Harried Potter

Brattleboro a cappella fans - and there many - will remember the Groove Barbers, who graced the Latchis Theatre stage in 2007 to serve as musical emcees and special guests at the annual college a cappella concert.

Comprised of former college a cappella singers, the Groove Barbers were formed by three former members and co-founders of Rockapella, and they showed the crowd in Brattleboro a good time.

Last Saturday night, they were in Pittsfield, Mass., at the beautiful Colonial Theatre, and dazzled a near-capacity crowd with a crowd-pleasing two-hour set. The group of Sean Altman, Steve Keyes, Charlie Evett and Kevin Weist was touring in support of a new CD, "Guts." I picked up a copy, and it's damned good.

With 16 songs, "Guts" mixes old a cappella stand-bys with lesser-known stuff, new songs and originals and is really fun to listen to. My particular favorites are "The Lion Sleeps Tonight," done in a new arrangement and new tempo that really breathe new life into the song; a nice arrangement of the Beach Boys' "Surfer Girl"; "My Home" and unequvically the best version of "Twinkle Twinkle Little Star" I've ever heard. My wife is fond of "Workin' on a Coalmine" and my 4-year-old pretty much likes it all, especially "Zombee Jamboree."

At the concert, the Groove Barbers unveiled a new side project - taking opera arias and backing them with doo-wop accompaniment - with hilarious results. Inna Dukach, who happens to be married to Altman, was the soprano soloist, and she has serious opera chops, an amazing voice with stunning control. The two doo-opera numbers (I prefer the name "opera cappella") went over well, and one of them appears on the CD. It's an example of a group always on a quest to bring something new to a cappella, a noble trait, don't you think.

All in all a great show - the group member sang until they had literally lost their voices - and a CD that's definitely a worthy addition to your collection.

For more information, visit www.groovebarbers.com.

I just finished reading an advance copy of Archer Mayor's upcoming Joe Gunther novel, "The Price of Malice," and I must say I really liked it.

Mayor picks up threads he left off in his last novel, "The Catch," and adds many new twists, starting with a murder scene with a strange set of clues in the opening chapter. As the book goes on, Mayor adds an unnerving look into Brattleboro's underbelly, the aspects of our town that those of us who are smug about living here tend to forget. He also subjects his main character, Joe Gunther, to a moral and professional dilemma that takes him into new territory. In "The Price of Malice," Gunther isn't quite the rock of stability he has been in the past, and the result is a book of unusual depth and earthiness.

I'm not the expert in Mayor's work that his true fans are, but I have read five or six of the 20 Joe Gunther mysteries he's written. I'm willing to say this is my favorite.

"The Price of Malice" is due out in October. I'd love to know what you think of it when you read it.

I had the pleasure to spend part of my Sunday on the Rock River Artists Studio Tour, and it was a wonderful and uplifting experience in more ways than one.

First, it is always great to meet artists in their studios, see works-in-progress and come into contact with these people as people -- as friends and neighbors who live and work among us. My 4-year-old daughter was with us, and I got a kick out of thinking that over time, she will be exposed to these artists in our community and see that they are real people, doing their work. I don't want to project any future for my daughter, but I do think it's a healthy thing for her to see these people who have pursued their passions and made art their life's work.

The other uplifting aspect was that the artists I saw reported decent crowds and strong sales from this weekend's tour, which encompassed artists living and working in Williamsville, South Newfane and Dover. Many had private fears going in that the economic woes would mean poor sales for them. Those fears, at least for some, appear to have been groundless.

It's hard to speculate why. For some people, I think this is a time to vote wisely with our limited dollars and to invest in our communities and in objects which have a lot of integrity and meaning. It's akin to the Localvore movement among foodies -- people are buying what is made among them, investing in their communities. But a lot of the visitors on the Rock River Artists Studio Tour are from out of state -- in one artist's studio, I glanced at the other entries on the guest book page I had just signed and saw people from Illinois, Florida and Massachusetts (I was the only Vermonter). Perhaps, they're sinking their cash into art; perhaps they're salving some hurt spots within them with art. Perhaps, those who still have money simply like the work being done by area artists and want to collect it. All of the above; none of the above?

Whatever was going on, the weather was perfect, the day was an adventure, the moods were friendly, and the studios were busy. I'll cling to that as good news, no matter what else is going on.

Honest as an old barn, sincere and sweet as strawberry rhubarb pie, the MacArthur Family's new CD, "Branches on the Family Tree" is a beautiful and warmly personal collection of songs that are rarely heard but should be - especially by those of us who share in their appreciation of life in this neck of the woods.

"Branches on the Family Tree" is to be treasured both for what it isn't and for what it is. What is isn't is a CD like much of what is being produced today. Completely unpretentious, the CD is performed and produced with a simplicity and immediacy that serve the songs well and give you the feeling of being with Gary, Dan and Megan MacArthur as they perform around the kitchen table or campfire. This collection of 12 songs, culled from their experience listening to and singing with their mother, musician and folklorist Margaret MacArthur, and from their own musical lives, "Branches on the Family Tree," is exactly what our times need -- artistry with integrity, devoid of hollow mass culture stylings.

And the songs themselves are a tonic for our times. Traditional tunes and more modern classics written by masters like Pete Seeger, Si Kahn, Rev. Gary Davis, Hazel Dickens and Steve Gillette, the songs fit together to deliver a pleasing homily on what's really important - family, tradition, the land, a deep connection to the natural world, hope. Each song stands on its own, but also makes up something like a chapter in a book that gently shows us a better way to be.

And you can accept what they say because of the integrity of the performers and the way they deliver the songs. The MacArthurs have planted deep roots, still living on the family land they grew up on in Marlboro, so when they sing of these things, they know. And the way the album is produced complements this sense of integrity. The voices, blending well, are up front, the instrumentals -- on guitar, fiddle, mandolin and bass -- are simple; there's no pretension of virtuosity. None needed.

These songs have a transportive quality. Listening to them brings you out of where you are back in time to a simpler time -- or simply up a country road for a little home cooking and good times with friends.

Gary, Dan and Megan MacArthur are performing this Sunday, July 19, at 7 p.m., at The Church in downtown Brattleboro. Tickets are $5 at the door, and I couldn't think of a better value for the money.

Did you happen to read Alex Ross' thoroughly engaging story on the Marlboro Music School and Festival in the June 29 edition of The New Yorker.

I thought it really captured the soul of the place well. Marlboro is a magical, paradoxical place - a place where the highest ideals go to summer camp, where musicians at the top of the field cheerfully throw wadded paper balls in the cafeteria, then go on and explore Shostakovich together in earnest joy. Ross clearly had access few of us enjoy, and he made the most of it, with a story that skillfully weaves music, anecdotes and personalities.

I've had the pleasure of spending a day up there several times, and it's a marvelous look at the human side of this special place which most people only know from their concerts. Great as those performances are, they tell only a fraction of the story.

Though I suspect there is secretly a lot of burning desire to be picked to play in these concerts, the emphasis is on rehearsing, the deep exploration that comes from just playing a piece with other musicians, for a week, or two, or all summer if need be. That's why I've always relished the chances to go up, spend a day there and take in something of the real soul of Marlboro - the rehearsal process and the interchange between the musicians. That opportunity is available to you, too. Several times during the week, rehearsals are open to the public, up at Marlboro College. It's a great chance to heat amazing music - and also to see top-level musicians learn and explore together, to see what it is that challenges them and how they work through things on their way to something sublime.

To attend an open rehearsal, contact Marlboro ahead of time. For information, visit www.marlboromusic.org. In the meantime, read Ross' story in The New Yorker and get a taste with music clips which are available at newyorker.com.

I took my family to see the Weston Playhouse Theatre Company production of "Stuart Little" Thursday afternoon outdoors at the New England Youth Theatre, and what a nice show it was.

A crowd of 60-70 gathered outside on blankets and watched as six energetic members of Weston's Young Company brought E.B. White's classic tale to life. With plenty of charm, enough bright spots for grown-ups and loads of sights and sounds to entertain the young ones, I recommend it to any families. Best of all, it's free.

Performances of "Stuart Little" are scheduled at various places and times through July 5. Check out the schedule at www.westonplayhouse.org or call 802-824-5288. If they aren't coming to you, I recommend making the trip up to Weston to see it. It's a beautiful little town, picture, perfect, really, and it will be quite an adventure for all.

The true test of how memorable a production "Stuart Little" was came this morning - my 4 -year-old girl woke up and insisted we play "Stuart Little" this morning. That's the sign of a winning show.

As a fan of the short story, I should have a greater understanding of the power of the short film format. Yet, perhaps because films tend to reach mass audiences only in feature-length format, I forget the value and quality of shorter cinematic work.

John Scagliotti, a documentary filmmaker and a friend in the Brattleboro area arts community, let me look at few of the films coming to town for the fourth annual CineSLAM, Vermont's GLBT short film festival. I was so impressed by the ones I saw, so struck by the range they covered, so affected by the emotions stirred that I feel compelled to urge you go check out the films.

CineSLAM screenings are held Friday night, June 26, at the Hooker-Dunham Theater in Brattleboro at 7 p.m., and Saturday beginning at 1 p.m. at Tree Frog Farm in Guilford. Information is available at www.cineslam.com.

The film that made the biggest impression on me is "James" by Connor Clements. A fictional work, but one based on true experiences, "James" tells the story of a young teen struggling with his decision to come out - and the disappointing reaction he gets when he finally tells a trusted teacher his secret. Well-made, well-acted and completely engrossing, "James" is a gem, and one of nine films to be screened Friday.

In a different vein, but no less memorable is "and I am me," by Burlington filmmaker Alisan Segar. This simple little documentary features interviews with a lesbian mother and her adopted Ethopian son. Disarmingly honest and sweetly sentimental, the film asks and answers questions like "What's It Like to Be Gay?" :What;s it like to have brown skin?" "What's it like to have two moms?"

In all, CineSLAM features more than 30 short films, and a number of directors will be on hand to share their work. I probably don';t need to tell you this, but these are films that reach easily beyond the GLBT to wider audience. And you may never get a chance to see them or be exposed to the work of these filmmakers, other than through CineSLAM.

All that and New Yorker cartoonist Arnie Levin's hilarious animated look at "Gay Penguins," too.

I caught the debut production of Thespis Theatre Company Sunday afternoon in Brattleboro, and boy is it a good one. This new ensemble theater company does a fine job with Adam Bock's masterful 2007 play "The Receptionist."

Presented in Latchis 4 in the Latchis complex in downtown Brattleboro, an intimate place to see a play, "The Receptionist" is a marvelously well-wrought play, beginning on one level - often very funny - and ending on a stark, disturbing note. Thespis does a fine job with a challenging play.

The acting is superb. Don't let the fact that these are local folks on stage convince you that you have to lower your standards. The acting is a joy to behold - this is complicated material, and the cast of Jim Robinson, Nancy Stephens, Mo Hart and Eric Morgan Cutler handles it superbly. It's fine ensemble work, with a special nod to Stephens, who might just be my favorite local actor. In the title role of "The Receptionist" Stephens alone is worth the price of admission.

"The Receptionist" continues June 26 and 27 at 8 p.m., and June 28 at 2:30 p.m. You would be doing yourself a great disservice if you didn't catch it. For information on seeing the play or helping Thespis in other ways, call Larry Bramble at 802-387-4314.

Attention old folkies! I just finished a book that you should check out. It's titled "Number 1," and in the interest of full disclosure, it's written by my cousin, Richard E. Noble, a teacher by trade, folk music fan by hobby and folk show DJ on the Worcester, Mass., Public Radio affiliate, WICN in his spare time.

The book details the unlikely rise to fame and fabled career and music of The Highwaymen, but it's more than that. It's a fun romp through that time, when folk music spilled from coffee houses and college campuses into the mainstream in the late '50s and early '60s.The book is perhaps most valuable as a trigger for memories of that time; it is peppered with stories and references not just related to the Highwaymen but to many of the musicians who made up what was called "the Great Folk Music Scare." As you flip the pages, you'll stumble across Pete Seeger, Arlo Guthrie, Dave Van Ronk, the Weavers, the New Christy Minstrels, the Kingston Trio, Peter, Paul & Mary, countless others.

It's the kind of book that will send you looking through your old vinyl, pulling out cherished, scratchy records you hadn't heard in a while. Of, if you're like me, a little too young to have gotten caught up in it the first time, you'll probably check a few things out on iTunes or through artist Web sites.

Wisely, my cousin's book does not simply dwell in the past, but carries the story into the present and shows how the Great Folk Music Scare echoes to this day. I bet not a week goes by where some musician who was greatly influenced by the time doesn't come through town. Or think of this: how many times this summer do you think "Michael Row Your Boat Ashore" - the big hit for the Highwaymen - is going to be sung at some camp or vacation Bible school?

Published by Outskirts Press, "Number 1" can be found on Amazon and other outlets. Or visit OutskirtsPress.com.

One of the more pleasant CDs that has drifted across my transom at the Brattleboro Reformer is "Erik Satie:Music from The House with Four Chimneys" by a group of musicians with the mysterious handle of Eddy & The Esoteriks.

Largely the brainchild, I take it, of guitarist Ed Eastridge, the CD features music of Satie transcribed from piano to guitar, mostly, with banjo, mandolin, violin, cello, accordion, flute, harmonica, viola, oboe and voice. Local guitarist Draa Hobbs is one of the musicians on the CD, which is, I suspect, how it got to me. The other musicians are based on the Upper Valley region of Vermont and New Hampshire and was recoded at Big Mo Records in Thetford.

Satie's music has always intrigued me. It has that particularly "French" sound - open, spare, innovative, minimalist - and Satie was a precursor to and influence on many composers of greater renown who came after him - Debussy, Ravel, Milhaud, Poulenc, even Stravinsky.

Satie's songs, all of which are short in duration, adapt well to guitar and are the ideal soundtrack to those quiet, reflective moments in life. The music leaves plenty of room for you to think.

Equally intriguing are the liner notes, which give you some impression of the sadly beautiful life Satie led. Alone and in abject poverty most of the time, Satie walked every day from his room in the House with Four Chimneys throughout Paris, and the CD is full of music which seems to have grown out of these walks. It is thoughtful and surrounded, yet somewhat insulated from, the hubbub of busy city streets.

This is ideal music for the end of a hard day or a rainy afternoon or a lazy Sunday relaxing with a second cup of coffee and the crossword.

For information on the CD, visit BigMo.com.