The Nitty Gritty Dirt Band Hits the Rialto

Fifty-five years ago, a group of Southern California folkies had an unexpected hit with a country-tinged song called “Buy for Me the Rain,” one of a dozen songs on their debut album, with two of the others penned by a then-unknown composer named Jackson Browne. With that self-titled debut and its charting single, the Nitty Gritty Dirt Band was off and running, on the way to perfecting its trademark blend of bluegrass, country, folk, rock, jug band music, and Delta blues.

Founding member Jeff Hanna, who sang lead on “Buy for Me the Rain,” remembers the time well. “We were six guys who had a fondness for folk music,” he tells Zócalo, speaking from his home near Nashville. “Some of us had older siblings who got us into early rock ’n’ roll—Chuck Berry, Little Richard, Fats Domino, Buddy Holly. That was a great foundation. But then we got deeper into the roots, listening to Doc Watson, bluegrass bands like Flatt & Scruggs, Sonny Terry and Brownie McGhee, Mississippi John Hurt. We came from this diverse sort of gumbo, a big mix of all this great music. Well, we had our hit record, but by the end of ’68 we were burned out, so we took a hiatus and then came back together for another album, this one with a song called ‘Mr. Bojangles’ on it, written by our friend Jerry Jeff Walker. By that time we had become a California country rock band, drifting closer, like Poco and The Byrds, to country.”

During a performance at Vanderbilt University in 1970, the band met legendary banjoist Earl Scruggs. They’d recorded one of his songs on that breakout record, Uncle Charley & His Dog Teddy, and, Hanna recalls, “on his way out the door Earl said, ‘I’d love to get in the studio with you boys.’” One thing led to another, and over the course of the next few months the band recorded with musical heroes such as Doc Watson, Roy Acuff, Mother Maybelle Carter, and Merle Travis, each legendary country artist bringing others into the fold. The result was the triple album Will the Circle Be Unbroken, released 50 years ago.

Some of those musicians, and certainly the country music establishment, were suspicious of the longhairs from California. They had reason to be. Says Hanna, “We were considered a rock & roll band back then, touring with Aerosmith, Johnny Winter, ZZ Top, and the like. That’s where we showed up. We weren’t touring with Faron Young or George Jones.” Still, the album came together, and when it did it was a hit, exposing many listeners to bluegrass and country music for the first time. With the passage of 50 years, too, the hard edges of genre and lifestyle have blurred. I was at the Country Music Hall of Fame in Nashville just last month, and there in its extensive museum was a display case devoted to the album and its blend of musicians, hippies and country folk side by side.

Bob Dylan, of course, had gotten there—to both country music and the Hall of Fame—a little earlier than the Nitty Gritty Dirt Band, and he’s been another touchstone, so much so that the group’s newest release, The Dirt Does Dylan, is a collection of Dylan covers. The band—with founders Hanna and Jimmie Fadden joined by Hanna’s guitarist/singer son Jaime, keyboard player Bob Carpenter, fiddler Ross Holmes, and bassist Jim Photoglo—is now touring to promote the album. Expect to hear a joyous mix of Dylan, some Dirt hits, and some country classics. “We’re really grateful,” says Hanna. “We love playing live, and we’re excited to be coming to Tucson.” Tucson, to be sure, shares the feeling.

The Nitty Gritty Dirt Band will play at the Rialto Theatre (318 E. Congress St.) at 8:00pm on August 28. Tickets are available here.

Ani DiFranco Brings Revolutionary Love to Tucson

Zócalo correspondent Kathleen Williamson joins Aspen Green and Kathy Harris of KXCI-FM’s Broad Perspectives for a lively interview with veteran singer-songwriter-guitarist-activist Ani DiFranco about her music, love, and urgent American politics.

DiFranco will appear at the Fox Theatre (17 W. Congress St.) on June 18 at 7:30pm to support her new album Revolutionary Love. Tickets are available here.

Tucson Favorites Peter McLaughlin and Chris Brashear Host the Inaugural Tucson Opry

Is there any music lover in Tucson who doesn’t know the work of longtime local Peter McLaughlin and frequent visitor/sometime resident Chris Brashear? Whether you do or don’t, if you’re a fan of the roots/Americana/old-time music that you’ll hear in the better quarters of Nashville, you need to betake yourself to the Old Pueblo’s answer, courtesy of those two: Tucson Opry, that is, the debut edition of which will take place at 7:00 pm on May 30 at the Hotel Congress (311 E. Congress). Tickets are going fast, so grab yours at the front desk or online.

Our correspondent Kathleen Williamson talks with Peter and Chris about their work and this auspicious occasion. Enjoy!

With “Grow Up,” Tucson Indie Pop Band Chateau Chateau Enters a New Era

Chateau Chateau’s new album Grow Up is a perfect example of pairing pain with pleasure. The indie pop group hails from Tucson, which has seen an explosion of fun and quirky music these last few years. Chateau Chateau is led by Bleu and Alex, the power duo that bring darkness and humor to their tracks. The band formed in 2018, with Bleu joining in 2019, and it has since released a steady stream of empowering and exciting songs that remind people that it’s completely acceptable to be themselves and be comfortable in doing so.

As with most musicians, the COVID-19 pandemic was tough on the group, but that didn’t dampen their spirits. They not only released a wonderful “Chateau Chateau” cooking video and a full band Q&A, both of which can be found on their YouTube channel, but they also released the album Princess during the height of the pandemic. Since the restrictions lifted and live music returned, the band has gotten back into touring and recently made an appearance at South by Southwest, bringing tracks from Grow Up to the festival’s stage.

Grow Up is set to release on May 6. The album is gritty and real and will leave anyone who has experienced similar stories feeling overwhelmed, but in the best possible way. Each song is about an experience frontwoman Bleu has had during her dating years. As a member of the LGBTQIA+ community, Bleu wanted to highlight her experiences with relationships from romantic to familial and to bring a voice to those who might not normally feel heard. In “Converted,” Bleu brings anger—with a dash of humor—to the table as she discusses her experience being the token “converted homosexual” for a man she dated. Grow Up also highlights her experiences growing up in a religious, abusive household. The lyrics are raw, but the upbeat guitars and synthesizers bring a bubbly feeling to the track that will make the most cynical person start dancing.

As the album progresses, it keeps the funky, fast-paced pop sounds throughout. Grow Up’s penultimate track is a cover of ‘Til Tuesday’s “Voices Carry,” and Bleu knocks it out of the park. The song’s 80’s funk meshes perfectly with Bleu’s raw vocals, and it will make any fan of the original smile.

Chateau Chateau is a force to be reckoned with. Its album release party is slated for 8:00pm on Friday, June 17, at 191 Toole. Tickets and information can be found at https://chateauchateaumusic.com/shows or on the band’s socials @ChateauChateau_.

Rosie Flores Plays HoCo

Rosie Flores, cowpunk pioneer and self-proclaimed “rockabilly filly,” is coming to town in a show that’s not to be missed. Our correspondent Kathleen Williamson talks with Rosie in a joint project for Zócalo and KXCI-FM, our city’s community radio station. Please have a listen—and then get your tickets to the show while they’re still available. —Editor

Rosie Flores and The Talismen will appear at the Hotel Congress Plaza at 7pm on April 22. Tickets are on sale here.

A Few Words on Bruce McGrew

by Paul Gold

Bruce McGrew had an immersive approach to teaching art—many of his students felt a vigorously personal pull toward him, an orbit that closely cemented relationships. In interviews in 2006 and 2007, Rick DeMont recalled the power the “McGrew effect” had on him. “I got to U of A as a junior, majoring in art, and one of my first classes was with Bruce—I found him fascinating—he spoke in parables and riddles, like a poet, and in his speech, there was always something between the lines, and it just tuned me in. I was very curious to learn more about this guy—I knew I wanted to know what he knew—there’d never before been a person like that for me, in art or out of art. I had no idea what his art was like. I just knew I wanted to know what he knew, because he knew, and I knew he knew. As abstract as that may sound, that was how it hit me, and from that point on, moments with him were in many ways magic—that’s what he was all about—magic. I don’t know what he thought of me as a student—but that was the beginning of a pretty long relationship.”

“I was already very much of a landscape person when I got there, and I was more into oils at that time, too, but he got me painting outside, and it wasn’t long until I was painting with him outside—I don’t know exactly for how many months. I was also taking classes with [Doug] Denniston, who was also a plein air guy. This was the spring of 1977. When I saw Bruce’s paintings, I was like, ‘Okay, here’s something that adds up to way more than its pieces.’ It still gives me goosebumps to talk about it, because I was so profoundly affected by it visually, and I couldn’t get his paintings out of my head probably for ten or fifteen years. It was just to the point where, ‘Let me exorcise these images, so I can move on with life.’”

“Bruce was really tactical about his approach and where he wanted you to go and what he thought maybe you should be open to. He was pretty delicate—it was the velvet hammer. As soon as I graduated, I moved to the ranch. That was 1979, and so what happened next—I sold this big oil painting at the Gekas Nicholas Gallery. It gave me more money than I thought I deserved, and I took that money and went out to the ranch to live and try to paint, and my life kind of developed from there. I was there for eight years. I loved living out there, but … I realized I would come out with nothing but a great place to live—I needed a little bit more than that, so that was why I left. I came into town, bought a house and started my own thing.”

DeMont’s affection and admiration for McGrew reflect the nearly infectious charisma he had with seemingly everyone he engaged. “Any day with Bruce was just a fantastic day, watching the time pass. He could bring magic into eating food or just walking down the road. He’d just break things down to its core essence, and he lived his life that way, day in and day out, walking around in the core essence. He could find beauty in anything, in any place. And time—he was very connected to that spirit, whatever you wanna call it—the core essence are good words. Maybe some guys would call it bones. I’ve never met a person who was more real than Bruce McGrew—it’s the opposite of hokey. It’s the other direction, floored as far as the road goes.

Excerpted from Paul Gold, Bend in the Wash: The Rancho Linda Vista Artist Community (Tubecat LLC). The book is available for sale at http://interstice.us/paul-gold/index.htm. It is also available at Deadwood Framing and the Tucson Museum of Art.