazing when you realize that your appetites don’t just belong to you.”

There’s little in the way of deep thinking here and nary a recipe, but Tandoh is the dinner guest who will keep everyone entertained, and All Consuming is a delightful read, much better than its staid title suggests. B+

Featured Photo: All Consuming, by Ruby Tandoh

Album Reviews 25/10/02

Todd Herbert, Captain Hubs (TH Productions)

Herbert, an Evanston, Illinois-bred jazz saxophonist, has been a top-level performer out of New York City for many years now, serving as a member of the Freddie Hubbard Quintet, Jimmy Cobbs Legacy Band, and the Charles Earland Quartet, among others. As great as this album is, it does feel a little sparse all told, but only because Herbert’s only traditional-style cohort here is pianist David Hazeltine, whom I’ve talked about here now and then. The sax runs are gold for the most part, but the excitement, along with the sound levels, drops considerably when Herbert’s seemingly tireless workouts suddenly stop and Hazeltine steps in with his smoke-filled-room tinkling. I say this only to point out that this isn’t a whiz-bang sax-jazz album but a duo collaboration, which some would admittedly find wildly appealing. John Weber’s bass is flawless, as is Louis Hayes’s drumming, and the selections are good; the bombastic title track that opens the record was originally written for Hubbard and is a definite keeper. Wayne Shorter’s “Fee-Fi-Fo-Fum” and John Coltrane’s “Straight Street” are here, so it’s worth investigating, sure. A-

The Belair Lip Bombs, Again (Third Man Records)

Here we have the first Australian band to be picked up by Jack White’s Third Man Records label, and strangely enough it’s not the most amazing Australian band I’ve ever heard, not by a long shot. It’s a female-fronted indie band that makes the right noises, with their scratchy-raunchy ’90s-tinged guitar sound betraying a fetish for Big Black and things of that sort, but singer Maisie Everett’s voice rarely pushes past the tepid Sheryl Crow range that’s well into her comfort zone. I’m saying that the band’s noise level is up there with Amyl And The Sniffers, maybe even more aggressive than that, but Everett doesn’t quite fit in, save for when they try snoozy pub-pop oatmeal on for size (“Cinema”; “If You’ve Got The Time,” which includes an incidental heavy-ass Queens Of The Stone Age riff for no logical reason). “Hey You” reads like Au Revoir Simone, while we’re at it; I literally have no idea what these guys are trying to accomplish, to be honest. C

PLAYLIST

A seriously abridged compendium of recent and future CD releases

• Friday is Oct. 3, a day that will live in infamy because my sister was born that day (she’s a dog person and I’m a cat person, so Thanksgivings are super-hard and usually end in yelling and Facebook-unfriending until the next time). And speaking of unfriendings and harmless, mindless drama, look who’s got another album coming out, it’s none other than Taylor Swift, the subject of half the internet fights a few months ago, for really no good reason whatsoever! This one is called The Life Of A Showgirl, and it is produced by, you guessed it, ubiquitous Swedish pop-music-oligarch Max Martin, whom I’ve talked about before. He’s written, among other modern super-hits, Katy Perry’s “I Kissed a Girl,” Celine Dion’s “That’s the Way It Is,” Britney Spears’s “Baby One More Time” and TayTay’s “Shake It Off” and “Blank Space,” in other words he’s written the second-most No. 1 singles in history, behind only Paul McCartney, so if you want to write Facebook posts about how much modern music stinks, always be sure to blame it all on that dude. Along with Max, this album is co-produced by his producer-bro partner, Shellback, another overexposed Swede, so I know I am about to listen to something so unbelievably novel that I will explode, so here’s the title track, a diva ballad that sounds like Mariah Carey for a while and then she starts hitting high notes kind of like Celine Dion in yell mode. A lot of people will like this, because it is a single-ladies’ angst overload but not as intolerable as Adele.

Rachael Yamagata is an adult alternative singing lady who hasn’t dented the U.S. charts since 2003, which means that I’ll probably like what she’s doing on her new album, Starlit Alchemy. Ugh, forget that, her voice is too breathy on the advance single, “Birds,” like a female Peabo Bryson, or Ani DiFranco trying not to be too annoying. It is a piano-driven ballad; I imagine you’ll probably see it on Good Morning America or whatnot and think “well that’s kind of pretty,” and then never think about it again.

Sparks, a band we talked about a few months ago, is releasing an EP, titled MADDER! Funny story about Sparks, someone read my review of their last album, Mad, in this newspaper and sent me a private Facebook message asking me to write about a Sparks-related art project they were doing, and that was the only time I’d ever mentioned Sparks on Facebook. But then, oddly enough, I started getting spammed by Facebook about Sparks’ Sept. 11 show at Boston’s Berklee Performance Center, meaning Facebook is reading people’s private messages in order to spam them. Isn’t that disgusting, but anyway, the new single is “Porcupine,” a really dumb thing that sounds like Devo trying to be elevator music, go hear it for yourself.

• Lastly and somewhat apropos for early Halloween, Canadian alt-folk/country band The Deep Dark Woods releases their 11th album, The Circle Remains, this Friday! They are from Saskatoon, the biggest city in Saskatchewan, whose closest U.S. city is Portal, North Dakota, all of which means that it’s basically like living on Pluto except it’s much colder. Saskatchewan, which means “Great, how did we end up here anyway” in Native Canadian, doesn’t field a professional hockey team, so they root for the Edmonton Oilers, who have lost the last two Stanley Cup Finals series in a row, which is very sad, so I anticipate that this album will be full of sad songs from these Plutonians, whose team cannot win the Stanley Cup, let’s go listen to some of their mournful wailing on kickoff single “The Circle Remains Unbroken.” So yeah, it’s droopy and soft and vaguely funereal but not really sad, with slow-strummed acoustic guitar and a vintage-sounding organ doing annoying things. The singer sounds like Burl Ives, if that does it for you.

Featured Photo: Shiner, BELIEVEYOUME (Spartan Records) & Patrick Wolf, Better Or Worse [EP] (Appaport/Virgin Music)

Chewy Molasses Spice Cookies

  • 3¾ cups (488 g) whole wheat or white whole wheat flour
  • 1 Tablespoon baking soda – We’re using baking soda in this recipe instead of baking powder, because molasses is slightly acidic (with a pH of 5, about the same as black coffee) and will react better with the baking soda – think Science Fair volcanoes
  • 2½ teaspoons ground ginger
  • ½ teaspoon coarsely ground black pepper
  • ½ teaspoon ground allspice
  • ½ teaspoon kosher or coarse sea salt
  • ¼ teaspoon ground cloves
  • ¼ teaspoon ground Szechuan peppercorns
  • 12 Tablespoons (1½ sticks) butter, melted
  • 1½ cups (300 g) dark brown sugar — I actually always use dark brown sugar for any recipe that calls for brown sugar, but we’ve established that I do not have refined tastes. In this case, go with the dark stuff to make the cookies extra molassesy.
  • 2 eggs
  • ½ cup (160 g) molasses
  • 2 teaspoons apple cider vinegar
  • 2 teaspoons vanilla
  • Coarse sugar to roll the dough in

Don’t preheat the oven yet. We’re going to chill the cookie dough for a while, so give your oven a well-deserved rest for the moment.

Mix all the dry ingredients — flour, baking soda and spices — in a bowl, then set aside.

Mix the melted butter and brown sugar, slowly at first, then really put the spurs to it, until it is completely combined and a little lighter in color. Beat in the eggs one at a time and mix on high, until the mixture looks like caramel frosting.

Add the molasses, vinegar and vanilla, and mix some more.

On your mixer’s slowest speed, add the dry ingredients, a couple of spoonfuls at a time. This is to prevent a “WHUMP” of spicy flour leaping into your face with an angry war cry. Just mix it until any streaks of flour disappear.

At this point, your dough will be runnier than you would have hoped, more like a batter. Cover the mixing bowl — I like to use a dollar-store shower cap for this — and chill the dough in your refrigerator for at least an hour. Covered, the dough will stay calm and easy to work with for a couple of days, if you just want to make a small batch of cookies at a time.

When you’re ready to bake, preheat your oven to 350°F, and line a baking sheet with parchment paper or a silicone mat.

Scoop out heaping tablespoonfuls of the molasses dough, and roll it into ping-pong ball sized balls, then roll it in coarse sugar. These balls will spread out as they bake, so you will want to spread them out. Expect six to a regular-size half sheet pan.

Bake for six to seven minutes, rotate the pan, then bake for another six to seven minutes. (In my oven, it’s seven and seven, but very few home ovens heat to the exact temperature we set them to, so, as with all cookies, you’ll have to experiment a little.)

Remove the pan from the oven, and let the cookies cool on the pan.

These are a really good, chewy and zesty version of molasses cookies. The vinegar really makes a difference; the acidity makes these super mouthwatery. The Szechuan pepper gives your mouth a little tingle as you finish each cookie.

Featured photo: Photo by John Fladd.

Stay in the loop!

Get FREE weekly briefs on local food, music,

arts, and more across southern New Hampshire!