The Kenn Morr Band’s album “Still Shining” is a triumph in contemporary folk and Americana music. From the opening track, the album captivates with its rich acoustic melodies and heartfelt lyrics. Kenn Morr’s soulful voice, combined with expert instrumentation, creates a warm, inviting atmosphere that feels both familiar and refreshingly new.

What sets “Still Shining” apart is its seamless blend of traditional folk elements with modern sensibilities. Each song tells a story, resonating with themes of hope, resilience, and the beauty of everyday moments. The band’s skillful use of guitar, violin, and harmonies adds depth and texture to the music, making each track a unique listening experience.

Standout songs like “Dreams” and “Flying High” showcase the band’s ability to evoke emotion, painting vivid pictures with words and melodies. The production quality is top-notch, highlighting the richness of the instruments and the clarity of the vocals.

Overall, “Still Shining” is a must-listen for anyone who appreciates finely-crafted music with soul and substance. The Kenn Morr Band has delivered an album that not only shines but also resonates deeply, leaving a lasting impression on its listeners.

We spoke with The Kenn Morr Band about “Still Shining” and more!

HARPER WILLIAMS

DECEMBER 7, 2023

Hi! What was the main inspiration behind the title track “Still Shining,” and how does it reflect the overall theme of your latest album?

A: I wrote “Still Shining” in the dead of winter at our home, here in the country. I walked outside one night, and the full moon was so bright, it felt like there was a huge spotlight over our snow-covered property. The snow reflected the moonlight, and it was hard to believe it was nighttime. The next morning the sun did the same thing. It shone so bright against the snow; it was actually difficult to see without squinting. There were a lot of things going on in our lives at the time and I felt (and saw) the reminder of regardless of what is going on…the planet keeps rotating. Simple adage but true. The song kind of wrote itself from there. We liked the title of the song for the album title because it represented where we are as a band, after all these years…Still Shining.

You have a reputation for poetically vibrant lyrics. Can you share your songwriting process for this album, particularly how you blend your lyrics with the band’s musical style?

A: Whenever I write a song there’s an internal mechanism in my head that hears my band, as I’m writing the song. So, I essentially write with the idea of our band performing the song. Normally a musical idea (chord sequence, melody, rhythm etc.) comes to me first. I always keep a recorder close by (including one on my phone.) So, when an idea arrives, I quickly commit it to tape and keep all “ideas” in a central location. At a later point I revisit the idea and if the melody or chord sequence or rhythm moves me, the words often come naturally, and the song begins to form. I grew up in a household as the youngest of seven. My older siblings were listening to some of the greatest songwriters of all time including Paul Simon, Cat Stevens, Bob Dylan, CSN&Y, James Taylor, Jackson Browne, etc. Those songs were the soundtrack of my childhood. And, for whatever reason, even at a young age, I was fascinated by the lyrics and really taken with how songwriters openly expressed their feelings and experiences through what seemed to be poetry, put to music. To this day, the whole process amazes me because I often do not even realize I’m developing a new song until it is in the works. The lyrics are almost always influenced by the music.

How did the experience of recording at Sandy Brook Studios in Colebrook, CT, influence the sound and feel of “Still Shining”?

A: Sandy Brook Studios is my home recording studio. I’ve recorded at many studios (three different ones in Nashville, alone) and there is nothing like the feeling of being able to create and record without a time clock ticking and a meter running. It has been a game changer. New Moon Rising was the last album recorded at an outside studio. Since that record (and the experience working with legendary producer, Bob Johnston,) we have recorded Coming Home, Move On, Higher Ground, Worth Imagining, Afterimage, Along the Way, Open Field and now Still Shining all in my home studio. It is a blessing. We are nestled in the foothills of the Berkshire Mountains and creativity seems to flourish here. And you can’t beat the commute!

Growing up, you were inspired by folk legends like Gordon Lightfoot and Simon & Garfunkel. How do these influences manifest in your current music, especially in this latest release?

A: As a DJ at a college radio station, I created and hosted a show called “Music of a Generation”, featuring all my songwriting heroes. Paul Simon was among them. Although I knew a couple of Gordon Lightfoot hits from AM/FM radio, I was not aware of the depth of his catalog. Each week the same listener would call in and say “play anything by Gordon Lightfoot…but not the hits…” Week after week I’d grab a Lightfoot album and would randomly choose a title (or two) I had never heard. Each week I was blown away by Lightfoot’s songwriting prowess. It seemed every song was a “gem.” I related to the simplicity of the songs’ melodies and the accessibility (and poetry) of the lyrics. So, it is safe to say his influence, among others, really left an impression.

The Kenn Morr Band is known for its lush vocal harmonies and instrumental interplay. How has your sound evolved in this album compared to your previous works?

A: I never get tired of saying how instrumental my band has been in bringing my songs to life. Tom Hagymasi (mandolin, Irish bouzouki, violin, accordion and mandola) and I arranged the songs on “Still Shining” last winter, so they were “studio-ready” for Pat Ryan (bass) and Tido T-Bone Holtkamp (drums.) When we went into the studio to record earlier this year, the songs came to life and instantly rounded into form! Tom has been with me almost 16 years. Pat has been with us roughly the same amount of time and now we’re going on year 6 or 7 with T-Bone behind the drums. Those guys know exactly what to play. Our evolution is an ongoing process. The mutual respect and love we have for each other shows up in our recordings and live performances. I could not have asked for a better group of people or players!

How have your collaborations with artists like Rex Fowler and producer Bob Johnston shaped your approach to music, particularly in your latest project?

A: I’ve been friends with Rex since I interviewed him on my radio show back in the 1980s. He took a sincere interest in my career in the early days and to this day he remains one of my closest friends and musical confidants. In the early days when I was struggling to find my songwriting “voice” he was brutally but constructively honest and really helped me in ways he probably doesn’t even know. He recorded my song “Following the Moon” in the 1990s (as part of a demo while seeking a major label deal as a solo artist.) I was honored to have him reference that in his new memoir “See, it Was Like This…” He is a brilliant Singer/Songwriter. And most definitely an early influence!  As far as Bob Johnston, no one has had a greater impact than him. Working with Bob not only helped legitimize what I was doing, but every moment with him was like being at a seminar on songwriting and recording. And life! Not to mention he was truly one of the funniest people I’ve ever known. He brought genius and levity to recording sessions. Often both in the same moment! I really miss being able to speak with him. The most important thing he said was “the thing that Dylan and Willie and Cash and Simon all had in common, as artists…is they truly didn’t give a *$% what people thought of them or their music. They created it and performed it from the heart…They did it the way they wanted it done!” So, that is something that sticks with me and influences all my albums. He was the best. He belongs in the Rock & Roll Hall of Fame. Hopefully, they’ll make that happen someday.

Moving from Long Island to Connecticut was a significant change for you. How has this geographical shift influenced your music and the formation of the band?

A: I left an established band on Long Island and realized at the time, realistically, there would be no way to keep it going with a 3-hour to 4 hour drive. Jackie and I were about to have our first son and I knew my immediate priority was being a father. Songwriting/performing/recording were a very close second. So, the use of time was crucial. I needed local musicians. My former violinist lived in CT. So, as soon as I relocated, we started performing as a duet and fortunately started to make a little mark and get some work. Our most important mark was on a local bassist, Steve Fishman. He was among the finest bassists I’ve ever worked with and highly respected in the music community. He saw our duet in a little club and approached us after our set and told us he wanted in! (His actual quote was “I really like your music! I can help you hit them over the head with it!!”) That was 20 years ago, and Steve has since passed. But we got to play together for 5 or 6 years. He introduced me to great musicians and those were the seeds that led to my current band. One dot connected to the next and here we are, most of us together 15 years or so.

Following the release of “Still Shining,” what future projects or directions is the band currently exploring or considering?

A: That’s a question for another day. This is my 12^th album. Whenever I finish an album, I wonder if I’ll ever have the drive or the desire or need (or the words/music) to write and record another one. Then, as time passes, the little “ideas” start to pop in and the next thing I know I’m writing and getting excited at the prospect of recording an album. It’s always an amazing process and one I don’t question or try to create or force. So,…I don’t even really want to think about the next move. Just enjoying performing the new material.

With the band now touring in support of “Still Shining,” could you share some memorable moments or experiences from your current tour?

A: To be honest, every time we perform or even travel together, it is special and memorable. And I don’t mean to sound cliched. It’s the truth. I’m grateful to work with these talented guys who truly understand the vision. Effortlessly too. Add the laughs and the stories and the camaraderie and it goes beyond “memorable.” The performances have been cool because we get to see reactions to the new songs. In 2024 we’ll be playing a lot from Still Shining…

Finally, what message do you hope fans and new listeners take away from “Still Shining,” and what makes this album a unique addition to the folk music genre?

A: We hope the album plays like a “ride” from beginning to end and each song is a stop along the journey, with its own message. With regards to how we can be a unique addition to the folk genre, people often have difficulties labeling our music. We’ve been called Folk. Folk/Rock. Americana. New Roots. Singer/Songwriter. Etc. So, maybe the ingredients that gave rise to those labels will help us be a unique addition to the folk music genre. At least that’s the hope.

Are you ready for some rootsy acoustic folk, Americana, and any genre where the song is king? Where the plain-speaking singer/songwriter and his band create something organic, immune to overproduction, and without a single artificial ounce of autotune? Then allow me to introduce The Kenn Morr Band; specifically, their latest album (of 12), Still Shining. Featuring 11 solid, folk-ringing tracks, Still Shining is a pure, subtle offering of unrefined refinement. So, what makes this album so darn authentic and more than slightly magical? Let’s hit the highlights. 

Wait. Who does what? 

Guitarist and lead singer Kenn Morr started playing/performing at age nineteen, influenced by acoustic legends like Gordon Lightfoot, Simon and Garfunkel, and Graham Nash. After a college baseball scholarship didn’t manifest, Kenn embraced a subject that truly reflected his talents – Communications. After leaving his home in Long Island and arriving in Connecticut, Kenn once again pursued his musical aspirations, and found the right folks to fill out the band of his dreams: 

Tom Hagymasi – Violin, bouzouki, accordion, mandolin, mandola, vocals 

Pat Ryan – Bass guitar, vocals 

Tido Holtkamp – Drums, vocals 

Now, about those highlights… 

The album opens with “Cuttin’ Through,” a mid-tempo song about perhaps the final straw – something that causes a burden to ultimately, and finally, collapse. What I especially like is the ending – it’s a closely bundled cacophony of muttered lyrics that continue repeating until the song softly fades. 

Kenn Morr’s voice has a lived-in quality; there’s a rough, rocky bass just underneath that whispery delivery. And it’s not the result of screaming, or too many cigarettes and far too much hard liquor – it’s something granted texture naturally by life, and the passing of time. 

Track #3, the eponymous track, features an accordion foundation over almost wood-slapped percussion and layers of strumming acoustic guitar. This particular track deals with aging, and the seemingly abrupt loss of those who arrived some time before us: 

“Everyone’s gone man, it happened so quick 
Like a vanishing act in some old magic trick 
These days can be even darker than night 
Most of the wise ones already took flight.” 

Track #5, “Angel ‘Round the Bend,” opens with what sounds like a clean electric guitar accompanying the usual acoustic layers. And there’s a great melodic mandolin line leading us right to the first verse. Thankfully, after the chorus, the mandolin returns with that great riff, joined by paralleling accordion, and guiding us to the second verse. We’re then treated to a nice break with violin, and a final verse with fading chorus. Good stuff, and my favorite track on the album. 

“Flying High” adds what sounds like piano, which really fills the audible space on track #7. And when the chorus hits, it’s a joining of several voices and some interesting chord changes. This one’s a sleeper – at first, it was simply “nice,” but I discerned more of its spirit after repeated listenings. 

“Something In the Air” begins with brighter guitar chords that make, I think, one of the album’s more powerful statements. And thankfully, it remains for most of the verses, and punctuates the end of most choruses. 

The album closes with “Once or Twice,” a return to the folksy/pseudo-bluegrass/picking-instruments-on-the-cabin-porch sound permeating most of the album. And this one speaks about persistence. About the rocky road one travels, and about seeing – with a little experience-gleaned perspective – the futility, and perhaps humor, in a nonstop pattern of aspiring and burning. But the important moments occur while reaching somewhere deep, and rejoining the bumpy journey regardless of another potential collapse. 

But is it good?

 Do you like music that comes from people? People playing subtly amped instruments, and singing about the exploits – silly, sad, humble, impetuous or otherwise – of other people? And do you like this music to sound like music actually made by people, and not stacks of processors and electronic, unsubtle note bending? If you like music that comes from man, and from his life, land, and glorious, uproarious, and dependably fallible pursuits, you’ll love Still Shining from the Kenn Morr Band.