Sam Bush Band with Driftwood at Finger Lakes GrassRoots Live!
July 16 @ 5:00 pm
Sam Bush Band with special guests Driftwood perform at the Finger Lakes GrassRoots Live! Concert Series on Friday, July 16, 2021! A POD-based, socially-distanced, limited capacity concert series, Finger Lakes GrassRoots Live! will provide a safe COVID-compliant high quality experience for all.
For tickets and more information please visit grassrootsfest.org.
Sam Bush Band
Finger Lakes GrassRoots Live!
at Trumansburg Fairgrounds
July 16, 2021
Gates: 5 PM
SAM BUSH BAND
There was only one prize-winning teenager carrying stones big enough to say thanks, but no thanks to Roy Acuff. Only one son of Kentucky finding a light of inspiration from Bill Monroe and his Blue Grass Boys and catching a fire from Bob Marley and The Wailers. Only one progressive hippie allying with like-minded conspirators, rolling out the New Grass revolution, and then leaving the genre’s torch-bearing band behind as it reached its commercial peak.
There is only one consensus pick of peers and predecessors, of the traditionalists, the rebels, and the next gen devotees. Music’s ultimate inside outsider. Or is it outside insider? There is only one Sam Bush.
On a Bowling Green, Kentucky cattle farm in the post-war 1950s, Bush grew up an only son, and with four sisters. His love of music came immediately, encouraged by his parents’ record collection and, particularly, by his father Charlie, a fiddler, who organized local jams. Charlie envisioned his son someday a staff fiddler at the Grand Ole Opry, but a clear day’s signal from Nashville brought to Bush’s television screen a tow-headed boy named Ricky Skaggs playing mandolin with Flatt and Scruggs, and an epiphany for Bush. At 11, he purchased his first mandolin.
As a teen fiddler Bush was a three-time national champion in the junior division of the National Oldtime Fiddler’s Contest. He recorded an instrumental album, Poor Richard’s Almanac as a high school senior and in the spring of 1970 attended the Fiddlers Convention in Union Grove, NC. There he heard the New Deal String Band, taking notice of their rock-inspired brand of progressive bluegrass.
Acuff offered him a spot in his band. Bush politely turned down the country titan. It was not the music he wanted to play. He admired the grace of Flatt & Scruggs, loved Bill Monroe- even saw him perform at the Ryman- but he’d discovered electrified alternatives to tradition in the Osborne Brothers and manifest destiny in The Dillards.
See the photo of a fresh-faced Sam Bush in his shiny blue high school graduation gown, circa 1970. Tufts of blonde hair breaking free of the borders of his squared cap, Bush is smiling, flanked by his proud parents. The next day he was gone, bound for Los Angeles. He got as far as his nerve would take him- Las Vegas- then doubled back to Bowling Green.
“I started working at the Holiday Inn as a busboy,” Bush recalls. “Ebo Walker and Lonnie Peerce came in one night asking if I wanted to come to Louisville and play five nights a week with the Bluegrass Alliance. That was a big, ol’ ‘Hell yes, let’s go.’”
Bush played guitar in the group, then began playing mandolin after recruiting guitarist Tony Rice to the fold. Following a fallout with Peerce in 1971, Bush and his Alliance mates- Walker, Courtney Johnson, and Curtis Burch- formed the New Grass Revival, issuing the band’s debut, New Grass Revival. Walker left soon after, replaced temporarily by Butch Robins, with the quartet solidifying around the arrival of bassist John Cowan.
“There were already people that had deviated from Bill Monroe’s style of bluegrass,” Bush explains. “If anything, we were reviving a newgrass style that had already been started. Our kind of music tended to come from the idea of long jams and rock-&-roll songs.”
Shunned by some traditionalists, New Grass Revival played bluegrass fests slotted in late-night sets for the “long-hairs and hippies.” Quickly becoming a favorite of rock audiences, they garnered the attention of Leon Russell, one of the era’s most popular artists. Russell hired New Grass as his supporting act on a massive tour in 1973 that put the band nightly in front of tens of thousands.
At tour’s end, it was back to headlining six nights a week at an Indiana pizza joint. But, they were resilient, grinding it out on the road. And in 1975 the Revival first played Telluride, Colorado, forming a connection with the region and its fans that has prospered for 45 years.
Bush was the newgrass commando, incorporating a variety of genres into the repertoire. He discovered a sibling similarity with the reggae rhythms of Marley and The Wailers, and, accordingly, developed an ear-turning original style of mandolin playing. The group issued five albums in their first seven years, and in 1979 became Russell’s backing band. By 1981, Johnson and Burch left the group, replaced by banjoist Bela Fleck and guitarist Pat Flynn.
A three-record contract with Capitol Records and a conscious turn to the country market took the Revival to new commercial heights. Bush survived a life-threatening bout with cancer, and returned to the group that’d become more popular than ever. They released chart-climbing singles, made videos, earned Grammy nominations, and, at their zenith, called it quits.
“We were on the verge of getting bigger,” recalls Bush. “Or maybe we’d gone as far as we could. I’d spent 18 years in a four-piece partnership. I needed a break. But, I appreciated the 18 years we had.”
Bush worked the next five years with Emmylou Harris’ Nash Ramblers, then a stint with Lyle Lovett. He took home three-straight IBMA Mandolin Player of the Year awards, 1990-92, (and a fourth in 2007). In 1995 he reunited with Fleck, now a burgeoning superstar, and toured with the Flecktones, reigniting his penchant for improvisation. Then, finally, after a quarter-century of making music with New Grass Revival and collaborating with other bands, Sam Bush went solo.
He’s released seven albums and a live DVD over the past two decades. In 2009, the
Americana Music Association awarded Bush the Lifetime Achievement Award for Instrumentalist. Punch Brothers, Steep Canyon Rangers, and Greensky Bluegrass are just a few present-day bluegrass vanguards among so many musicians he’s influenced. His performances are annual highlights of the festival circuit, with Bush’s joyous perennial appearances at the town’s famed bluegrass fest earning him the title, “King of Telluride.”
“With this band I have now I am free to try anything. Looking back at the last 50 years of playing newgrass, with the elements of jazz improvisation and rock-&-roll, jamming, playing with New Grass Revival, Leon, and Emmylou; it’s a culmination of all of that,” says Bush. “I can unapologetically stand onstage and feel I’m representing those songs well.”
Anyone familiar with the Americana music scene knows this Upstate, New York-based band has cut their teeth on a killer live show. With a never-ending tour schedule and a steady buzz, they have built a very solid underground fan base. “The game has been live shows and nose to the ground since the beginning,” says guitarist/songwriter Dan Forsyth.
As well as a devout following and a sizable discography, the band’s hard work has also been a huge part of the inspiration for their music. The songs and arrangements have grown out of time spent on the road, growing closer, learning with and from each other and weathering the up’s and down’s of the journey together. “We have a truly special bond creatively and personally. It’s the driving force behind the music,” violinist/songwriter Claire Byrne adds.
It is with this bond, patience, determination and undying mutual love and respect for music, the road, and their friendship, they have approached their latest offering, ‘Tree of Shade.’
“I’m struck by the gratitude that making music with my best friends/my other family brings,” says guitarist/songwriter Joe Kollar. “Even our producer (Simone Felice) and the engineer (Pete Hanlon) became brothers in this process. Laying out some of your most intimate moments and showing the rawest version of yourself is both scary and exhilarating but more importantly, it reminds you why you chose music as the vehicle. It’s the ’66 Corvette that will always take me back to the beauty and power of a group of people setting out to make something together.”
Their first album with a major producer, ‘Tree of Shade’ is a testament to the essence of a song. Working alongside Felice, the band found themselves stripping things back way more than they normally would. “Simone was all about finding the essence of the song and doing our best to bring it out without distorting it or taking the arrangement too far.”
The first single off of the Spring 2019 release is ‘Lay Like You Do,’ a stripped down heartbreaker. “This was one of those songs that came out faster than I could write it down and seemed sort of like plucking an apple off a tree,” admits Forsyth. “The melody and chorus came out of a dream and when I woke up, I wrote the rest real fast.”
With the addition of drummer Greg Evans in May 2019, Driftwood feels like a new band. “Greg has elevated our sound without changing the intimate dynamic that is Driftwood,” observes bassist Joey Arcuri. With this added momentum and a new album, a nationwide tour is set in support of ‘Tree of Shade.’
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