WhiteWater Ramble
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WhiteWater Ramble

Fort Collins, Colorado, United States | Established. Jan 01, 2004 | SELF

Fort Collins, Colorado, United States | SELF
Established on Jan, 2004
Band Americana Bluegrass

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High-Octane Rocky Mountain Dancegrass” reads the liner notes to Whitewater Ramble’s Roots & Groove – and whether you consider that a list of ingredients or a warning label, you can consider yourself duly informed. They ain’t lyin’, folks: these tunes urge you to move.

Whitewater Ramble (mandolinist Patrick Sites; bassist Howard Montgomery; Patrick Latella on guitar; Paul Kemp on drums; and fiddle duties on Roots & Groove split between Zebulon Bowles and Ben Blechman) are no band of fools. They used the same secret weapon for their sophomore studio album as they did on 2010’s All Night Drive : producer Tim Carbone. Although the general public may be more aware of Carbone’s tasty and fearless violin, guitar, and vocal work with Railroad Earth and The Contribution, he has a passion for production and a track record to prove it. Whereas some producers are known for applying their trademark sound to a given band’s tunes in the studio, Carbone has a knack for drawing the good stuff out of the musicians he’s working with. Past efforts from folks such as Great American Taxi, Boris Garcia, The Ragbirds, and Bovine Social Club don’t sound like Carbone; they sound good because of Carbone and his ability to guide without trying to change the band.

On Roots & Groove, Carbone’s actual musical contributions are held to one tune: his dopey-grinned electric guitar skanks help Kemp and Montgomery drive “Standard Deviation”’s Caribbean rhythm, as guest Billy MacKay weaves big ol’ fatty organ between the just-exactly-right horns of Ryan Jeter, Jon Gray, and Austin Zalatel. Blechman’s fiddle comes spiraling out of nowhere during the jam before handing things off to a crazy guitar/keyboard riff from Latella and MacKay … take a big whiff of sunshiny goodness.

There’s all kinds of stuff going on here – and the band prove themselves to be excellent songcrafters as well as groovers and jammers: “Beyer’s Canyon” is Whitewater’s “I Shot The Sheriff” – with a macabre twist – and a mando/dobro-led workout (Sites and guest Andy Hall) that will lay your hair back. Latella’s “Paradise” is as sweet as sweet can be with Tanya Shylock’s vocals sealing the deal. “Oh Jameson” is an ode to that fine, fine Irish whiskey – catch the moment just after the 2-minute mark where Montgomery’s bass takes the wheel to lead the band on a joyous romp: is that tone, or what? (Same for Latella’s guitar line that leads to the touchdown: nice.) Woody Guthrie’s knee-slapping spirit resides over “Dear Mr. Bankman”; John Macy’s steel guitar adds just the right touch of shimmer to “Family Tree”; “Long Dusty Highway” has moments that are pure disco ball (in a good way); and the band’s cover of U2’s “One Tree Hill” is an unexpected pleasure: by applying classic high lonesomeness and flashes of worldly rhythms, Whitewater Ramble takes the tune out of the stadium and sets it down on the back porch, losing none of its soulfulness along the way.

Whitewater Ramble effortlessly shifts scenery: just when you think you’re nicely settled in on a hay bale at the hoedown, there’ll be a hint of Latin-flavored vibe eased into the mix … and then they flip the blinker on to make a hard left into Memphis – or throw on their RayBans and get all late-night jazzbo on you.

The key to making such eclectic change-ups listenable is smooth shapeshifting – and these guys are masters. Dig into Roots & Grooves.

*****

Brian Robbins thinks he has a dusty bottle of Jameson’s over at www.brian-robbins.com - Relix Magazine & Jambands.com


Spring concerts at Wildflower Pavilion kick off with Whitewater Ramble’s CD release

By Joel Dyer

Photo courtesy of Whitewater Ramble

"What did the drummer say right before he got kicked out of the band?” asks Patrick Sites, sharing a joke that he and his Whitewater Ramble band mates like to tell. He laughs as he delivers the punch line. “Hey guys, can we do one of my songs?”

Considering that Whitewater Ramble is a bluegrass band and its current drummer, Paul Kemp, has a personal fascination with reggae music, one might suspect that many a truth has been said in jest.

But not with this band.

To hear Sites tell it, musical schizophrenia is just another day at the office for Whitewater Ramble. Sites, who plays mandolin, sings and writes a fair number of the group’s original songs, points out that the drummer did get one of his creations onto the band’s new CD, titled Roots and Groove. And yes, it is a reggae tune being played by five guys on fiddle, guitar, drums, mandolin and an upright bass.

“We’re a schizophrenic band, and we are celebrating the release of our schizophrenic album,” Sites says. He’s only sort of kidding. Roots and Grooves is an eclectic mash of songs including traditional bluegrass; reggae and rock with alternative instrumentation; an 11-minute-long murder ballad; and a bluegrass cover of U2’s “One Tree Hill.”

Yet despite a diverse collection of music that would seem to stretch the confines of bluegrass in every conceivable direction, the new CD doesn’t include examples of many of the band’s best-known musical concoctions that make their way into the group’s high-energy live performances every night.

For example, the band occasionally adds a synthesizer to its traditional instrumentation to create what Sites describes as “something like techno dance bluegrass.” While that description may conjure up the image of the banjo player from Deliverance wearing round glasses with a hard-angled platinum-blond hairdo, in truth, it’s just fun music, and that’s what keeps it interesting and joyous for both the audience and the band.

Whitewater Ramble has clearly been influenced by both roots music and the jamband scene.

“We do lots of improvisation,” Sites says. “A song might be seven minutes long one night and 14 minutes the next. Our bass player is a jazz-head who surfs his bass, and when you add that to the mix along with drums, the music takes on a life of its own.”

And for that reason, the drummer’s job is likely safe no matter what kind of song he offers for the band to take a ride on. Anybody up for a little death-metal bluegrass?

Whitewater Ramble may be the first band on the ticket this spring at the Planet Bluegrass Wildflower Pavilion in Lyons, but it isn’t the last.

The Hillbenders, along with Finnders & Youngberg, will be leaving no string unpicked as their version of energy bluegrass finds it way into the Pavilion on Friday, April 5.

Critically acclaimed singer/songwriter Peter Mayer is coming to the Wildflower along with local mandolin prodigy Bella Betts on Friday, April 12.

Mountain Standard Time brings its bluegrass fusion to Lyons along with Gipsy Moon on Friday, April 19.

Danny Shafer will be having his CD release party at the Wildflower along with pals Lindsay Lou & the Flatbellys on Friday, April 26.

And finally, to cap off the Spring Series at the Wildflower, Rob Ickes & Jim Hurst will use their virtuosic skills on guitar and dobro to make it a memorable evening on Saturday, April 27.

Bring on the spring and the fun.

Whitewater Ramble plays the Wildflower Pavilion Friday, March 29. Show starts at 8 p.m. Caravan of Thieves opens. Tickets $12 in advance. Tickets and info at www.wildflowerpavilion.com, 800-624-2422.

Respond: letters@boulderweekly.com
- Boulder Weekly


Take a little bluegrass, add a dash of roots music, modernize everything with impeccable production, and you have the approach of Whitewater Ramble and their new album, Roots & Groove.

Musicians Patrick Sites (mandolin), Patrick Latella (acoustic guitar), Howard Montgomery (bass), Zebulon Bowles (fiddle), and Paul Kemp (drums) keep the sound in a bluegrass format, even with the drums. It is the lyrics that provide the link to American roots music and provide the glue which fuses the two styles together.

They have developed their sound on the road as they have toured consistently for close to a decade. They have played many festivals and numerous small clubs in addition to supporting such artists as Little Feat, The Gourds, and Spearhead. They have released several live albums and now have brought that live energy to their second studio release.

Their lyrics travel in a number of directions within the confines of their style. Songs such as “Dear Mr. Bankman,” “Guilty As Charged,” “Long Dusty Driveway,” “Standard Deviation,” and “Family Tree” tell stories of heroes, villains, tragedy, triumph, and railing against the establishment. They even add a few reggae rhythms. The most interesting song is a bluegrass cover of U2’s “One Tree Hill.”

They have added a number of guest musicians. Dobro player Andy Hall, pedal steel guitarist John Macy, and pianist Bill McKay are all on hand to fill in the sound where needed, which helps to serve as a backdrop for the group’s tight harmonies.

Their sound may be connected to the bluegrass style of the past, but they have moved far beyond those rural roots. They manage to get into a groove that could not have been imagined by traditional bluegrass and roots artists.

Whitewater Ramble is a band that has matured. Their sound is both unique and memorable. Roots & Groove is an album that deserves some attention. Lyrically, vocally, and instrumentally it brings a fusion of bluegrass and roots music into the 21st century. - BlogCritics


When Whitewater Ramble released its debut studio album All Night Drive in 2010, the group, which had been formed in 2004, did what lots of bands do. They gathered tons of musicians from a wealth of national bands and had them shred all over their disc.

“The last record was all about those superstar moments,” said mandolin player and band founder Patrick Sites, during a recent interview with The Marquee over beers at City Star Brewing in Berthoud. The tactic worked on one hand, as the other players brought some street cred and glowing critical reviews to the group’s first full release. Not suprisingly, considering the band was joined by players from Railroad Earth, Tea Leaf Green, Particle, the David Grisman Quintet, and Hot Buttered Rum. But on the other hand, all of those guests, all going so big, also overshadowed the foundational songwriting behind the tunes.

So in early to mid-January 2013, when the band returned to the studio, the theme was restraint. “We’re still babies,” said a humble Sites. “Just because we’ve made a studio album before doesn’t mean we’ve made all the right choices. So while last time we brought people in to shred, this time it was more subtle and it ended up adding more to the songs.”

The 11 track Roots & Groove, Sites said, was, in a way, molded after the famous and star-studded Nashville Sessions by Leftover Salmon. “To us, this album is a statement. The jammy grassy band market is an over-saturated one and it’s a highly competitive landscape. So what we wanted to do with this was to truly present these ideas and songs and not just pick, pick, pick or jam, jam, jam. These are focused ideas and the guests that we brought in aren’t there so much for the fire power, but to really compliment the material,” he said.

Sites, who said that the album is a step forward for the band, also explained that in one particular regard the disc shows quite literal growth. The band’s fiddle player, Ben Blechman, wrapped up his tenure with the group at the end of 2012, but both Blechman and Whitewater’s new fiddle player Zebulon Bowles play on the record. “It worked out nice that we were able to get both guys to play. It’s a way to say goodbye to Ben and that Zeb is our guy moving forward,” Sites said.

Ironically, Railroad Earth fiddle player Tim Carbone, who produced not only this most recent album, but also All Night Drive, plays on the album, but he does not play violin at all, instead picking up electric guitar and adding a slew of background harmonies. “Tim has always been a good friend and mentor to the band and when it came time to make another record everything came back to him. There’s very little risk with Tim. You’re not going to screw it up with him,” Sites laughed.

The group — which also includes bassist Howard Montgomery, guitarist Patrick?Latella and drummer Paul Kemp — recorded the album over eight days at Silo Sound Studios in southeast Denver, and upon completing it Whitewater went out for a last-minute five night run across the midwest with Railroad Earth. After they returned, Sites and Montgomery flew to Carbone’s hometown in Pennsylvania to mix the record in his local studio.

In addition to Carbone’s guest appearance on the record, the group is also joined by keyboardist Bill McKay, Grammy award winner John Macy lending pedal steel, Andy Hall of the Infamous Stringdusters playing Dobro on three songs, and Leftover Salmon banjo player Andy Thorn, who joins for another three tracks. There is also a string chamber, and on one song a horn section provided by Euforquestra.

Sites said that he couldn’t be more pleased with the album’s end result. “Our existing fan base will love it and it’s going to be very inviting to new folks. When you stack the two records together, there’s just no comparison. This is a great record,” he said, adding that it’s all a function of the band’s slow, steady growth over the years.

“The band has grown and evolved with better players and better musicians,” he said, while pointing out the group’s modest beginnings around open mics and bluegrass picks in 2004. “It’s at the point where when I add up all the experience in the band, I’m the least experienced player in the group. I didn’t grow up playing. I was 25 when I bought my first instrument, so I’ve learned to step back and trust these guys. There’s tons of collaboration on the songs. It was really a team effort.” - Marquee Magazine




If you like the burgeoning bluegrass scene in Billings, you might thank Patrick Sites, of Whitewater Ramble, for at least part of it.

Stiles, mandolin player and vocalist for Whitewater Ramble, said they used to skirt around Billings headed to the West Coast from their base in Fort Collins, Colo. Then they discovered Yellowstone Valley Brewing Company’s Garage Pub. They return to the Garage for an all-ages show on Sunday evening. Billings bluegrass band Ted Ness and the Rusty Nails opens.

“We’ve had a lot of fun times in Billings playing at the Garage,” Stiles said in a telephone interview. “We love (owner George Moncure). It’s kind of been a fun scene. I remember when we first came to Billings, we tapped into a young demographic. We’ve grown up with some of those kids who were 15, 16, 17 years old.”

Now whenever Whitewater Ramble tours the Northwest, they run into some of those young fans, who are now in their 20s.

“It’s funny, we’ll be playing Bozeman or Portland and somebody will come up to us and say he saw us at the Garage,” Stiles said.

Five years ago, WWR talked Railroad Earth into playing a show in Billings at the Babcock Theatre. Stiles said they had already built up a fan base and convinced the members of Railroad Earth that they could draw a crowd, even on a Wednesday night.

“There weren’t a lot of national acts coming through, certainly not stopping in Billings. But we tapped into a great little scene there,” Stiles said.

WWR is celebrating the release of their sophomore CD, “Roots & Groove,” Saturday night in Bozeman at the Zebra, then bringing the music to Billings.

“We’ve now settled into a blend we call ‘Roots & Groove,’ ” Stiles said. “Our roots in bluegrass and Americana are still very strong, and we really have some meaningful songs with messages and things we believe and feel, but the grooves are also a key element.”

The quintet combines mandolin, fiddle, acoustic guitar, upright bass, drums and vocals to explore multiple musical genres.

Stiles said he picked up the mandolin after watching the David Grisman Quartet.

“I had never had official lessons other than just hanging out with people who are good who shared their knowledge,” Stiles said.

When he was laid off from a job at Hewlett Packard in his mid-20s, Stiles said he’d play 12 or 14 hours a day, eventually mastering the mandolin. Early on in Whitewater Ramble, Stiles did not sing but when the guitarist and singer left, Stiles took on that role as well.
- Billiings Gazette


The Scene: The always magical season of music at the Planet Bluegrass Ranch was kicked off in a proper boot stompin’ manner last Friday night when local dance-grass outfit WhiteWater Ramble took over the Wildflower Pavilion. Not only was this the start of another year of amazing Bluegrass at the ranch, it marked the release of WhiteWater Ramble’s newest studio album: Roots & Groove.

Opener: Caravan of Thieves. An acoustic four piece fresh from Connecticut, Caravan of Thieves took the stage as the clock struck 8PM. Seats were set up both on the left and right of the pavilion with a large floor for dancing in the middle. A small group of revelers imbibed around the first bonfire of the season as the seats slowly filled. Although not many got up to dance, you could tell by the tapping of toes and bobbing of heads that all ears were focused on the stage.

This band has nestled themselves neatly between Gypsy Jazz, Balkan Busking, and harmonious Indie-Folk and their set ranged from a melodic serenade to dust kicking knee slapping dance numbers. The violin painted landscapes and set a tone capable of taking you far from the front range and dropping you on an Eastern European street corner.

Behind the band sat a drum set, the likes of which are not commonly seen. Five gallon buckets were tied to poles with pots and pans right out of your mother’s kitchen dangling from them. The classical guitar coupled perfectly with each voice creating harmonies that were likely heard and enjoyed even by the folks enjoying the night on the front porches neighboring the venue.

Though the sound didn’t lend itself to much dancing, I still found the music to be a perfect way to prepare for the sounds of WhiteWater Ramble. Caravan of Thieves surely impressed the crowd with a sound most easily described as romantic and modern.

WhiteWater Ramble: With Patrick Sites leading WhiteWater Ramble for over 8 years now on mandolin, their one-of-a-kind in-your-face Dance-Grass sound has become a main stay on the Front Range and in Colorado as a whole. With a sound that is ever evolving, the current line-up has recently released Roots & Groove and Friday night was the official release party for the Front Range, and a party it was.

The open space between the chairs filled in quickly as the band took their place at the front of the room. The set started with “Mr. Bankman,” an American ballad that puts “The Man” in his place and from that point on it was a non-stop dance party. Little children darted in and out of the crowd, fellas dipped and spun their ladies in the front, and some of the best dance moves this side of the St. Vrain river were showcased.

Being that it was the release party it was no surprise that WWR played a number of tune not yet heard by the general public but that didn’t change the intensity of the feet grooving on the floor. The new album dives deeper into the world of Americana roots with ballads of being on the road and songs of lovers scorned. All the while they stay true to their groovy sound of the past with a high energy stage show that even features their bassist balancing on his massive instrument high above the rest of the band and harmonies that dive right into your soul leave you stunned.

With songs such as “Standard Deviation,” a reggae sounding up-beat jam, WWR proves that they are not only a traditional Bluegrass band but that their sound spans multiple genres without becoming convoluted or hard to keep up with. Their performance last Friday night was more proof that these guys are a group to keep your eyes on. Sounding tighter than ever, overflowing with confidence and full of enough charm to keep you smiling all night, WhiteWater Ramble is sure to continue rising in the ranks of the Colorado Jam-grass elite, which is far from an easy task. - Listen Up Denver!


I was very impressed with the message and playing abilities found on this second studio album released by the band WhiteWater Ramble. The band’s name specifies the style; beautiful, fluid, flowing music rambled with determination. WhiteWater Ramble consists of the following members: Patrick Sites on mandolin and vocals, Patrick Latella on acoustic guitar and vocals, Howard Montgomery on upright bass and vocals, Zebulon Bowles on fiddle and vocals, and Paul Kemp on drums. Self described as “High-Octane Rocky Mountain Dance Music,” this band is not lying and have a repertoire of live shows and music festivals to prove it. Tim Carbone (from Railroad Earth) produced this album and on the opening track, one can hear reminiscent styles of Railroad Earth. I thought this would be an overtone for the entire album as luminescent views of love and music escape through fiddling and vocalization necessary to the essence of bluegrass. I was mistaken!

The mandolin playing can be stylistically compared to the abilities of David Grisman, while incredible piano styling is also incorporated in a few of these great modern compositions. The drum beats are progressive and driving, just like a train, they force the listener to move on or off the tracks. The fiddling is overly unique in style with a direct bluegrass soul explosion. Heavy bass and stellar musicianship bring the listener to peaks without dropping them, but instead carrying them on the backs of eagles. The guitarist has a well versed style of playability that deserves respect. Clap tracks are used as a powerful idea to lead into a knee slapping, foot stomping firmness of an enlightened musical expression. The sounds of this music are a magical bliss combining flowing rivers of soul, funk, bluegrass, country, gospel, jazz, dance, salsa, disco, Caribbean, hip-hop beats, reggae, and good ole rock ‘n’ roll

Soft country ballads flow into “Devil Went Down To Georgia” style bluegrass songs and even into trance-like compositions that make the listener feel like raving all night. These are all original songs that capture the audiences and fans of bands between Old Crow Medicine Show to the Disco Biscuits. The music flows like the ocean’s waves crashing over the eardrums of the band’s members to create a powerful extravaganza that captures a feeling of beauty and organization. Very impressive performances and skills are found upon this album. No matter what, WhiteWater Ramble will make a crowd dance with excellent stories told through vocalization and instrumentation. Real feel-good music with the comfort, security, and familiarity of good old Grateful Dead songs.

- See more at: http://www.gratefulweb.com/articles/whitewater-ramble-roots-groove-new-music-review#sthash.7GlMmjlp.dpuf - Grateful Web


Supported by the framework of producer Tim Carbone (Railroad Earth) and a list of guest musicians (among others, Leftover Salmon’s Andy Thorn on banjo and Infamous Stringdusters’ Andy Hall on dobro), Whitewater Ramble’s Roots & Groove is a recording that couldn’t fail if it tried.

Recorded in only eight days, this album is a feat of artistry and production that most bands would struggle to complete in such a short time span.

The album begins with another guest, that being a wonderfully translated version of U2’s “One Tree Hill” (from Joshua Tree). The music is chugging, and the vocals are clean. U2 would be proud, I’m sure. The rest of the album is purely WhiteWater Ramble.

The styles here are predominately from the bluegrass gene pool, but there are outlier moments. “Fast as Lightning” has plenty of bluegrass (Thorn’s banjo picking providing a bubbling canvas), but the underlying vein is a modernized hybrid with elements of jazz and funk. “Standard Deviation” is a personal favorite, with a ska style that meets more old fashioned elements. Amid horns aplenty, Tim Carbone stepped from the production side to lay some choice electric skank guitar.

Thematically, bluegrass music is one where the good times flow freely, but life’s struggles are always given ample room to expose themselves; “Dear Mr. Bankman” is one such obviously-titled track. “Paradise” oozes with the beautiful croon of Tanya Shylock, and Hall’s dobro work is enough to jerk a tear even if the song doesn’t coax a few out. Nobody wants an album full of pain, but bluegrass tends to demand it; Whitewater Ramble intertwines life’s depression so well.

This album is the total package – top notch recording/producing of a band that has singing skill and musicianship to spare. Throw in the guests, and there’s really nothing to knock here. Roots & Groove is packaged for a broad audience, so have no fear. The bluegrass lovers will find plenty to love, while the jazzy, funky, rocking, ska loving, and jam-head crowds will find a new outlet that tickles their fancies and just might introduce them to some new stylistic treats during the process.

- Jeremy Sanchez
- Homegrown Music Network


Wednesday, September 1, 2010
Whitewater Ramble w/ Tim Carbone & Steve Molitz


Words & Photos By J-man

My day started off with a video shoot at a restaurant in downtown Denver with my associate on an upcoming project, Tim Carbone. We enjoyed lunch as well a unique experience filming the pilot episode of our new series. While talking over lunch and a beer, Tim informed me that he would be playing at The Aggie Theater in Fort Collins with Whitewater Ramble with special guest Steve Molitz. With an offer from Tim for guestlisting, I consulted my schedule and made the decision to round up the troops and head to Fort Collins.

We made some Jerry tea for the road and made the hour and a half trek to Fort Collins, arriving at The Aggie to a less than expected turn out. Entering the venue, I was surprised at how few folks had turned out for the early portion of the show. That being said, it was early, and the demographic for this type of music/event is pretty wooked out.

The folks that were already in attendance we getting down without reservation, and absolutely loving what Whitewater Ramble was laying out for them. Tim Carbone joined Whitewater Ramble on electric guitar for several songs, mainly focusing on rhythm and limited melody. Though a few times Tim stepped up and took over, smiling as he displayed his lead ability.

After a few songs the band welcome Steve Molitz of Particle to the stage. Ultimately this is what sucked me into the show. I had to see Steve guesting with a string band. The mere thought of his space meshing with psychedelic string music had me intrigued. The fit was as close to musical perfection as possible. Whitewater alone creates such a full powerful sound, but add Steve Molitz and Tim Carbone and you've open the door to almost endless possibilities.

Tim Carbone's ability on fiddle is among the top on the scene. With a look of effortless enthusiasm, Tim explores the fiddle, consistently outputting brilliant overall tone quality. His timing and ability to read the jam/direction reflect the experience and knowledge of a virtuoso. His presence was very welcomed.

Walking through the threshold of the building it was apparent how many additional heads were now in attendance. Plainly stated, the place was packed and hopping. The band played on as they looked over the crowd, beaming with smiles. It was hard for me to keep my eyes off the crowd as it was exactly what I had expected/hoped for from Colorado. It was a complete wook-out. I couldn't have been happier.

The band closed with raging energy as it had consistently maintained throughout the show. Up and down the music went, peaking out often with massive amounts of energetic climaxing. Whitewater Ramble obviously came to throw down. You don't invite out Steve Molitz and Tim Carbone, to take it easy.

I was extremely impressed with the band, the new tracks, the ability to jam within the psychedelic string realm and the overall show itself. If you're not familiar, I would recommend checking them out. I'm glad that I did.

www.whitewaterramble.com
- Music Marauders


White Water Ramble release their first full lenth CD "All Night Drive" - KWGN - The Duece


WhiteWater Ramble: All Night Drive
Written by Tim Hurley
Saturday, October 02, 2010
Since the early 90s, Colorado has been the spring board for the burgeoning "jamgrass" revolution. The popularity of such acts as Leftover Salmon, String Cheese Incident, and Yonder Mountain String Band has led to a slew of artists looking to make that style their own. Though many have tried and failed, Whitewater Ramble has succeeded by taking the bluegrass formula and turning it into what they describe as "high-octane Rocky Mountain dancegrass".

Though they have always been popular throughout the local markets, the band has garnered a significant following nationwide due in part to their amazing live performances, not only by fans but by other artists. This is evident by the all-star jamband lineup that joins them on their debut studio album All Night Drive, including Steve Molitz (Particle), Josh Clark (Tea Leaf Green), Erik Yates (Hot Buttered Rum), Grant Gordy (David Grisman Quintet), Pete Wall, and even producer Tim Carbone (Railroad Earth).

This release, recorded in a stunning nine-day session, is a very raw, organic project that perfectly captures the sound of this band. There are no gimmicks, no bullshit, just straight-through-the-ear modern bluegrass and rock. The result is just as the band wanted; a reflection of their intense live shows condensed into the studio. And having a bluegrass veteran like Carbone to produce the project was the final ingredient. "Tim is the man", said mandolin player Patrick Sites. "He immediately knew what we wanted to do, what we were going for, and how we could achieve it in a short amount of time."

The great thing about the band is that they are not afraid to incorporate elements of other genres into the original bluegrass recipe. Whether its elements of jazz heard on "Kaleidoscope", gospel in "All Night Drive", or the rock n' roll style of "Drawing Straws", WhiteWater Ramble infuses all kinds of goodness into their sound.

Some of the better songs on All Night Drive are the ones where the band gets some help from their guests, like the bluegrass-funk number "Pulled Pork". The addition of Molitz's keys and Wall's saxophone drive this dance tune through four minutes of beautiful madness. Also the high energy, Salmon-like jamgrass song "Pack Mule Blues" features some superb instrumental sections by Yates and Gordy.

However, the individual members of the band definitely hold their own throughout this project. Adam Galblum's fiddle shines on the opening track "Trouble", Sites strokes his mandolin with easy flair on "All Night Drive", guitarist Patrick Latella picks with precision on "Purgatory Shuffle", while bassist Howard Montgomery and sensational newcomer Luke Emig on drums anchor the rhythms and thick beats.

WhiteWater Ramble has already shown their prowess in the live setting, and they appear to be comfortable in the studio setting as well. All Night Drive is a fine debut album, and proves to be another stepping stone in this increasingly popular group's young career.

If you need another reason to get this album....it can be downloaded for FREE on the band's website.

- Grateful Web.com


New Whitewater Ramble CD!
Like most good music, Whitewater Ramble is hard to put in a category. They have a strong bluegrass strain embedded in their DNA, but they also draw heavily from blues, funk, and the gypsy jazz tradition exemplified by Django Reinhardt and Stephane Grappelli. The one thing you can always count on from this Colorado-based outfit is that their music will be high-energy, uplifting and performed with gusto and limitless technical acumen.

Their new album All Night Drive, their first proper studio effort, shows the band reaching a new level. They have taken the intoxicating energy of their live shows, which earned them opening slots for such luminaries as Railroad Earth and Little Feat, and bottled it for mass consumption. Tim Carbone, Railroad Earth fiddle maestro and producer supreme, has done a great job of capturing what makes Whitewater Ramble such an enjoyable group.

From the ripping riffage of "Gypsy Funk" to the gritty "Pack Mule Blues," there is something here for everyone. Special guests like guitarist Josh Clark of Tea Leaf Green contribute to the full sound of this album, but it's the members of Whitewater Ramble that shine the brightest, with the fluid fiddle lines of Adam Galblum and the rapid-fire mandolin picking of Patrick Sites standing out for their virtuosity.

In a world where musical originality sometimes seems like a lost art, Whitewater Ramble has found a new way to mix and match influences, and in the process has created something uniquely their own. Click here to listen to samples of this great new CD, and look for the full review in the next issue of Hittin' the Note Magazine!
- Hittin' The Note


Doing CD reviews here at JammedOnline, I get quite a lot of discs in the mail
from new bands hoping for a decent review and a splash of publicity. The
Whitewater Ramble disc arrived that way, unsolicited and with a very nice note
from the band requesting a review.

A quick glace at the track listing – almost all covers – didn’t exactly get my
hopes up, but once I actually played the CD I was very pleasantly surprised.
Whitewater Ramble are from Fort Collins Colorado, and judging from the sleeve they’re not exactly spring chickens but they
are a young band, having only formed in 2004. They’re at that stage that most developing bands go through, wearing their
influences just a tad too prominently on their sleeves and struggling a little to find their own unique style, but what they lack
(for now) in originality they more than make up for in talent , energy and exuberance, and this 12 track live disc manages to
capture what must make a Whitewater Ramble live show one heck of a fun time.

The lineup is drums/upright bass/mando/guitar/fiddle , so its not exactly a traditional bluegrass formation, and the music
reflects that. The style is firmly jamgrass – a touch of Salmon, a dash of Yonder , a soupcon of Grisman – but there’s an
undercurrent of fine (and unusual for the genre) funkiness which might point the way to that uniqueness that every band
needs. The real standout is an uncredited ‘hidden’ track (keep the disc playing after the short but stirring cover of
Parliament’s We Want the Funk and up it pops) that careens along for seven minutes like an out of control train and would
surely be the highlight of any live set ; there’s a very sweet take on jazz standard Milestones that allows for some nice fuzz
tone guitar , and a very tasty cover of Whipping Post that puts a bluegrass twist to the tune while deftly managing to avoid
aping the Yonder version of the same song. I also liked the grassed–up version of old country standard 16 Tons, which
has a lovely old timey feel.

The original material does show promise. The best original here is Drawing Straws , which manages to combine
bluegrass with a soulful tinge of Southern rock and is really pretty darn good.

The musicianship is excellent , with mando player Patrick Sites and fiddler Joe Turman being particular standouts , and the
whole band’s energy and enthusiasm shines throughout. This may not be the most original debut album in history, but it
hasn’t strayed far from my CD player since I’ve had it. Definitely a band to watch.
- Jammed On-line / Mark Burnell


Discography

2013 - Roots & Groove (Produced by Tim Carbone of Railroad Earth)
2012 - Live From The Big Sky Vol. 2 - Covering Some Territory
2010 - All Night Drive (Produced by Tim Carbone of Railroad Earth)
2009 - Live From The Big Sky
2007 - DVD:A
2006 - Red Alert!: Live

Roots & Groove can be streamed on-line or downloaded for free at www.whitewaterramble.com or at Soundclouse at https://soundcloud.com/whitewaterramble/sets/roots-groove.

Photos

Bio

Described as High-Octane Rocky Mountain DanceGrass, Whitewater Ramble (WWR) uses a simple recipe to craft its sound: start with bluegrass instrumentation, add drums, and finish with a boundary-less approach to grassing-up everything from disco house grooves to roots to Americana.

Whitewater Ramble is now on tour behind their second studio release Roots & Groove. The album showcases WWRs growth as songwriters and musicians. Produced by Tim Carbone of Railroad Earth, the album features an array of special guests such as Andy Hall on dobro (Infamous Stringdusters), Andy Thorn on banjo (Leftover Salmon), Grammy Award winner John Macy on pedal steel and Bill McKay on piano.

Roots & Groove showcases a roots influenced band blending the traditions of early American music with a newgrass flair and a groovegrass twist. Roots & Groove is storytelling through nefarious narratives, murderous ballads, devilish villanelles, scorned lovers laments and intoxicant-infused ramblings blended with mystical visions and instrumental journeys. Through blistering picking, engaging harmonies and alluring grooves, the ensemble burrows flagrantly into tragedy, comedy, redemption, overindulgence, morality and shady dealings as the backdrop for their genuine and eccentric style of writing.

The Colorado-bred quintet combines the elements of mandolin, fiddle, acoustic guitar, upright bass, drums and vocals to explore the musical boundaries of multiple genres and to fuel their own mixture of original music and innovative cover song interpretations. Whether playing an intimate encore, acoustic and unplugged in the crowd, or surfing on top of the upright bass, Whitewater Ramble delivers a powerful and memorable live performance.

Their debut studio album All Night Drive was released in the summer of 2010 to rave reviews and critical acclaim. Also produced by Tim Carbone of Railroad Earth, the album featured 12 original genre-bending tracks and firmly cemented Whitewater Ramble as a band on the rise.

WWR has had the privilege of supporting, touring with and sharing stages with Railroad Earth, Michael Franti and Spearhead, Karl Denson's Tiny Universe, Greensky Bluegrass, Cornmeal, The Infamous Stringdusters, Dark Star Orchestra, Little Feat, Papa Mali, The New Mastersounds, The Gourds, The David Grisman Quintet, Jerry Douglas, Lotus, Splitlip Rayfiled, Members of the String Cheese Incident, Particle, Hot Buttered Rum, Drew Emmitt of Leftover Salmon, DJ Logic, Donna The Buffalo, The Contribution, The Motet, Tea Leaf Green, Henry Butler, Vince Herman and Great American Taxi, Peter Rowan, Tony Furtado and many more.

Based in Fort Collins, CO, WWR has performed and headlined on every major stage across the Rocky Mountain Region. With over 900+ performances under their belt, the group has truly established themselves as one of the hardest working groups in the jam scene today.

A diverse festival resume has helped bring WWR to stages at events like the Northwest String Summit, Wakarusa, Yonder Mountains Harvest Festival, Grand Targhee Bluegrass Festival, 80/35 Festival, Nedfest, Bohemian Nights NewWestFest, The Wildflower Pavilion at RockyGrass, Copper Mountain Sunsation, Desert Rocks Music Festival, Love Your Mother Earth Music Festival, Keystone Bluegrass and Brews, The Denver People's Fair, South Park Music Festival, Westword's Music Showcase, numerous Brew Festivals, and their own annual two day music and camping festival, Ramble on the River.

WhiteWater Ramble is:
Patrick Sites -  Mandolin/Vocals
Patrick Latella -  Acoustic Guitar/Vocals
Howard Montgomery - Upright Bass/Vocals
Zebulon Bowles - Fiddle/Vocals
Jack Watson -   Drums