December 2002

Bradford Lee Folk of Open Road
By David Okay Patton

Bradford Lee Folk is passionate about bluegrass music. Soft-spoken, with a hint of Missouri drawl to his speech, it is difficult to believe that such a quiet voice could captivate a music audience. As singer and guitar player for the Colorado-based bluegrass band called Open Road, Bradford conveys an intensity and excitement driven by his love of bluegrass music.

Sometimes the bond between singer and audience is so strong that it is unnerving. "Sometimes it is overwhelming," Brad concedes. "Audiences have so much energy and appreciation . . . it just takes me over. I know I'm doing the right thing. Something that stops you in your tracks like that must be important."

Born in Louisiana, Brad grew up in Missouri, attending school in the St. Louis suburbs while spending his free time on the family farm in rural Bourbon County. Like his father, a professional musician who played country blues guitar, Brad was initially drawn to acoustic blues. In high school he listened to old recordings of blues artists such as Sonny Boy Williamson, Robert Johnson, and Sonny Terry. While still a high school freshman he played college bars and coffee shops in a blues band called Moonshine.

Brad's first recollection of hearing bluegrass music happened when he was 15-years old. A family friend sent him several Flatt & Scruggs and Bill Monroe albums. "I just about died when I heard that," Brad recalls. "I went out right away and bought a banjo!"

After high school, Brad moved to Fort Collins, Colo., to attend Colorado State University, where he received a degree in English. While in college, he began working as a cowboy, a profession he continued in after graduation. "I know it seems strange," he admits. "But I really enjoyed the work. It was probably the most satisfying job I've ever had."

Brad also discovered northern Colorado's thriving bluegrass scene, and quickly became a regular at the weekly jam in Fort Collins. While in college, he started a bluegrass band called Grass Route, which achieved local celebrity. "We had some pretty big gigs at the Pickle Barrel. We sold them out," he recalls with a grin-then confesses that the Pickle Barrel seats about 25. A short stint with the Bluegrass Pals gave Brad an opportunity to work with some of the best bluegrass musicians in Colorado.

Brad met mandolin player and South Carolina native Caleb Roberts in early 1998, and together they formed Open Road in December of that year. Brad was still playing in Bluegrass Pals at the time, but he soon settled in as rhythm guitarist and lead singer for Open Road. The band quickly gelled around the distinctive sound of Brad's voice and the expressive playing and baritone singing of Caleb.

From the beginning, Brad and Caleb have been the band's creative drive. Musically, their tastes are remarkably similar. On many occasions, Caleb would produce a stack of records or tapes from his extensive bluegrass music collection, and ask Brad to review the recordings for new material. Brad recalls, "It's happened a number of times where out of the entire stack Caleb will have heard one song that stuck out in his mind, his favorite song from those records. And his favorite song . . . was my favorite song." Gathering songs from sources such as the Carter Family and the Stanley Brothers as well as Brad's own writing, Open Road gained a reputation for its traditional bent.

Their musical vision and style solidly defined, the band began recording in late 1999 at Rancho DeVille Studio in Boulder, Colo. Sally Van Meter produced the band's self-titled debut album, which featured four original songs. In 2000, Open Road began to expand its horizon beyond Colorado, playing at festivals in nearby states, and by 2001 the band had journeyed as far as California, where they were the surprise hit of the Wolf Mountain Bluegrass Festival.

The band continued to gain attention when Brad was selected to participate in the 2001 International Bluegrass Music Association's Songwriters Showcase, held in conjunction with the IBMA Convention in Louisville, Ky. During the convention, Open Road delivered several successful showcase performances, capturing the attention of Rounder Record's Ken Irwin.

A contract with Rounder followed in early 2002, with the band's second CD, Cold Wind, released in October. As with their first CD, Open Road's sophomore release is a vibrant mix of vintage bluegrass and original materials. With the band's penchant for ferreting out lesser-known early bluegrass songs, the 13-song collection delivers a staunchly traditional sound without relying on over-worked standards. The album includes six original tunes that blend seamlessly with the vintage tracks. The title song "Cold Wind" was written by Brad and showcases his expressive vocal range.

Also in 2002, the band began to emerge as a national bluegrass act, playing shows in Maine, New Jersey, Wyoming, Oregon, Utah, Montana, and Washington, as well as several in Colorado and a repeat appearance at Wolf Mountain in California. In October, the band brought its music to the bluegrass heartland, with performances at IBMA, Nashville's Station Inn, and the University of North Carolina at Chapel Hill.

While the band essentially completed Cold Wind prior to signing with Rounder, they are nevertheless deeply appreciative of their new affiliation. As Brad explains, "I think my biggest expectation with Rounder has been met just because they hired us! It means a lot to be introduced as Rounder recording artist Open Road. That's a dream . . . what could never happen has come true."

More pragmatically, being on the Rounder label has given the band greater credibility with many bluegrass promoters. Rounder also handles much of Open Road's publicity and is ensuring much wider distribution of their latest CD. Irwin has shown a great deal of confidence in his new act: in addition to releasing the Cold Wind CD, Rounder has also included Open Road songs on three new bluegrass compilations.

While somewhat amazed at Open Road's rapid success, Brad is quick to convey his confidence in the band. "This is a great time to see Open Road," Brad asserts. "Anyone who likes honest acoustic music, whether it's bluegrass, or blues, or country-even rockabilly-will like our stuff because it's all in there. We play all that music. It is really great to tell an old-timer he is going to love our show, then tell a teenager she is going to love our show, because they all love it!"

Brad's band mates concur. "We play right at the edge of our ability, and we put all we've got into it. We love what we're doing and it shows," Caleb attests. Banjoist and tenor singer Jim Runnels, who joined Open Road in 2000, agrees: "From the first time I picked with these guys, I told them, 'You have everything it takes to be one of the top bands in the business.' Why is it happening so fast? I believe with all my heart it was meant to be." Brad sees much of the Open Road's prowess deriving from the strength of individual band members. As he explains, "We don't have just one lead guy that everyone watches. Each of us onstage has a presence, and when you put us together, it is powerful. Everyone in the band can step up to the mic and take control." He is quick with praise for his band mates, describing Caleb as "One of the most animated personalities on the stage I've ever seen. He just has something about him that makes you want to watch him." He likewise delights in the enthusiasm of Runnels, saying, "Jim . . . is like a kid, he is so excited to play in a band like this. He's been playing for 30 years, but look at him on stage; you'd think he just got his banjo yesterday." It's hard to disagree that the combination of Brad, Caleb, and Jim transcends the strength of the musicians individually. On stage they can be electrifying. Subtleties, like their graceful movement around the single microphone, build on the more obvious, such as Caleb's arching backwards in an effort to seemingly squeeze every decibel of sound from his mandolin, creating a sense of urgency and excitement. The blend of Jim's mountain tenor and Caleb's rich baritone layering Brad's soulful country lead can mesmerize even the most jaded bluegrass audience.

In addition to Brad, Jim, and Caleb, the Open Road lineup includes newcomers Eric Thorin and Robert Britt. Eric's diverse experience, from salsa bands to four years with the Tony Furtado band to instructor at the Yellowstone Jazz Festival, is reflected in his confident stage presence and innovative playing. Eighteen-year-old fiddler Robert, who left his home of Chapel Hill, N.C., after high school graduation to join the band, delivers an expressive, old-time sound ideally suited to Open Road's style.

While Brad is quick to applaud his band mates, they are equally vocal in their praise for him. Jim, who played with Lynn Morris and Marshall Wilburn in Whetstone Run, and later with Charles Sawtelle, has the experience to recognize remarkable talent. Jim recalls the first time he met Brad: "I walked into the room and heard his voice and thought, 'Where has this guy been? This is the voice I've been looking for all my life to sing tenor with." Caleb concurs, adding, "We all realize that Brad has a special talent for both singing and songwriting. I've come to learn a lot . . . by singing with him."

Brad is indeed blessed with a distinctive and immediately likeable voice, and his singing is amazingly expressive. At times reminiscent of Hank Williams at his most mournful, Brad can also push a hard driving song just as easily as Jimmy Martin, one of his many bluegrass heroes. Brad's singing has been compared to a number of bluegrass legends, from Carter Stanley to Vern Williams. He has developed a sound that is twangy and country and immediately familiar while being totally original-an impressive feat for a fledgling bluegrass artist.

Not surprisingly, Brad places great emphasis on singing. As he explains, "If you're singing a song right, people will pay attention. I think that, next to the fiddle, singing is the most important thing in bluegrass. It's what makes the music meaningful."

This emphasis on singing is a basic tenant for the Open Road band. The band pays near-fanatical attention to details such as phrasing and dynamic range. A dedication to perfecting their music is pervasive within the band. As Brad describes it, "Our intensity stems from a genuine love of bluegrass music. That's relentless with us. We really agree that this music hits us in a place that's deep down."

While Open Road has strived to create its own unique sound, Brad stresses the importance of writing and playing bluegrass music according to the "recipe," the style of music created by Bill Monroe and other bluegrass pioneers. Regarding Open Road's focus on tradition, Brad states "We have tried to adhere to what makes bluegrass different from other kinds of music, and the qualities it has in the old recipe." He goes on to say, "Listen to Bill Monroe's recording from the 1940's and you realize it was progressive, alternative music. It was the punk rock music of the '40s!" As for his life outside the band, Brad had to give up working as a cowboy. "I worked for an 'old school' cowboy, he explains. "We worked every day, six-and-a-half or seven days a week. If I missed a day I had to make it up. When Open Road started playing a lot, I'd miss a weekend to work gigs, and then have to work three weeks straight to get caught up. After a while I just had to quit." While Brad misses the simplicity of a cowboy's life, he isn't looking backwards. Writing and performing bluegrass music are his passions, and with Open Road, Brad believes he has the opportunity to test the limits of his creativity and talent.