Artists on the faculty of Folk College lead workshops, coach student bands, perform concerts and lead jam sessions. Some artists lead 3-hour intensive workshops on Friday: check out Intensives.
No one remembers when the neighbors started calling the McCutcheons to complain about the loud singing from young John’s bedroom. It didn’t seem to do much good, though. For, after a shaky, lopsided battle between piano lessons and baseball (he was a mediocre pianist and an all-star catcher), he had “found his voice” thanks to a cheap mail-order guitar and a used book of chords.
From such inauspicious beginnings, John McCutcheon has emerged as one of our most respected and loved folksingers. As an instrumentalist, he is a master of a dozen different traditional instruments, most notably the rare and beautiful hammer dulcimer. His songwriting has been hailed by critics and singers around the globe. His thirty recordings have garnered every imaginable honor including seven Grammy nominations. He has produced over twenty albums of other artists, from traditional fiddlers to contemporary singer-songwriters to educational and documentary works. His books and instructional materials have introduced budding players to the joys of their own musicality. And his commitment to grassroots political organizations has put him on the front lines of many of the issues important to communities and workers.
Even before graduating summa cum laude from Minnesota’s St. John’s University, this Wisconsin native literally “headed for the hills,” forgoing a college lecture hall for the classroom of the eastern Kentucky coal camps, union halls, country churches, and square dance halls. His apprenticeship to many of the legendary figures of Appalachian music imbedded a love of not only home-made music, but a sense of community and rootedness. The result is music...whether traditional or from his huge catalog of original songs...with the profound mark of place, family, and strength. It also created a storytelling style that has been compared to Will Rogers and Garrison Keillor.
The Washington Post described John as folk music’s “Rustic Renaissance Man,” a moniker flawed only by its understatement. “Calling John McCutcheon a ‘folksinger’ is like saying Deion Sanders is just a football player...” (Dallas Morning News). Besides his usual circuit of major concert halls and theaters, John is equally at home in an elementary school auditorium, a festival stage or at a farm rally. He is a whirlwind of energy packing five lifetimes into one. In the past few years alone he has headlined over a dozen different festivals in North America (including repeated performances at the National Storytelling Festival), recorded an original composition for Virginia Public Television involving over 500 musicians, toured Australia for the sixth time, toured Chile in support of a women's health initiative, appeared in a Woody Guthrie tribute concert in New York City, gave a featured concert at the Smithsonian Folklife Festival, taught performance art skills at a North Carolina college, given symphony pops concerts across America, served as President of the fastest-growing Local in the Musicians Union and performed a special concert at the National Baseball Hall of Fame. This is all in his “spare time.” His “real job,” he's quick to point out, is father to two grown sons.
But it is in live performance that John feels most at home. It is what has brought his music into the lives and homes of one of the broadest audiences any folk musician has ever enjoyed. People of every generation and background seem to feel at home in a concert hall when John McCutcheon takes the stage, with what critics describe as “little feats of magic,” “breathtaking in their ease and grace...,” and “like a conversation with an illuminating old friend.” Whether in print, on record, or on stage, few people communicate with the versatility, charm, wit or pure talent of John McCutcheon.
It's been almost 20 years since we've had John at Folk College, and we're thrilled that he'll be joining us again as our headliner this year!
Two-time GRAMMY Award Winners, Cathy Fink and Marcy Marxer are master musicians with a career spanning over 35 years. Their superb harmonies are backed by instrumental virtuosity on the guitar, five-string banjo, ukulele, mandolin, cello-banjo, and more. Their repertoire ranges from classic country to western swing, gypsy jazz to bluegrass, and old-time string band to contemporary folk (including some original gems).
Cathy & Marcy have performed at hundreds of bluegrass and folk festivals and taught at close to 100 music camps worldwide. Happily known as ‘social music conductors’, they’re always ready to start a jam session, a community sing, or create a music camp helping others learn to play and sing. The duo's past students include Kaki King and Rhiannon Giddens and they have performed with a wide range of musical luminaries, including Pete Seeger, Theodore Bikel, Tom Paxton, Patsy Montana, Riders in the Sky. They have entertained the Queen of Thailand, been keynote singers for the AFL-CIO, and appeared on the Today Show and on National Public Radio. The Washington Area Music Association has recognized the duo with over 60 WAMMIE Awards for folk, bluegrass, and children's music. Cathy & Marcy advocate in Washington for unions, health care for children, and the rights and livelihoods of artists.
The duo has toured worldwide, from Japan to New Zealand, Vancouver to New York, South Africa to Israel and everywhere in between. Recent festivals and venues include Merlefest, Wintergrass, Denver Ukefest, and Kate Wolf Music Festival. American Voices Abroad chose Cathy & Marcy with fiddler Barbara Lamb to perform in China, Malaysia, Papua New Guinea and Vanuatu as cultural ambassadors for the U.S. Department of State.
Cathy & Marcy earned GRAMMY Awards for their recordings ‘cELLAbration: A Tribute to Ella Jenkins’ and ‘Bon Appétit!: Musical Food Fun’. Their CD's ‘Postcards’ and ‘Banjo Talkin’ were GRAMMY finalists in the Best Traditional Folk Album category.
Formed in 2010, The Appleseed Collective become a force of nature powered by their local community and developed by a strong sense of do-it-yourself drive. In an age of corporations and climate change, the band’s commitment to buying & selling local, eating from gardens, and being their own bosses has led to the kind of success that feels simply organic.
Each part of the Collective comes together to form an amalgam of complementary and contrasting elements. With a Motown session musician for a father, guitarist Andrew Brown was exposed to pre-World War II jazz on a trip to New Orleans. Shortly afterwards a chance meeting introduced him to Brandon Worder-Smith, violinist, mandolinist and improvisatory magician who grew up playing old time fiddle music. Vince Russo, multi-percussionist and van-packing savant, blends influences of funk, jazz and rock n’ roll on the washboard. Eric O'Daly comes from a background of choral singing and studies in Indian classical music and provides the bottom end on the upright bass. The whole band sings in harmony.
The Appleseed Collective is not a bluegrass band. It’s not The Hot Club of Paris. It’s not a ragtime cover band. The Appleseed Collective represents Americana music rooted in traditions from all over the world and from every decade, creating a live experience that welcomes every soul and is impossible to replicate. Folk College audiences have been mesmerized by The Appleseed Collective’s music and performances the past two times they’ve been with us . . . so much so that we can’t stop inviting them back!
Vidar Skrede and Patrik Ahlberg combine the melodies of Norwegian folk music with the rhythmic approach of Irish accompaniment. The duo performs a collection of Vidar’s original compositions, traditional Norwegian folk music, and a few Irish and Celtic influenced and traditional tunes. Besides playing the music, they love to share the stories and history behind it.
Vidar Skrede (from Norway) is a freelance Nordic folk musician on guitar, harding fiddle, fiddle and Greek bouzouki. He has a background in the traditional music of Rogaland (southwest of Norway), and has a master's degree in Nordic folk music from the Royal Academy of Music in Stockholm. Vidar has appeared on national television in Norway and Iceland, and has been heard on radio across the Nordic countries and throughout the U.S., including live radio concerts at the legendary Studio 19. Vidar is a leading musician on the Nordic folk music scene and a popular tune writer – his compositions are played and recorded by bands like Fiddlers’ Bid and Blazing Fiddles besides with his own projects. He has performed and recorded with musicians such as Bruce Molsky (a Folk College favorite) and Liz Carroll, and has recorded with bands that have won or been nominated for Norwegian Folk Music Award and Emma Gaala, the Finnish GRAMMY award.
Patrik Ahlberg is a fiddler and multi-instrumentalist from Sweden. He regularly plays and performs music of both the United States and Sweden. His current projects include duets of contemporary tunes and arrangements with Nashville fiddler George Jackson, a duo with Norwegian hardanger fiddler Vidar Skrede, and a solo exploration of Swedish fiddle tunes on the classical guitar.
Folk College's host band, Simple Gifts, is three women (Linda Littleton, Karen Hirshon & Rachel Hall) playing twelve instruments, with styles that range from old time to Celtic to Klezmer and beyond. Karen Hirshon plays fiddle, mandolin, guitar, 6-string banjo, bowed psaltery, doumbek, and spoons. Linda Littleton plays fiddle, hammered dulcimer, recorders, and bowed psaltery, and she's starting to learn banjo. Rachel Hall is recognized as one of the leading English concertina players in the U.S., and she also performs on piano, accordion, and tabla. Based in State College and Philadelphia, PA, Simple Gifts members designed Folk College and work with the Huntingdon County Arts Council to make it a reality. They have a strong philosophy that everyone can play music, that music is best when shared, and that above all, music is about communication, not competition.
Henry Koretzky is a mandolinist, guitarist, and singer from Harrisburg, PA, who has performed in a wide variety of styles and groups, from bluegrass with Cornerstone, Sweetwater Reunion, and High Strung; klezmer with The Old World Folk Band; old-time with the duo Rootbound; as well as swing, celtic, contemporary folk, and contradance music. He has taught at Folk College in previous years as part of The Keystone Rebels and as part of a duo with singer-songwriter- guitarist Kevin Neidig, and has also been a staff regular at Greenwood Furnace Folk Gathering.
Judy is at home in many styles of music including jazz, classical and trad. She plays piano, button and piano accordion, and fiddle with various Irish, Québécois, English Country and Contra Dance groupings. Judy is the author of "Best Practice: Inspiration and Ideas for Traditional Musicians" (www.judyminot.com/bestpractice), which has been highly praised by trad musicians from Kevin Burke and Liz Carroll to Happy Traum and Natalie Haas. Judy's teaching is focused on helping non-professional, adult musicians improve and enjoy their playing. She explores ideas about achieving musical mastery in her blog https://judyminot.medium.com/
Judy is the author of the recently released book "Best Practice: Inspiration and Ideas for Traditional Musicians" (www.judyminot.com/bestpractice). Best Practice features 197 self-contained chapters, each with a single concept or idea designed to provide daily ideas and inspiration to help adult, self-taught folk musicians stay motivated and practice with more ease.
Kelly Armor is a folklorist, instrumentalist, singer, storyteller, and educator. Her passion for folk music was ignited when she lived in East Africa for several years in the late 1980's to do ethnomusicology research. That in turn led her to study American roots music and a 13 year career as a performer. She is currently the Folk Art and Education Director at the Erie Art Museum where she directs Old Songs New Opportunities, a program that trains refugee women to work in childcares and to use their traditional songs on the job.
Mark Twain said, “When you want genuine music -- music that will come right home to you like a bad quarter, suffuse your system like strychnine whisky, go right through you like Brandreth's pills, ramify your whole constitution like the measles, and break out on your hide like the pin-feather pimples on a picked goose, -- when you want all this, just smash your piano, and invoke the glory-beaming banjo!”
Jay Best has invoked the “glory-beaming banjo” for decades and has explored a wide variety of “genuine music” including old-time, folk, and blues. Jay leads a fiddle-mentoring group at the Confluence Creative Arts Center and performed on and produced the community CD Confluence: Coming Together. He loves playing banjo, guitar, and fiddle with friends and family, but his magnum opus was a recording made with a steel guitar tuned like a banjo and performed with cicadas at twilight.
Richard has been exploring the harmonica from the inside out for over 30 years. He has performed with Taj Mahal, Maria Muldaur, Bo Diddley, Susan Werner, and many others. His studio work includes award winning films, TV, radio, and theatre soundtracks, and other projects. As a soloist, he combines his fluid and highly developed rack playing with soulful vocals, guitar, and intricate solo harp flights. Richard’s music is American roots - ranging from rural and urban blues, fiddle tunes, swing, country, gospel, to early rock and roll. He has three solo releases - “Steppin Out”, The Joliet Sessions”, and his most recent collection titled “Celtic Instrumentals”. You can also follow Richard on his blog.
Wayne Fugate is one of the New York area's most versatile acoustic musicians. Making his musical home in the space in, around and between the American roots styles of bluegrass, blues, jazz, and old-time music, he can swing gracefully from these styles to any of his other musical loves in the worlds of Classical, Gypsy jazz and Brazilian Choro music. His playing combines emotion and intellect with technical precision and while he puts his own creative stamp on everything that he plays, the respect he has for tradition is readily apparent in his playing.
Kelly e. Parker is founder and artistic director of ABAFASI. Her life’s roles include: sistah, mother, grandmother, drummer, drum-maker, student, teacher, social worker, composer, craftswoman, wordsmith, jewelry-maker, and welder. Kelly’s first drumming experience occurred in 1994, and it recharged her life, since then drumming has been the soundtrack of her path. The drum is in her walk, talk, hair, children and spirit. Her travel to Africa in 2005 affirmed the influence that West African drumming has had on all genres of music. That influence has informed her rhythmic expressions.
Shelley Kelley was named “The 2019 Folk Musician of the Year” for The State of Delaware. A versatile musician, she plays hurdy-gurdy, pennywhistle, French chalumeau (clarinet), Irish bodhran, spoons, guitar, percussion instruments, and more. Michele writes original compositions on more recognizable instruments including Guitar, Whistle, Spoons, and more.
The genres are endless and span Americana, Celtic, French, Folk, and Cajun-Zydeco.
Shelley has performed at the Philly Folk Festival, the Hawaiian Scottish Festival, the Cincinnati Celtic Festival, and many solo/duet/trio/band performances at major venues and festivals coast to coast. She has performed concerts with national recording artists including Maggie Sansone, John Spillane, Ken Kolodner, Robin Bullock, and John Skelton. She performs with other musicians who play bagpipes, electric fiddle, viola, mandolin, banjo, harp, keyboards, bass, and drums to round out the sound.
Contact her at www.ShelleyKelleyBand.com
She is an On-Air Radio DJ at WVUD 91.3FM and www.wvud.org since 2000.
Born in State College, Pennsylvania and raised in North Carolina, Eric Ian Farmer has returned to his birthplace sharing his songs about relationships, social awareness, and finding one's path in life while keeping alive classics by artists like Marvin Gaye, Otis Redding, and Bob Marley. Eric learned how to become one with a song from Bonnie Carter and David Williams, singers in the church of his childhood just across the North Carolina state line in Danville, Virginia. Eric also draws inspiration as a singer from popular artists like Bobby McFerrin, Stevie Wonder, and Marvin Gaye. And his guitar playing is inspired by the percussive stylings of rock legend Bo Diddley.
Larry has been actively involved with Folk College and Greenwood Furnace Folk Gathering as a member of the Huntingdon County Arts Council. He is a retired geology teacher from Juniata College and an avid supporter of folk music.
Larry got his start on autoharp more than 50 years ago when asked by his mother to arrange singable keys and chords for her to use in accompanying her nursery school class. He acquired his own first autoharp in the mid-70’s and has played it since both to accompany songs and as a melodic instrument. He loves it as an instrument that demands minimal practice that lends itself to playing by ear.
LeAnna Kline grew up in a family that played for square dances in rural Pennsylvania, so fiddle tunes have been her head since before she was born. She's a regular and frequent jam leader at the monthly jams in Howard PA. LeAnna plays rhythm guitar and has a gorgeous lead singer country-style voice, though she prefers to sing harmony.
Bob Nicholson is a Folk College tradition, making our annual Saturday night contradance truly special. Bob is in demand as a contra and square dance caller who is known for his relaxed teaching style, patience, energy, and ability to make the dance fun!