Sky in the Road
by Ardis Hedrick
On Saturday, Oct. 22, The Alberta Street
Public House hosted the CD release concert for the band Sky in the
Road. In its current incarnation as a threesome, the trio has played
together since 1998.
Sky in the Road is Dean Warner on guitar,
mandolin and sometimes banjo or pedal steel guitar; Daniel Rhiger
on guitar; and Rahmana Wiest, lead vocalist, percussion and harmonium.
With Warner and Rhiger providing backing voices, as well as trading
off on lead vocals, the harmonies created by this trio are outstanding.
On this very special evening, the group
was joined by violin virtuoso Eddie Parenti, tabla player Steve Amdahl,
and Lee Rice on woodwinds. The audience was in store for a real treat
when these seasoned musicians joined together on stage. Wiest’s voice
was clear, sweet and strong from the first note. Shades of early
Judy Collins, Joan Baez and even a little Debbie Harry seemed to
creep into her stylings throughout the night.
Sky in the Road opened with Before, featuring
Wiest’s angelic and true voice and a violin solo by Parenti with
the two guitarists totally in sync. It was obvious from this first
tune that the night would be something to remember. The song speaks
of unity, which is what this band exemplifies.
The band followed with Train Train,
a Dean Warner tune about the Willamette Valley, which demonstrates
that this band may think globally, but they are still a locally homegrown
outfit. This song carries on a long tradition of train songs from
Elizabeth Cotton’s Freight Train to Arlo Guthrie’s City
of New Orleans. Its chugging background was defined by the tablas
and overlaid with a sweet violin track and three vocals intertwined
in harmony. You could almost feel the rhythm of the cars!
The band’s sound is uplifting, validating
and positive. It’s not often these days that such a loving, spiritual
and earth-friendly group is presented live onstage. On the Sky in
the Road website, their music is described as “folk-based pop that
winds its way through bluegrass, reggae, rock, country, Celtic, world
folk, jazz and blues.” So many influences can be heard when you listen
to them, it’s hard to keep track of them all, but it comes across
as totally original.
This group has a deep rapport with their
audience. The crowd was laid-back but very enthusiastic. They also
contribute their talents to a program that teaches children about
recycling, water quality and salmon restoration. Find out more about
their music, their contributions and their previously released CDs
at www.skyintheroad.com. You can even sample some of their recordings.
Rhiger’s I Make Music, in the finest
bluegrass/folk tradition, had a familiar sound and got the audience’s
feet to tapping. Rhiger’s voice, musical bent and even his looks
remind one of John Denver, mixed with a little John Sebastian, especially
on his I Swear I Can Fly. Singing Down the Glory, with mandolin
by Warner, was a standout. The John Denver influence was plain on
this one, as well as some Peter, Paul and Mary. In fact, the three
that lead this band have excellent harmonies, reminiscent of that
other fine trio who brought socially conscious folk music to the
masses in the 1960s.
From the band’s first self-titled album, Water
on the Stones, was melodic and peaceful. Desert Vagabond was
reminiscent of Marianne Faithful’s Those Were the Days, a
gypsy ballad. It was truly exquisite with the mandolin and violin
parts weaving magic. The live version compares favorably to the
recording, and came alive onstage!
The traditional tune The Fox had
the feel of a sing-a-long or round and the audience perked up at its
presentation. This was followed by a cover of the Dixie Chicks’ upbeat Long
Time Gone featuring Warner’s mandolin prominently and the trio’s
vocals really rocked out.
The band closed the first set with the
night’s
only instrumental number that carried a very heavy Eastern European
influence which reminded this writer of Django Reinhart. The instrumentation
was remarkable—Parenti’s soaring violin, a drop-dead mandolin solo,
flying fingers guitar work and a sultry harmonium combined to recreate
the gypsy mood again.
During the break, the band showed a video
made by Dean Warner, who is also a filmmaker. Set the Wild One
Free was made to benefit the Roaring River watershed. It’s all
about layers. Part of Wiest’s vocals included some haunting wolf
calls, which the audience delighted in emulating. This lady has perfect
pitch!
On their return to the stage, they presented
the title cut from the new CD, Where Everything Is Music.
It’s a little bit jazzy, very dramatic and featured Rice on a very
unusual, unnamed woodwind. Ring of Truth is a true Irish folk
ditty that would please the most die-hard traditionalist. This number
and Train Train appear on Dean Warner’s 2003 release, Tahonetlaclah,
Mountain of Fire.
The Price of Kissing, is inspired by the writings of a 13th century
Sufi poet, Rumi, and translated by Coleman Barks. Center stage was
a gorgeous woodwind part by Rice and an energetic plucking style
on the violin by Parenti. This one really stunned the audience! Throughout
the evening, there was an ancient familiarity to the words and sounds
of this group’s music. There was a sacred atmosphere created in this
darkened pub. The audience was clearly enraptured by the second set.
Dean Warner’s original Tryon Creek was
written about his own watershed right here in the Portland metropolitan
area. Cajun and bluegrass influences were in the forefront for this
crowd-pleasing number.
Out Beyond, from the new CD, was like a sea chantey,
with a haunting whistle and the harmonium creating a dark and brooding
mood. It seemed at times the band’s instruments and voices combined
to make a sound of a new instrument unheard before on this earthly
plane.
Appropriately, the evening ended with a
lullaby, but in no way was this audience lulled into submission. Instead,
they were engaged and enlightened by the wonderful music this evening
had brought. It feels appropriate to conclude this article with a
quote from one of the band’s founders that pretty well sums up the
evening and the group’s philosophy in action. "Music
is more than entertainment. It is a powerful tool for transformation.
It can set the stage for deep healing and release. It can define
the moment, creating the sacred space in which life's rites of passage
are shared and honored." Daniel Rhiger
(Note: If you are interested in learning more about one of this band’s
influences, on Nov 18, the First Congregational Church, 1126 S.W.
Park Ave will present a Friday night reading--“Rumi: A Celebration” featuring
Coleman Barks with storydancer Zuleikha, cellist David Darling and
Glen Velez, world percussion. For tickets call 503/227-2583 or visit
www.literary-arts.org.)
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