Folk musics a living thing, forever bending to not just new lyrical conceits, but sundry musical influences. And The New Vintage is set to host a handful of players plying the genre, adjusting it as they see fit. Ryley Walkers work, though, might just be as malleable as anyone elses.
Its the history of Chicago music, the singer-songwriter says over the phone while walking around the Windy Citys westside. Collaborations just really huge; everybody plays with everybody. Theres no folk scene here, thank God. I just play with those guys really well. Frank Rosaly on drums? Hes probably one of the best drummers in the world.
Walkers effusive assessment of the players hes performed with over two years and his numerous full lengths his latest Primrose Green is due out March 31 both speak to the guitarists engagement with his homes music culture, as well as a desire to explore and cross-pollinate.
The jams became really important to me, Walker continues amid discussion of his musical compatriots acuity. It makes the record different than a lot of other folk records today.
As steadfastly composed and purposeful as lyrics for songs like Same Mind sound, Walkers writing is regularly contrasted by his bands jazz-tinged explorations. Its the only way to explain how a would-be folk record clocks a six-and-a-half minute song without being verbose. And as Sweet Satisfaction builds toward a fuzzy, aggressive middle portion, Walkers ensemble pulls back briefly, letting the singer belt out the chorus, then launches into a supremely repetitive and utterly meditative jam.
The whole records a complete surprise. I came in with little sketches, the guitarist says. That section at the end of Sweet Satisfaction, Ben Boye, who played keys, was like, Can we just do that riff for four minutes at the end? I was like, OK. The albums just shaped by that momentum: first thought, best thought.
Ryley Walker plays along with Nathan Salsburg, Steve Gunn and Watter at The New Vintage on Saturday, March 28.
This article appears in March 25, 2015.