Here’s what the Autoharp Quarterly had to say about about “Chasing Sunshine“:

I’ve been listening to a wonderful CD, “Chasing Sunshine,” featuring Maggie Dodd, Michael Poole and Rick Fitzgerald, with help by the musical talents of Heidi and John Cerrigione, Neal and Coleen Walters. All are multi-instrumentalists.

 

Michael was the 2018 Mountain Laurel Autoharp Champion, and former recipient of the Cohen/Grappel recording grant. His CD, Beneath Still Waters has been previously reviewed in AQ.

 

Rick was the 2009 winner at Mountain Laurel. His CD (one of several), Crossing the Water has also been reviewed here. So what could go wrong with their new CD, playing together and with Maggie Dodd? Nothing, that’s what.

 

Here’s a CD by a group of musicians known for versatility, taste and musical excellence. From the very first cut, “Red Tail Hawk,” from the singing of Kate Wolf, according to Maggie’s liner notes, the various strengths of these singers and players shine. Maggie’s clear, clean solo voice, Michael and Rick’s harmonies, and Neal’s mandolin stand out, backed nicely by Heidi’s autoharp and Coleen’s upright bass. It’s a haunting melody, beautifully delivered.

 

“I Wish I Knew How it Would Feel to be Free,” a 1960’s anthem, is still relevant in concept and message today. Rick’s harp and vocal render it again as if brand new. His singing is particularly lyrical and moving on this song.

The interplay of the entire group shines throughout this CD, and a perfect example is Louise Branscombe’s song “Steel Rails.” From the first guitar and harp intro, to Maggie’s vocal, Heidi’s gentle harp, Neal’s lilting mandolin, unobtrusive but supportive background of vocal harmony and bass, everyone works so closely together, well, you might think they were related or something!

 

Michael Smith’s marvelous song “The Dutchman,” performed on guitar and vocal by Rick, brought Steve Goodman right into my living room. Same guitar arrangement and understated, but tender lyrics, it is very pleasing.

 

I particularly enjoyed the musical interplay on “The Rising of the Moon,” with women’s harmony, connected by guitar and harp with mandolin dancing on top. These people should own t shirts that read “Plays Well With Others.”

 

“Who Will Watch the Home Place” sounds like a song and question from our grandparents’ time, but as folk music goes, it’s quite young, written by Laurie Lewis.

 

It is played and sung flawlessly, the guitar and mandolin are particularly suited to this melody, as well as to the message of the song itself; “when I leave here, who will I be?” This one will stick in my mind–in a good way–long after the CD is back in its jacket.

 

These are fine musicians, both vocally and instrumentally. Not just the ‘headliners’, Maggie, Rick and Michael, but the accompanying players. Who wouldn’t love to have a back-up band like THAT?

 

This CD’s a keeper.

Nan Bovingdon, The Autoharp Quarterly, Winter 2020

Here’s what The Autoharp Quarterly had to say about Rick’s debut album, “Living Up To A Dream”:

The shimmering sounds of Rick Fitzgerald’s autoharp are new to me, as are the excellent original songs he’s introduced on this, his first album. With Neal Walters on the mandolin and Coleen Walters on the bass, Rick uses his Orthey autoharp and a Guild-D-50 guitar to round out a very professional and impressive album.

 

Rick’s adventures aboard a recreated version of a 19th century three-masted Great Lakes schooner as one of its crew, led motivation to write the original songs presented here. His impeccable guitar prowess is demonstrated throughout the album, as is his very likeable singing voice. My only disappointment is the shortage of autoharp on the album. Even though only five cuts include autoharp, they are well worth attention. My favorite was one of his originals, entitled Starlight on Keweenaw Bay. Very well written, sung and performed. The autoharp is exceptional, the words very meaningful. I also enjoyed Sarah Hogan. On Red Haired Boy I would like to have heard a bit cleaner melody towards the end, but the song, nonetheless is pleasant. Some may not agree with me, but Rick adding guitar throughout the album seems to have made the autoharp more refreshing each time it was introduced.

 

His style of singing (and) playing of instruments reminds me of the likes of John McCutcheon, Bryan Bowers, Gillian Welch and Harvey Reid. I think that’s the direction he’s headed if he keeps up this quality of music. Would I buy Rick’s album? You bet!

Bill Bryant, The Autoharp Quarterly, June 2009