From festival stages and concert halls to raucous August nights at fiddle camp, the Flyers are here to make sure New England music has a seat at the table as a distinct and vital American tradition. All residents of the great state of Maine, Katie McNally (fiddle), Emily Troll (accordion), Benjamin Foss (guitar), and Neil Pearlman (piano) cut their teeth playing for contra dances and learning from the greats. Individually, they’ve toured the world playing Irish, Scottish, and Quebecois music and they bring this wellspring of knowledge and technical prowess to the American music that was born from these traditions.

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Fraser has a concert and recording career spanning over 30 years, with a long list of awards, accolades, radio and television credits, and feature performances on top movie soundtracks (Last of the Mohicans, Titanic, etc.). In 2011, he was inducted into the Scottish Traditional Music Hall of Fame.

In additional to performing, Fraser has motivated generations of string players through teaching at string and dance camps across the globe.

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With a 20-year background studying polyphonic music around the world, Lauren Breunig, Jeremy Carter-Gordon, Lynn Rowan, and Will Rowan share a vibrant energy onstage with a blending of voices that can only come from decades of friendship alongside dedicated practice. The ensemble shifts effortlessly between drastically different styles of music, drawing their audience along on a journey that spans continents and centuries, illuminating and expanding on the profound power and variation of the human voice.

There’s another, crucial dimension to Windborne that guides and roots their artistry. They are adherents to folk music’s longtime alliance with social activism, labor and civil rights, and other movements that champion the oppressed, the poor, and the disenfranchised. Their songs burst with lyrics that, while penned decades or centuries ago, still ring true in modern times, and Windborne’s dynamic harmonies breathe new life into these songs.

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The band has received critical acclaim from NPR’s “Shuffle,” SWR2 in Germany, All About Jazz, Jazz Weekly, and Cleveland Magazine. From the specific dialects, stories and songs of Italy’s pre-industrial past spring Alla Boara’s dynamic and touching performances that inspire listeners of any heritage to treasure their ancestral roots and to revel in our shared humanity, which is as surprising, playful, mournful and tender as the songs themselves.

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Yacouba exposes new audiences to the enchanting sounds of the kora—a 21-stringed instrument that is plucked and produces a distinctive sound that is quickly associated with West Africa. Throughout West African history, the kora was played as a solo instrument by djelys, or storytellers, whose roles in society were to perform for kings, nobility, and village chiefs. The songs sung by djelys were stories that had been passed down from generation to generation, and captured the oral history of the people and culture of West Africa describing social life, cultural identify and family backgrounds.

Yacouba also leads his own band, SIYA, meaning “source” in Bambara. The sound of SIYA represents the breakthrough of the past few generations of Western African musicians who have opened up this musical experience to new audiences, incorporating additional instruments and spanning musical genres. The other instruments of SIYA include the N’goni, a traditional guitar that was used by griots during the Manding Empire prior to the kora; the “talking drum”, a small drum held on the shoulder of the player and hit with a curved stick or the hand to mimic phrases of the human voice, requiring great dexterity by the player; the calabash, that is easily recognized by its deep resounding bass sound frequent to West African music; and an acoustic guitar and/or trumpet both of which adds to the more modern approach.

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Joe Newberry comes from a family of singers and dancers. He took up the guitar and banjo as a boy and learned fiddle tunes from great Missouri fiddlers. April Verch grew up listening to her Dad’s country band play for dances in the Ottawa Valley. She started step dancing at age three and fiddling at age six. In a Newberry & Verch show, delighted audiences see first-hand the roots of their music, their love of performing, and their strong musical connection. Original songs join timeless classics. Stories warm the heart, and give audiences a chance to understand where the music comes from. Lively fiddle and banjo numbers combine with traditional dance steps to illustrate happy times when people made their own fun.

Whether it is the power of two voices lifted in harmony, or the sound of traditional tunes calling people to get up and move, these two masters of tradition put on an unforgettable show.

PLUS, annual “Holiday Cheer Tour”

Each year the duo sets out in a modern day sleigh (with four-wheel drive) to perform their eagerly anticipated holiday tour. Original songs join timeless hymns. Stories warm the heart and give a twinkle to the eye. Lively fiddle and banjo numbers combine with traditional dance steps to illustrate happy times when people made their own fun at the holidays, and all year long. Make your holiday concert list, and check it twice… Newberry and Verch are coming to town!

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April and Cody combine their unique backgrounds from Verch’s native Ottawa Valley and Walters’ heartland roots in Kansas. April was the first woman to win both the Canadian Grand Masters and Canadian Open Fiddling Championships. She was one of six Canadian fiddlers featured in the Opening Ceremonies of the Vancouver 2010 Olympic Winter Games. Together, Verch and Walters are exemplary tradition-bearing performers: never forgetting the roots of the music, that connection to the people out there in the audience or on the dance floor, to the community sparked by a good song.

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Each brings an exceptionally diverse array of musical influences to the table. Eric studied jazz and bluegrass mandolin at the Berklee College of Music before finding his way to DADGAD guitar; Ryan carries a degree in viola performance, and is one of the youngest to ever win the US National Scottish Fiddle Championship; Jeremiah, in addition to being raised with Scottish roots, has studied Indonesian Gamelan, West African drumming, and the music of minimalist composers Steve Reich and Philip Glass. His compositions have won numerous awards and been featured in films.

Kalos’ music asks to be shared live, and performance is the band’s heart and forte. Their partnership stretches beyond the music, born of fast friendships formed at the band’s origin and exhibited in their playfulness on stage. Kalos forges a new musical path that draws on Celtic, Breton, American and other musical traditions on accordion, guitar, fiddle, and vocals.

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