Marley’s Ghost in Residence at the 2007 Port Townsend Slide and Steel Festival

The entire band Marley's Ghost will be in residence at the Port Townsend Slide and Steel Festival. Marleys_ghost_4 Individually, they'll be teaching, jamming, telling stories, and giving performances. And on Saturday, June 30, at 1:30 pm, they'll perform together in a mainstage show at McCurdy Pavilion. You can listen to clips of their music here.

Consisting of Dan Wheetman (vocals, bass, rhythm guitar, fiddle, harmonica, banjo, dobro, and lap steel), a former John Denver Band member and songwriter for Kermit the Frog; Jon Wilcox (vocals, mandolin, rhythm guitar, guitar, and bouzouki) who has toured internationally as a singer-songwriter and interpreter of traditional American and British music; Mike Phelan (vocals, lead guitars, fiddle, dobro, bass, lap steel), who records and performs in many styles, including bluegrass, rock, folk and blues; Ed Littlefield Jr. (vocals, pedal steel guitar, highland bagpipes, keyboards, mandolin, dobro, lead guitar), a product of the northern California folk scene who relocated to Washington state in the early 1970s; and Jerry Fletcher (vocals, drums, percussion, keyboards, arranger), who has been in the music business for over 30 years, working with John Denver, Steve Martin, Jimmy Rodgers, among others; Marley’s Ghost has built a singular reputation among discerning roots-music lovers for its instrumental virtuosity, ultra-tight four-part harmonies and animated live performances.

Marleys_ghost_spooked Producer and musician Van Dyke Parks describing the setting for Marley's ghost recent release, Spooked, in the following way: “Sage Arts Studio is…on the banks of an unpronounceable river in the state of Washington," he said. "We could see eagles with salmon in their talons, flying over the riverbanks. It’s a rustic setting for a studio that is a combination of thoroughly modern stuff and everything of value from the golden age of analog recording." The driving principle of Spooked, Parks said, “was to reverence the form in this music, and find its strength, and at the same time kind of skewer it.”