Musical reunions these days typically are met with cynicism, and for good reason, the motivation usually provided more by an accountant’s ledger–or lack of individual success–than any artistic compulsion. In the case of Hot Rize, one must assume the incentive to reunite is musical. While bluegrass does not equal megabucks even for the biggest stars, these four musicians have been doing just fine since the band’s breakup eight years ago.
The group performed Saturday night at the Old Town School of Folk Music.
Tim O’Brien, a mandolinist, fiddler and singer, has been a dominating presence as a solo artist on the Americana charts since the charts were created. Banjoist Pete Wernick has also forged a unique solo profile with his jazzgrass ensemble, Live Five, and is also the president of the International Bluegrass Music Association.
Less visible as a musician, bassist/vocalist Nick Forster has made a mark through his nationally syndicated radio show, E-Town, which can be heard in the Chicago area Sunday nights on WDCB.
Guitarist Charles Sawtelle has been playing off and on with Peter Rowan and other musical heavy hitters, though his biggest accomplishment since Hot Rize’s official demise has been avoiding “demised” status himself, undergoing lengthy treatments for leukemia. The fact that he is well enough to be touring is reason enough to celebrate.
Celebration was the feeling in the room for their sold-out 7 p.m. show, though the relaxed, almost insouciant demeanor of the group, especially Wernick, O’Brien and Sawtelle, stood, as it always has with Hot Rize, in sharp relief to the energy of their music.
The group’s musical personality is traditional with a touch of modernism, a bit like an old-fashioned triple-tiered wedding cake topped with little bride-and-groom figurines that one eventually realizes are attired in bathing suits. Where another group would feature an instrumental solo, Hot Rize might break the lead into two parts. They also employ such now-common devices as harmonized single-string runs sparingly, thus driving the contrasts of these moments–and the inherent drama–up a couple of notches.
Much to the delight of the near-delirious audience, Hot Rize brought along its alter ego, Red Knuckles and the Trailblazers.
Among the sharpest musical parodies in any genre, the Hot Rize quartet execute a seamless change of costume–and attitude–to become the Trailblazers and spoof mainstream 1950s “country/western” music. What makes the joke go beyond slapstick is that these guys are great at paying tribute to the styles they are sending up, especially when they inject western swing into the mix. It is hysterical precisely because somewhere in their hearts, these players love the music itself as much as they love making fun of it.
