Flying Mules

THE FLYING MULES

These boys have been playing together at Riddle's since 1997, and in different permutations a lot longer than that. Charlie played here with Tom Hall for years while Charlie, Marc and Mike used to pack 'em into Riddle's as part of the Geyer Street Sheiks behind the sainted Alice Spencer. Collectively their professional musical experience passed the 100 year mark some time back.

If you held a gun to my head until I came up with a one-word description of the Flying Mules style, I'd say "bluegrass" right quick, but if you'd put that gun down I'd go on to add ".... with a little swing, a smidgen of jazz, some rock overtones and, every once and again, especially in the harmonies, a touch of barbershop quaretet and the gospel blues."

In other words, a performance by the Flying Mules combines elements of the best of this country's rich musical heritage, from the earliest days of foot-stompin', fiddle-sawin' mountain music right up until, oh, about the middle of the 1970's, when American popular music starting going bad anyway.

When asked to say a few words about themselves, they submitted the drivel below:

(left to right in picture above)

Mike Prokopf has played in all styles of music on both the electric and up-right bass. The former Berklee student brings a very unique and dynamic approach to the bass chair (or stool) and is largely responsible for the hard-to-classify "Mule Sound".

Marc "Sequoia" Rennard is one the area's top fiddlers. He is well versed in old-time bluegrass and blues styles and sought after by the contra and line dance community because of his driving but expressive style. Marc is an excellent guitarist and a very unique singer. He is also expert in UFO's.

Charlie Pfeffer has a one-of-a-kind approach to the mandolin, blending bluegrass, jazz, blues and (dare I say) rock styles. One reviewer called him the best mandolinist in the Alpha Quadrant! Charley is also one of St. Louis' finest vocalist and an excellent guitarist.

John Higgins has played guitar in a wide variety of styles and settings but still enjoys flat-picking the most. He is also a lyrical dobro player and one reviewer called his Missouri tenor "a fine thing". He credits (blames) his three bandmates for his musical (de)evolution.

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