The Parish Festival

This Saturday at 2 PM, we'll broadcast a recent performance by The Parish Festival on "Java Blend."

Ben Kieffer will chat with the band throughout the broadcast to find out more about their trip back home to Iowa.

Featuring lead vocalist Jamey Cummins from the Hot Club of Davenport, The Parish Festival was formed in 2005 in Davenport, IA. Making up the band are Andy Rappel, Sara Ulloa, Kurt Lammers, and Jim Foster.

Performing an eclectic mix of gypsy jazz, country and pop music, The Parish Festival has a distinctly original and unforgettable sound. The group had performed successfully throughout the Midwest, even landing a song on the MTV show "Skins" before taking a short hiatus. At the beginning of 2012, the group reformed in Austin, TX with a new lineup, new energy, and a new passion for their music. - Iowa Public Radio

This Saturday at 2 PM, we'll broadcast a recent performance by The Parish Festival on "Java Blend."

Ben Kieffer will chat with the band throughout the broadcast to find out more about their trip back home to Iowa.

Featuring lead vocalist Jamey Cummins from the Hot Club of Davenport, The Parish Festival was formed in 2005 in Davenport, IA. Making up the band are Andy Rappel, Sara Ulloa, Kurt Lammers, and Jim Foster.

Performing an eclectic mix of gypsy jazz, country and pop music, The Parish Festival has a distinctly original and unforgettable sound. The group had performed successfully throughout the Midwest, even landing a song on the MTV show "Skins" before taking a short hiatus. At the beginning of 2012, the group reformed in Austin, TX with a new lineup, new energy, and a new passion for their music. - Iowa Public Radio

Recorded in the Daytrotter studio 8/30/13 - Daytrotter

The Parish Festival is coming back to its home diocese, if you will.

Now based in Austin, Texas, the band, made up of bassist/vocalist Andy Rappel, vocalist/guitarist Jamey Cummins, vocalist/melodica player Sarah Ulloa and vocalist/guitarist Jim Foster, got its start on the Quad-City indie rock scene in 2005, but it has branched out to the famously eclectic Texas college town and is doing quite well for itself in the process.

The group has been gathering airplay on college radio stations across the nation, playing higher-profile gigs in the music hub of Austin (home of the internationally known South By Southwest Festival and well-known as a breeding ground for cool acts) and is readying the release of two new five-song EPs. One of those, “Direction,” is due Tuesday, Sept. 3, and the other, as-yet-untitled, disc for sometime around the end of the year, Rappel said.

They’ve done it with a style that is difficult to pin down, much like the band itself, he said.

“The sound is kind of folk rock meets ‘20s and ‘30s jazz, with some pop and rock influence as well,” he said. “It’s hard to classify. Some songs are more jazzy, some are more pop and rock, some are more country and some are hard to describe.”

More accessible influences that shine through and should please the indie rock crowd include Phoenix, The Strokes, Modest Mouse and the Eels, he added.

“The live show is very entertaining,” he said. “We like to joke around with each other onstage and with the audience. We try to be really interactive with the audience and have fun with them.

“At the release party for our last EP in April, there were a few people in the audience who were talking on their cellphones, so we just started going off on a tangent on that and joining in on their conversations,” Rappel said. “We’re pretty ridiculous, but it’s all in fun. We want the audience to enjoy it.”

So far, the audiences have been pleased, which is being reflected in the band’s upward trajectory. The group is going to be doing a handful of college radio gigs while they’re back in their old stomping grounds, as well as an Iowa Public Radio show and, most excitingly, a stint with Quad-City-based and nationally respected music website Daytrotter.com.

“The Daytrotter gig is really cool. We have so much respect for them, so it’s really a thrill for us to be involved with them and get to do a session,” Rappel said.

“I’m very excited to come home,” he added. “We don’t get to very often, and it’s going to be great. It’s fun how things are working out for us. Everything is kinda falling into place. It’s cool to see.” - Quad City Times

The Parish Festival is coming back to its home diocese, if you will.

Now based in Austin, Texas, the band, made up of bassist/vocalist Andy Rappel, vocalist/guitarist Jamey Cummins, vocalist/melodica player Sarah Ulloa and vocalist/guitarist Jim Foster, got its start on the Quad-City indie rock scene in 2005, but it has branched out to the famously eclectic Texas college town and is doing quite well for itself in the process.

The group has been gathering airplay on college radio stations across the nation, playing higher-profile gigs in the music hub of Austin (home of the internationally known South By Southwest Festival and well-known as a breeding ground for cool acts) and is readying the release of two new five-song EPs. One of those, “Direction,” is due Tuesday, Sept. 3, and the other, as-yet-untitled, disc for sometime around the end of the year, Rappel said.

They’ve done it with a style that is difficult to pin down, much like the band itself, he said.

“The sound is kind of folk rock meets ‘20s and ‘30s jazz, with some pop and rock influence as well,” he said. “It’s hard to classify. Some songs are more jazzy, some are more pop and rock, some are more country and some are hard to describe.”

More accessible influences that shine through and should please the indie rock crowd include Phoenix, The Strokes, Modest Mouse and the Eels, he added.

“The live show is very entertaining,” he said. “We like to joke around with each other onstage and with the audience. We try to be really interactive with the audience and have fun with them.

“At the release party for our last EP in April, there were a few people in the audience who were talking on their cellphones, so we just started going off on a tangent on that and joining in on their conversations,” Rappel said. “We’re pretty ridiculous, but it’s all in fun. We want the audience to enjoy it.”

So far, the audiences have been pleased, which is being reflected in the band’s upward trajectory. The group is going to be doing a handful of college radio gigs while they’re back in their old stomping grounds, as well as an Iowa Public Radio show and, most excitingly, a stint with Quad-City-based and nationally respected music website Daytrotter.com.

“The Daytrotter gig is really cool. We have so much respect for them, so it’s really a thrill for us to be involved with them and get to do a session,” Rappel said.

“I’m very excited to come home,” he added. “We don’t get to very often, and it’s going to be great. It’s fun how things are working out for us. Everything is kinda falling into place. It’s cool to see.” - Quad City Times

Originally formed in Davenport, Iowa in 2005, The Parish Festival's journey began in the Midwest, spreading a sound that fuses gypsy jazz, country and pop. After a brief hiatus, the group banded together again in 2012, this time with a new lineup, and a new home: Austin.

On Tuesday, May 28, The Parish Festival released its self-titled EP, which is available exclusively for streaming via CultureMap. Take a listen to the subtle, gypsy styling of The Parish Festival here, or enjoy a free download of single "Palomino" and "Function And Respond."
- CultureMap

Originally formed in Davenport, Iowa in 2005, The Parish Festival's journey began in the Midwest, spreading a sound that fuses gypsy jazz, country and pop. After a brief hiatus, the group banded together again in 2012, this time with a new lineup, and a new home: Austin.

On Tuesday, May 28, The Parish Festival released its self-titled EP, which is available exclusively for streaming via CultureMap. Take a listen to the subtle, gypsy styling of The Parish Festival here, or enjoy a free download of single "Palomino" and "Function And Respond."
- CultureMap

When you think Iowa, you probably don’t necessarily think pop music. But a folk-and-jazz-tinged quintet called The Parish Festival are here to change that for you.

The core of the group–guitarist, banjoist and singer Jamey Cummins, singer Sarah Ulloa and bassist Andy Rappel–hails from Davenport, Iowa, and that’s where the first version of The Parish Festival formed back in 2005. In 2007, one of their tunes, “Well I Never,” ended up on the MTV show “Skins.” They gigged all over the Midwest, but a recent move to our little musical Mecca on the Colorado saw the band add some local talent to the mix. Joining Cummins, Ulloa and Rappel are Austin music vets Jim Foster (guitars, banjo and vocals) and Kurt Lammers (drums).

On May 28 The Parish Festival release a brand new EP, and one of the record’s stand-outs is “Palomino.” It’s an interesting tune. It begins life as a nice, earnest neo-folk number, but somewhere along the way, the song shifts. It’s still heartfelt to be sure, but they twist genres from neo-folk into something more akin to speakeasy jazz. The switch itself is really subtle, and it’s a testament to their chops as musicians that they can turn a song on its head so well without disturbing its natural anima. When they shift back, it’s just as dextrous. The Parish Festival may be part-transplants to Austin, but they’re a welcome addition to our musical fold. - KUTX

Roots based music is cool again and Austin, as usual, is in the middle of the movement. That being said, many bands around town are pulling at the same set of roots. If you’re looking to widen your musical palate, then you need to listen to The Parish Festival’s mix of bluegrass, pop and a healthy dose of 20’s era jazz.

Originally hailing from Iowa, The Parish Festival began as an eclectic rock project with founding members Jamey Cummins (guitar/vocals) and Andy Rappel (bass/vocals) working out quirky, Weezer-esque, songs while in college. Years later the two musicians found themselves in Austin along with Rappel’s childhood friend, Sarah Ulloa (vocals/keys), and the decision to resurrect The Parish Festival was made.

With the addition of Jim Foster (guitar/vocals) and Kurt Lammers (drums/vocals), the band’s lineup was solidified. But this is a simplistic explanation of the band’s origins. What’s really striking is that The Parish Festival’s members were drawn together because of their unconventional interests in music.
Mixing genres is nothing new, but The Parish Festival does it with aplomb. “We’re more focused now than we were,” says Cummins of change in style from the band’s original sound. The group’s focus on mixing styles into a cohesive sound doesn’t just come from a blind love of music, but from their technical capabilities. Literally every member has spent years studying and honing their craft.

“We’ve all been very fortunate in that we’ve all studied music,” says Rappel. Cummins and Rappel studied music theory in college; Ulloa has studied the piano since the age of five and vocals since the age of eight. Foster grew up under the tutelage of his father, prominent local musician and former KUT DJ, Dan Foster. Lammers also studied percussion in college spent several years as a hired gun.

Technical proficiency doesn’t always mean that a band’s music will be worth listening to, but in the hands of The Parish Festival it’s an invaluable tool. “There are so many bands that just play power chords in ‘drop D,’” Rappel opines. “There’s so much material out there, why wouldn’t you learn to play your instrument?” Foster quickly adds, “It’s like being illiterate.”

Beyond the deftly structured chords and the rock solid rhythm section are the carefully crafted lyrics sung by Cummins and Ulloa. Cummins, with his not quite gravelly voice, and Ulloa, whose smooth styling rings clear as a bell, juxtapose each other perfectly with pitch perfect harmonies that lie at the core of their songs. “That’s what I love about this band,” Ulloa confesses. “It captures all of my emotions and I can pour all of myself into it.”
That musical competency is proudly displayed in their live act and on their new self-titled EP.

“I don’t think we’ve ever had a bad reaction to our music. There are always at least a few people who dance when we play a show,” explains Rappel.

That statement isn’t an exaggeration by any means. Audiences can’t help but enjoy The Parish Festival’s fun fusing of genres that evoke a sense of earthy sophistication. Don’t be surprised to see a pair of dancers doing a foxtrot to one song and two stepping on the next. Despite how disparaging a difference as that might sound, The Parish Festival somehow makes it work for them. Take “Love or Lack Thereof,” for example. The obviously jazz-influenced song bounces along while it points out the folly of a relationship based on materialism. Now consider that it’s followed by “Palomino,” a song of reckless love that mixes elements of Western Swing, Bluegrass, Ragtime, and Pop hooks… and it works.

Paired with their music is the band’s keen wit and stage presence. The band’s members don’t shy away from poking fun at each other and often bring their audience in on the joke. It’s a facet of their act that is reminiscent of vaudeville or even the kind of banter that Louis Prima and Keely Smith shared on stage. But that’s to be expected from a band that can actually claim that they’re all friends with each other. “I actually really look forward to our practices,” Cummins says. “We have just as much fun playing together as we do bowling together.”

Although The Parish Festival has only been playing Austin for a few months, they’ve already managed to carve out a regular audience, score several gigs alongside many major local bands, and have even been prominently featured by KUTX. You want the next big thing? Here it is. - Austin Fusion

Roots based music is cool again and Austin, as usual, is in the middle of the movement. That being said, many bands around town are pulling at the same set of roots. If you’re looking to widen your musical palate, then you need to listen to The Parish Festival’s mix of bluegrass, pop and a healthy dose of 20’s era jazz.

Originally hailing from Iowa, The Parish Festival began as an eclectic rock project with founding members Jamey Cummins (guitar/vocals) and Andy Rappel (bass/vocals) working out quirky, Weezer-esque, songs while in college. Years later the two musicians found themselves in Austin along with Rappel’s childhood friend, Sarah Ulloa (vocals/keys), and the decision to resurrect The Parish Festival was made.

With the addition of Jim Foster (guitar/vocals) and Kurt Lammers (drums/vocals), the band’s lineup was solidified. But this is a simplistic explanation of the band’s origins. What’s really striking is that The Parish Festival’s members were drawn together because of their unconventional interests in music.
Mixing genres is nothing new, but The Parish Festival does it with aplomb. “We’re more focused now than we were,” says Cummins of change in style from the band’s original sound. The group’s focus on mixing styles into a cohesive sound doesn’t just come from a blind love of music, but from their technical capabilities. Literally every member has spent years studying and honing their craft.

“We’ve all been very fortunate in that we’ve all studied music,” says Rappel. Cummins and Rappel studied music theory in college; Ulloa has studied the piano since the age of five and vocals since the age of eight. Foster grew up under the tutelage of his father, prominent local musician and former KUT DJ, Dan Foster. Lammers also studied percussion in college spent several years as a hired gun.

Technical proficiency doesn’t always mean that a band’s music will be worth listening to, but in the hands of The Parish Festival it’s an invaluable tool. “There are so many bands that just play power chords in ‘drop D,’” Rappel opines. “There’s so much material out there, why wouldn’t you learn to play your instrument?” Foster quickly adds, “It’s like being illiterate.”

Beyond the deftly structured chords and the rock solid rhythm section are the carefully crafted lyrics sung by Cummins and Ulloa. Cummins, with his not quite gravelly voice, and Ulloa, whose smooth styling rings clear as a bell, juxtapose each other perfectly with pitch perfect harmonies that lie at the core of their songs. “That’s what I love about this band,” Ulloa confesses. “It captures all of my emotions and I can pour all of myself into it.”
That musical competency is proudly displayed in their live act and on their new self-titled EP.

“I don’t think we’ve ever had a bad reaction to our music. There are always at least a few people who dance when we play a show,” explains Rappel.

That statement isn’t an exaggeration by any means. Audiences can’t help but enjoy The Parish Festival’s fun fusing of genres that evoke a sense of earthy sophistication. Don’t be surprised to see a pair of dancers doing a foxtrot to one song and two stepping on the next. Despite how disparaging a difference as that might sound, The Parish Festival somehow makes it work for them. Take “Love or Lack Thereof,” for example. The obviously jazz-influenced song bounces along while it points out the folly of a relationship based on materialism. Now consider that it’s followed by “Palomino,” a song of reckless love that mixes elements of Western Swing, Bluegrass, Ragtime, and Pop hooks… and it works.

Paired with their music is the band’s keen wit and stage presence. The band’s members don’t shy away from poking fun at each other and often bring their audience in on the joke. It’s a facet of their act that is reminiscent of vaudeville or even the kind of banter that Louis Prima and Keely Smith shared on stage. But that’s to be expected from a band that can actually claim that they’re all friends with each other. “I actually really look forward to our practices,” Cummins says. “We have just as much fun playing together as we do bowling together.”

Although The Parish Festival has only been playing Austin for a few months, they’ve already managed to carve out a regular audience, score several gigs alongside many major local bands, and have even been prominently featured by KUTX. You want the next big thing? Here it is. - Austin Fusion

From Earvoltuion.com

The Parish Festival: Handshakes & Heartaches

By David Schultz

Released in the tail end of 2006, The Parish Festival's debut album, Handshakes & Heartaches, seemed to slip through the cracks, missing the critical acclaim it deserved. A quirky trio from Davenport, Iowa, The Parish Festival mix an easygoing country sound featuring banjo and fiddle with some jazzy rhythms and a distinctly alt-rock mindset to create a bit of Midwestern cabaret that owes as much to Neil Young as it does to Jane's Addiction.

The Jane's Addiction comparison becomes apparent once Jamey Cummins' starts to warble over Andy Rappel and Ryan Neubauer's syncopated beats. Cummins shares Perry Farrell's ability to get a wavery, near-boozy quality out of his voice conveying both wisdom and vulnerability. He also manages to work in some enjoyable energetic banjo work on the opening pair of tracks, "Handshakes & Heartaches" and "Lullagoodbyes." On "Too Many Wars" and "Song For You," the absence of Cummins' banjo allows Rappel's bass and Neubauer's drums to take on a more central role, giving the band the feel of an expertly honed lounge band. They can also put out some straightforward rock and roll as evidenced by the technically misnamed "Instrumental Track."

New releases come flying onto the shelves (or more realistically onto the Internet) with such rapidity, many fine releases get lost in the onslaught. Search out The Parish Festival's wonderfully fresh Handshakes & Heartaches. It deserves a listen. - David Schultz From Earvoltuion.com

From Earvoltuion.com

The Parish Festival: Handshakes & Heartaches

By David Schultz

Released in the tail end of 2006, The Parish Festival's debut album, Handshakes & Heartaches, seemed to slip through the cracks, missing the critical acclaim it deserved. A quirky trio from Davenport, Iowa, The Parish Festival mix an easygoing country sound featuring banjo and fiddle with some jazzy rhythms and a distinctly alt-rock mindset to create a bit of Midwestern cabaret that owes as much to Neil Young as it does to Jane's Addiction.

The Jane's Addiction comparison becomes apparent once Jamey Cummins' starts to warble over Andy Rappel and Ryan Neubauer's syncopated beats. Cummins shares Perry Farrell's ability to get a wavery, near-boozy quality out of his voice conveying both wisdom and vulnerability. He also manages to work in some enjoyable energetic banjo work on the opening pair of tracks, "Handshakes & Heartaches" and "Lullagoodbyes." On "Too Many Wars" and "Song For You," the absence of Cummins' banjo allows Rappel's bass and Neubauer's drums to take on a more central role, giving the band the feel of an expertly honed lounge band. They can also put out some straightforward rock and roll as evidenced by the technically misnamed "Instrumental Track."

New releases come flying onto the shelves (or more realistically onto the Internet) with such rapidity, many fine releases get lost in the onslaught. Search out The Parish Festival's wonderfully fresh Handshakes & Heartaches. It deserves a listen. - David Schultz From Earvoltuion.com

Review from littleradio.com






Here’s something you don’t hear all the time: a modern band incorporating 30’s swing and old-timey bluegrass into their sound.

views: 73 04.18.07



Iowa-natives the Parish Festival are skilled at mimicking these styles whilst framing them within rock. The high-pitched, feminine vocals of Jamey Cummins work well with the music, and there are some memorable choruses throughout. On “Lullagoodbyes” the singer simply repeats “I don’t think so,” over an almost stupidly-catchy breakdown. “Blessings” is another winner, making clear these kids do some interesting things with structure. The songs seems to concern the time-tested topics of longing for girls, missing girls, meeting girls and the desire to get away from girls altogether. Each member of the Parish Festival sounds integral to the overall product--the great basslines, the inventive drum fills, and the neat banjo-playing. It’s great to see them reach for a period beyond the 1950s for inspiration, and deliver their product with such cohesiveness, and skill. This is an interesting release that’s a bit out of time and place alongside a lot of other indie music. And that’s a good thing.

-Chris Holmes - Chris Holmes from littleradio.com

Review from littleradio.com






Here’s something you don’t hear all the time: a modern band incorporating 30’s swing and old-timey bluegrass into their sound.

views: 73 04.18.07



Iowa-natives the Parish Festival are skilled at mimicking these styles whilst framing them within rock. The high-pitched, feminine vocals of Jamey Cummins work well with the music, and there are some memorable choruses throughout. On “Lullagoodbyes” the singer simply repeats “I don’t think so,” over an almost stupidly-catchy breakdown. “Blessings” is another winner, making clear these kids do some interesting things with structure. The songs seems to concern the time-tested topics of longing for girls, missing girls, meeting girls and the desire to get away from girls altogether. Each member of the Parish Festival sounds integral to the overall product--the great basslines, the inventive drum fills, and the neat banjo-playing. It’s great to see them reach for a period beyond the 1950s for inspiration, and deliver their product with such cohesiveness, and skill. This is an interesting release that’s a bit out of time and place alongside a lot of other indie music. And that’s a good thing.

-Chris Holmes - Chris Holmes from littleradio.com

The Parish Festival
Ah, some good ol' banjo indie rock from Iowa. The Parish Festival creates a wide range of music, using their southern bluegrass and jazz backgrounds as a driving force for their pop rock. Oh, and this will blow your mind: the lead singer is male! Cojones or no cojones, this band is an undiscovered gem. - FreeIndie.com (mike)

The Parish Festival
Ah, some good ol' banjo indie rock from Iowa. The Parish Festival creates a wide range of music, using their southern bluegrass and jazz backgrounds as a driving force for their pop rock. Oh, and this will blow your mind: the lead singer is male! Cojones or no cojones, this band is an undiscovered gem. - FreeIndie.com (mike)