The Folkin' Idiot

The Folkin’ Idiot

By Neil Cleary 

“This all kind of happened by osmosis,” claims Pete Sutherland when questioned about Epact music, Sutherland’s new label run out of his Monkton home. He could, however, be talking about a number of things in his life which seem to happen with a certain fluidity, Sutherland started out as a young whippersnapper playing keyboards in a rock band, by the sounds of bluegrass seeped into him due to what he calls “the high visibility of the banjo in the 60’s” Bonnie and Clyde, Deliverance, et al. From there his interests when trickling backwards in time, into traditional and old-time music. He’s since become a dyed-in-the-wool old time fiddler, coming full circle to the present day with interests in current pop and “worldbeat” styles. Along the way Sutherland has soaked up a number of different styles, instruments and roles: singer-songwriter, band member, arranger, father, and now record producer. 

Sutherland still sounds a little surprised about his latest role, even though it takes up nearly half of his waking hours. His is not an unusual story however: as corporate labels become less attractive and resources more available, the ambitious musician/ performer becomes the ambitious musician/ producer. Sutherland soured on labels after working with both Sugar Hill and Windham Hill records, as well as watching his Ithaca, NY friends, the Horseflies come back “bitter” from their bajor label adventures 

“The things you hear about ‘artistic compromise’ - it’s real,” says Sutherland, sounding a little burned. After seeing how things got done, he figured he was just as qualified as anyone else to do the work of a label.

Before it was a label, Epact music was the publishing company Sutherland used to copyright his music. His first two independent released, “Mountain Hornpipe” and “Pass The World Down River” both with his wife Karen), got tagged with the Epact name, it was only when his band the Clayfoot Strutters were releasing their tape, “Honk If You Honk,” that Sutherland began to think in terms of a label. With “Honk” Sutherland got his feet wet with distribution and radio promotion. Epact’s second solo artist was Jeremiah McLane, accordionist and pianist for the Clayfoot Strutters. His album “Smile When You’re Ready” was arranged and mixed by Sutherland. McLane intended to release the album independently, but Sutherland, who additionally played on it, offered his Epact label. McLane accepted and went on to record again with Epact with the tro Nightingale, whose CD “The Coming Dawn” is Epact’s latest release. 

This makes the Epact catalog into a five-item-offering, three of which are available on CD. The releases are available directly as well as through a number of small distributors who take about 10 or so copies at a time. The biggest is Silo Distribution, an independent music distributor in Waterbury, VT. Sutherland hopes the Epact catalog will eventually get picked up by a bigger distributor like Rounder Records, but for now Epact is designed to be a regional project. It’s got “Vermont Product '' splashed all over it which, according to Sutherland, helps it sell locally but not nationally. This fits Epact’s goals for now and, “if they can do it for salsa and salad dressing,” Sutherland figures, “why not music?”

Here’s a quick look at the Epact catalog to date, with exception of  Pass The World Down River, which I couldn’t get my hands on: 

The Coming Down, by Nightingale is Epact’s most straight-ahead traditional release, working with tunes from Ireland, Newfoundland, Quebec and Scandinavia. Tunes are kept pretty true to style with exception of the occasional rock and swing influences. The trio has a surprisingly full sound, filled out by McLane’s accordion and the guitar of Keith Murphy. Traditionals are given rhythmically creative interpretations, with Becky Tracy’s fiddle and McLane’s accordion bending will in lead. There is also an ample helping of songs on the album, sung in French and English by Keith Murphy, who also manages to play a host of instruments as well as tap his feet. 

Jeremiah McLane, Smile When You’re Ready: Latin jazz pianist Eddie Palmieri claims he's always been a frustrated drummer and heart, and though frustrated may be too strong a word to use in the case of Jeremiah McLane, there is definitely a rhythmic friction to his playing. Whether it’s the driving beat of a reel to a pulsing Cajun-esque feel, McLane’s always squeezing the interesting rhythms out of a tune with his accordion. The original tunes on his album demonstrate this, such as “Stump Jumper”, “Amy’s Tune” and the quasi-latin  5/4 of “La Giraudiere.” 

There is an amazing amount of good originals on “Smile…,” establishing McLane as an enviable composer of melody. They have the charm of timelessness, able to sound both traditional and modern. Some, however, border on over-sentimentality, almost a new-ageyness. Overall though, this is tempered by the traditional influence which buoys them up rhythmically and sensibly roots them. 

“Smile When You're Ready” favors traditional instrumentation, without synthesizers and studio tricks, making it’s realm of exploration rhythm and arrangement. 

Epact’s most rockin’ release, Honk If You Honk is by the locally famous Clayfoot Strutters made up of Sutherland, McLane with Christopher Lyer on pipes and flutes and the rhythmically dangerous Lee Blackwell on drums and percussion. Together they make a joyful honk as a band of four talented musicians working together. No one sound characterizes the band, nor is there one dominant member. They spice up traditional tunes in a highly danceable and accessible way, thanks to a knowledge of traditional music and a facility with many styles. They are astoundingly agile practitioners of the Afro-Pop sound, and the juxtaposition of this groove with the irish fiddle on “Afro-Money” makes me think this is the worldbeat folk-rock of the future. This playful surrealism stumbles however, with their tries at swing and blues, which are ambitious but comes off sounding squeaky clean. Funny though, because the funk section of Lyer’s “The Water Glass” hits it right on the head. Either way, it’s clearly a great band. As I listened to the tape, my housemate kept entering and leaving the room asking if it was still the same band, it still was. 

Pete Sutherland clearly has a way with arrangements, which his album Mountain Hornpipe testifies to. They are well-crafted, simultaneously humble and ambitious, never numbingly overdone or righteously bare-boned. There is an enchantment with sound and melody, celebrated by a constantly shifting orchestra of instruments. Percolating through a number of tunes comes Indian percussion played by Willy Schwarz, providing delicate and surprising rhythms. Uilleann pipes came unexpectedly through the arrangement with a banjo. “Elzick’s Farewell,” a West Virginian tune, becomes an Indian/Carlos Santana number. Pete and Karen sing the mournful “Old Smokey” with Martin Simpson doubling on a slide while, low in the mix, a fiddle plays a smoking rendition of Benton Flipen’s “Pretty Little Girl”. It fades through the arrangement, leaving only Simpson’s slide to finish out the tune. 

The genius Mountain Hornpipe is in Sutherland’s mixing, both of styles and instruments. Like good stew, each part keeps its individual flair while making a tasty broth. 

Toward the end of my talk with Sutherland, the sound of a banjo can be heard in the background. His son’s been put to bed for the night, and he’s through being a record producer for the day - it’s time for the music to start again. “That’s Vermont in a nutshell,” he says, “everybody wears a lot of hats.” This could as well go for Epact Music with its multiple persona and traditions. It goes for both Sutherland and Epact too, that they wear them well. 

For more about Epact write to: 

Epact Music, P.O. Box 123, Monkton, VT 05469

Neil Cleary is host of the Folkin’ Idiot radio program, broadcast Fridays 9am-12 noon on 90.1 WRUV-FM Burlington, Vermont.