Adam Ezra Group’s 4th Annual Ramble at Salisbury Beach last night was a benefit to raise money for homeless veterans. The concept was simple. Invite a bunch of Adam Ezra Group fans and other bands and their fans for a day long free concert. During the headlining Ezra Group set, pass around a “Bucket Of Love” for everyone to toss some money into. As people were bussed in from around greater-Boston/New England, other bands brought in fans, and it was in the middle of Salisbury beach on a summer day, at least a few thousand dollars was certain to be raised.
But, we’re here to talk a little bit about the music the bands played during their sets. Opening the Ramble on one of the two stages set up for the event was Pesky J. Nixon. This trio had an interesting set up, acoustic guitar, accordion, and a guy playing a beat box, a wooden box he could tap or stick for a variety of percussive sounds and patterns. It was cool. It supported the handsome husky vocals well, as well as the thickets of acoustic guitar and accordion. All together, it was a special blend of rock, folk, roots, and singer-songwriter material. They certainly had a good sound at Salisbury Beach yesterday afternoon. That hefty vocal carried well, right up to the other stage several yards away.
Next up was John Colvert on a stage provided by New England Music Awards. Colvert and his harmonica player Evan Gavry blew out a sweet melody that made his harp sound like it was whistling its high notes. Colvert is a whiz at coming up with quiet songs that hit you with a heavy emotional presence. Evan’s banjo put a gritty, earthy melody under Colvert’s voice. Combined, it was a pulpy chunk of singer-songwriter fair. Darker material found the pair playing banjo and acoustic guitar in lock step with a deliberate, heavy beat punctuating their foreboding tones.
The Ghost Of Paul Revere offered country roots rock, complete with appealing vocal harmonies, thumpy beats, and a good wholesomeness in the spaces in between the notes. Three part harmonies, acoustic guitar, acoustic bass guitar, banjo, and harmonica weaved a thick, zesty mesh of natural sounds. The Ghost Of Paul Revere are an aptly named band. They hearken back to the past musical glory like they have an open channel to the souls of yesteryear, making you feel the history of the music they conjure. Their singer’s fierce vocal belt over the acoustics, banjo, racing harmonica notes made a huge impact. “San Antoine” made the most of the boys’ ability to create wide swaths of sound. They walked this one along with plenty of rumble in the acoustic bass and perky individual notes in their melody instruments. You just couldn’t resist the urge to toe tap along.
Changing pace a little, Ross Livermore Band rocked the N.E.M.A. stage with their own unique bit of movable, rumbling groove beneath layers of keyboards, punchy lead and rhythm guitars, and Livermore’s soaring, clean vocal. They have a persistent R&B influence underneath all that they do. Their keyboardist Phil Selesnick gives it a playful, rollicking vibe as their restless groove always matches their mesh of traveling melodies. Meanwhile, a smooth croon from the man at the microphone cruises over the intricate party of sound. “Valerie” was a bright, jazzy pop rock ballad that let the individual players shine more in the easeful pace as Livermore hit beautiful high notes. Boy, what a soulful falsetto that guy had going on yesterday. Their guitarist Andrew Bayardi could kick out a tasteful, soulful phrase at the drop of a hat. Together, this band cranked out one of the best party vibes of the event. RLB has a better than even chance of getting signed to a major label. They could definitely find a niche among the current crop of artists like Bruno Mars, Cee Lo Green, and Maroon 5.
Freevolt did their thing on the opposite stage shortly afterwards. Performing their eclectic blend of influences, Freevolt isn’t just a band. They are a live music experience. Their neo-hippie vibe comes from wrapping soulful saxophone, bluesy organ, modern rock guitar into one seamless stream of high energy roots music performance. Their rhythm section got to do their own groove duet, dropping dollops of bulbous low end and intricate skin patterns you could move to. When they slowed it down a bit, you could sway to the jam band’s earthy vibe. Saxophonist Jonathan Bouquet blew out measured bits of spiraling notes that became hypnotic, calling you into their music. Freevolt could certainly have done some serious jamming if they had had a longer set. Each of the six instrumentalists could offer up, at the drop of a hat, a flowing improv on anything in their repertoire. Freevolt had a power in their layers on instrumentation. “Take The Product” was a boogie ska piece that played with an audacious amount of energy. Pulpy bass lines and vigorous drumming propelled their myriad of dizzying melodic structure.
Will Evans got up on stage to deliver his particular blend of singer-songwriter, solo-acoustic, beat driven, and occasionally rap inspired vocal delivery. Evans had a soulful delivery forceful enough to carry all of the elements he juggled. His closing number, performed by special demand, was an arresting balance of tender of emotion and fine musical discipline. Evans had a lot to think about while he was up there being backed by digital beats and synchronized low end, and he pulled it off with confident charm.
The crowed was, by then, ready for its Ramble headliner, the Adam Ezra Group, and the six pieced, Boston-rooted band didn’t let them down. AEG offered all of the variety, textures, talents, and tempos their fans have come to expect in their fine-tuned live performances. This band has got their own special vibe and audience communal experience down pat. Even when they’re a little bit off, they’re still right on.
AEG opened with their roots rock staple “Steal Your Daughter” letting Ezra strut his stuff on banjo, playing that gritty melody alongside Corrina Smith’s haunting, forlorn fiddle lines. Together with Ezra’s voice, this played like something that could be found on rock radio, country radio, and movie soundtracks. It’s full of drama and story, an exciting, exotic masterpiece.
Ezra’s distinct vocal timbre coated each song with feeling as he fronted his band with a spirit of generosity. You could see and feel how much he loves leading this band while communicating with his audience. Rockers and ballads alike got treated to the same gentle, charismatic vocal glide.
Turtle’s multitude of percussion instruments added his usual layer of unexpected unusualness. Where does he get all those marvelous toys? Josh Gold tapped out rich organ tones through out the evening. His funked up solo spot allowed him to have fun making his notes do a funky dance. Ezra then started jamming with him on his electric guitar, and the crowd was on its feet cheering. Another highlight came when Turtle and drummer Alex Martin got into a groove duet, turned groove battle, that highlighted their skills as rhythmic addicted mad men.
The band went into their comedic take the Charlie Daniel’s Band “The Devil Went Down To Georgia.” By now, every music fan in New England must have heard the AEG’s hilarious rendition “The Devil Went Up To Boston.” It’s become a staple of their live shows and has spread all over Facebook like a disease. Fiddler Corrina Smith has not only got the fiddle parts down pat, she adds her own sense of girlish spunky energy. Racing fast lines, hissing evil sounds, and just having the right tones in the right places. I don’t know if Ms. Smith is really the devil, but she at least did a fine job filling in for him last night.
“Burn Brightly” got a new percussion line from Turtle and an added melody line from the fiddler lady. The song had its usual magic from Josh Gold’s bright, sparkly, eloquent piano melody and the new twists fit right into the AEG’s specialty for keeping things fresh. Ezra used this song’s emotive quality to go into his amicable rap about the need to find shelter for homeless veterans. The singer announced that there were 63,000 veterans who didn’t have a place to stay last night. “The world can change one concert at a time. The world can change one song at a time,” Ezra proclaimed.
“Soldier“ played out as a humming rocker that packed a punch during last night‘s theme. “3 Days” from their latest album Daniel The Brave was a pleasant addition to the set with Josh Gold’s cruising tempo organ swirls. And AEG’s big Boston radio hit “Scandal” was rocking fun that had the crowd dancing. An overly enthusiastic fan who had jumped onto the stage earlier was called back up to play percussion with Turtle, and he actually got to play a solo, which wasn’t bad. “Katie” found Ezra unleashing his winsome harmonica line while Josh Gold tapped his brightest, shiniest keyboard notes.
The most rocking moment came during “14 Days.” It’s harrowing lyrics, backed by urgent musicianship, let Corrina Smith show more of her aggressive side, not only on fiddle but as a backing vocalist. New member, Bass player, Francis Hickey, is a Salisbury native, and that might be why he held his own and performed much better than expected for a newbie. He was being watched and listened to by those who know him best.
The Adam Ezra Group is the biggest band in New England at this time. Their fan base, awards, and busy schedule attest to that. That the biggest band from the local scene are also among the most generous, innovative humanitarians in New England is a great source of pride in the local music scene. Last night’s drive to raise funds to shelter homeless heroes is another cause supported by this local super group. What more can be said about such outstanding musicians and outstanding citizens? Actions speak louder than words.
