Step back in time and enjoy traditional American folk and blues tunes from the last century.
Doors 7:30pm Free light refreshments
(email) email@example.com .(call/text) 626.765.5704
Frank Fairfield. A musician. A Banjo picker. A fiddle hummer. A song singer. We’ve heard him described as someone who was discovered at a farmers market out in California, as if he were some long lost treasure or mythical land. As we see it, it isn’t some deep yearning for a time long forgotten that drives Frank Fairfield, he isn’t trying to be something that no longer exists, because in fact, he DOES exist. The music he plays, creates, and performs is the music that carried all of us, from all over the world, to the place (wherever that place may be) we are now. He plays the American landscape, the one he himself sees and experiences. He goes about it with the only tools necessary, as any good craftsman would. Its not some ship filled with Spanish doubloons, or some ancient Amazon city of Gold, its Frank Fairfield. A musician. A Banjo picker. A man not competing with time, only living in his own.
“A young Californian who sings and plays as someone who’s crawled out of the Virginia mountains carrying familiar songs that in his hands sound forgotten: broken lines, a dissonant drone, the fiddle or the banjo all percussion, every rising moment louder than the one before it.”
NPR calls Frank, a ONE MAN FOLK REVIVALIST
“Meredith Axelrod sings and plays guitar as if she really returned to the pre-mic days. We’re not talking revisionist copy of so and so from way back when; we’re talking as if we plucked an original out of the era and time-traveled…” – JL Stiles
The Chicago native and Bay Area transplant, Meredith Axelrod is multi-instrumentalist, vocalist and avid “Songcatcher“, who envisions the limitless potential of early twentieth century music, whether it be Ragtime, Music Hall, Pop Standard, Boogie Woogie, Tin Pan Alley, String band, Jazz, Country, Blues or even Jug Band music, and embodies the spirit that brought the music into existence and drove it ahead. Ms. Axelrod learned to sing and play by listening to how folks did it a century ago – through the medium of cylinders, 78-rpm records, and from sheet music.
Delightfully engaging and unassumingly comic, her performances draw on many of the tools of musical scholarship. Part of the allure of old time music, indeed any music throughout the history of recorded music, is hearing the original recordings as played and sung by the original performers in their heyday, loving what they’re doing and doing it because it means something to them in that moment, never because of nostalgia, and Meredith brings the same unbridled passion, earnest devotion and candid vitality to all of her music. There’s nothing to dust off in her bag of reclaimed songs, as her resourceful arrangements and heartfelt renditions prove. In her care, the songs are unmistakably inspired, infectious and relevant. Meredith Axelrod is an example to herald, someone who has found possibility and joy in the treasures of cultural folklore amidst our loud and insistent pop culture noise.