Baroque Betty
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Commentators who like to keep things neatly slotted into place have struggled with Baroque Betty, precisely because they defy simple categorization. Though the quartet’s string-laden melodies occasionally anchor them in the territories of folk, bluegrass, or minimalist rock, they’re more at home in the cracks in-between. It’s from these quirky, deeper, sometimes darker places that Betty Jaeger’s voice reaches up, takes you by the hand, and sweeps you along on an entrancing musical journey. The band has built a dedicated fan base as well as winning much admiration amongst prominent
peers, including one of the leading figures in modern-day bluegrass – Woody Platt. The lead singer with top band The Steep Canyon Rangers has this to say:
“Her voice and the texture of her voice, along with the instrumentation, which is almost semi-classical in places, is so striking. Difficult to describe, this is a unique ensemble playing good music – it’s pretty spectacular!” Based out of Eugene, Oregon, the band that grew around her like an all-embracing vine, features violinist Michelle Whitlock who likes to play her instrument in a lower register to add an intriguing 
layer or color; classically-trained cellist Nanci McDonald who also plays ukulele and guitar, and Jon Conlon on bass, a deft hand in the studio from working on the garage rock and punk scene. He gets the credit for capturing tracks that have won them most attention from their stunning 7-track EP, Good Luck, such as Moth To A Light, Good Luck, and Babel, all tracks from two albums created under their previous band name, “Betty and the Boy.”
