Grand
Traditionalists- Jay Unger and Molly Mason
by
Peter Aarony
Peter Aaron
...
In 1967 he joined roots rockers Cat Mother and the All Night Newsboys
as a bassist, but ended up leaving the New York band for college
prior to its hit single-bearing, Jimi Hendrix-produced debut, The
Street Giveth... and the Street Taketh Away (1969, Polydor). Ungar
rejoined the group, however, for its second album, 1970’s
less successful Albion Doowah (Polydor), and then signed on with
folk and blues festival favorite David Bromberg. Although in the
early 90s Bromberg decided leave the stage in order to concentrate
on violin making, when the esteemed guitar stylist was ready to
return to performing, Ungar and Mason were among the first musicians
he called.
“I
quit playing live for almost 20 years, but when I got back into
it there were only two bands I wanted to play with—my own
and Jay and Molly’s,” says Bromberg. “(Ungar and
Mason) are both very deep musicians, but even though they have such
respect for the music they don’t take themselves too seriously.
And besides being such a great accompanist, Molly’s a really
excellent producer, too.” As evidence, the one-time Bob Dylan
side man points to the gorgeous-sounding Rabbit Ears Treasury of
Tall Tales (1995, Rabbit Ears Entertainment), a two-CD collection
of popular folk stories read by the likes of Nicholas Cage and Angelica
Huston over original music by Bromberg, Ungar and Mason, and others.
But
despite their fully loaded concert and recording schedule, it’s
obvious that the work with their Ashokan Fiddle and Dance Workshop
camps is the couple’s foremost love. Designed to give enrollees
a total immersion in particular folk music and dance styles, the
multi-day seminars are open to all ages and held at the State University
of New York’s lush Ashokan Field campus...
CONTINUE...
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