Ruthie
Foster has a voice that does credit to even the greatest songwriters’ work.That much is evident on her most
recent recording “Let It Burn,” whereshe covers such iconic songs “Ring of Fire,” “If I Had a Hammer,”
“Don’tWant To Know” and “The Titanic,” as well as the modern classic Adele’s“Set Fire To the Rain.”Then
there is here own growing library of originals showcased on her earlier CD “The World According to Ruthie
Foster.”She’s more than a songbird, albeit a big-voiced songbird. She rocks outon guitar, and as an
instrumentalist is comfortable enough to take thestage with only her own guitar, electric bass and
drums.While the instrumentation may seem minimal, the sound pumped out by theleader’s guitars, bassist Tanya
Richardson and drummer Samantha Banks isanything but small. The trio demonstrated that during an appearance
atthe 2009 Black Swamp Arts Festival. It was as crisp and hard-rocking aband as has graced the festival
stage. Expect nothing less when Foster,Richardson and Banks return for a Friday, Sept. 6 show at 6:20 p.m.
on the Main Stage,“The girls are pretty good about taking a three piece and making itsound much, much
fatter,” Foster said during a recent telephoneinterview.She’s been working with them so long, at least 15
years, she’s losttrack. They have ties beyond music Richardson is her cousin and Banks, avery old friend.
“That’s what makes it so tight.”Her bandmates have music school training and experience playing jazz fusion
to church music.They share those church music roots with Foster who got her start inchurch. Those gospel
tones define her sound. Her approach at once harksback to the roots of African-American music while having a
contemporaryedge. She’s been honored both as a traditional and contemporary bluesartist.But blues only hints
at her range. That was fully on display on “Let ItBurn.” “If I Had a Hammer” gets a jazzy take with a
saxophone licklifted from the Nat Adderley’s “Work Song” while “Titantic” with theBlind Boys of Alabama
almost sounds like a field recording from theGeorgia Sea Islands. She delivers a sultry version of June
Carter Cash’s“Ring of Fire.”She worked with producer John Chelew, who had “a great knack” for picking out
songs to go with several Foster originals.Foster is not one to get hung up on labels. “I just do the music I
like and let the genres find me,” she said back in 2009.With an all-star backing crew on “Let It Burn,”
Foster set her guitaraside and focused on her singing. That’s not an option in live shows.Not that she wants
it to be.Now 49, she’s been playing guitar since she was 11, and piano beforethat. In fact she played more
piano in those early year. “I was amusician in my church,” a Southern Baptist missionary church in
centralTexas.That gospel remains central to her sound. “It’s just being in touch withthe spirit… Music
moves people from the spirit out,” she said in2009.She did a tour in the Navy, ending up singing with an
urban top 40s ensemble and a big band.Guitar though was her first love, and a more practical instrument for
a touring minstrel.When she heads home to Austin, Texas, and needs to develop new material, she goes “back
to woodshedding” on the guitar.‘As a musician you can never stop learning,” she said.She gets out her jazz
manuals, and starts working on harmonies. Those extended harmonies “stretch your ear more.”“You get a new
chord under your belt, you can turn that into a new song,” she said this summer.And she likes equipment.
“I’m a pedal geek,” she said. Her kitchen is filled “mostly with guitars and pedals.”Having that gear to
haul has prompted her to start working out. “Istarted late last year because I wanted to feel better
draggingsuitcases and guitar cases,” she said.Also, “I move around on stage a lot. … We’re up on stage in
the heat, dancing around, so that will get to you.”