
Hydrilla has choked the shallow water of the Mattabesset River in the Connecticut River Watershed, threatening to transform it into a massive mosquito breeding ground.
Photo provided by Connecticut Agricultural Experiment Station
Hydrilla has choked the shallow water of the Mattabesset River in the Connecticut River Watershed, threatening to transform it into a massive mosquito breeding ground.
“If we wait five years, we will be able to walk across the river if it’s left
unchecked.” — Bob Petzold, president of Petzold’s Marine Center, on the urgency of halting hydrilla’s rampant spread.
This is the second of a series about invasive aquatic hydrilla and its growing threat to waterbodies and communities in Northwest Connecticut.
CHESTER, Conn. — Bob Petzold has spent the past few summers mowing his marina’s boat slips.
Thick, verdant green mats of notoriously troublesome hydrilla have made it impossible for vessels to enter or exit the channel unless he and his crew mechanically chop, gather and haul away massive piles of the invasive weed, which has clogged the Chester Boat Basin, one of two marinas he owns and operates on the Connecticut River.
Petzold knows that in doing so, he raises the risk of spreading hydrilla fragments that will drift away and repopulate elsewhere. But he has little choice, he said, if his four-generation, family-owned and operated business is to remain afloat.
“It’s a necessary evil,” he said. And an expensive one at that.
“We spend thousands of dollars on outside contractors and we have our own staff remediating it just to keep the channel open,” Petzold explained during an early September visit to his marina.
“When the water is clear, you can almost watch the hydrilla grow. If we wait five years, we will be able to walk across the river if it’s left unchecked.”
Bob Petzold, owner of the Chester Boat Basin on the Connecticut River, points to an area clogged with thick mats of hydrilla prior to a test application of an aquatic herbicide by the U.S. Army Corps of Engineers this summer. Two of his marinas are among five demonstration sites in the Connecticut River Watershed selected for hydrilla research.Photo by Debra A. Aleksinas
The strain of hydrilla in the Connecticut River has been an ongoing concern since its discovery in 2016. It is considered genetically distinct from other known hydrilla populations in the world, and as such, there is limited information available to aid in the development of management strategies to limit its explosive spread.
Kayaks can’t pass through it. Boat motors get tangled by its long strands and stall. Coveted fishing holes have been abandoned by anglers, and swimmers won’t swim in it. Scientists are also addressing concerns about hydrilla’s threat to the ecosystem, including osprey and bald eagles. They fear that the Connecticut River strain harbors cyanobacteria, which produces a neurotoxin deadly to birds of prey.
Rhea Drozenko, river steward for the Connecticut River Conservancy, pointed to the Mattabesset River as an example of hydrilla’s explosive nature. “It created this huge mat, and some native plants couldn’t stand a chance. It created a sea of hydrilla.”
Fortunately for Petzold, and others who own businesses or real estate, enjoy recreational activities or cherish the 200-mile-long river’s aesthetics and ecology, hope is on the horizon.
Petzold’s two marinas, Chester Boat Basin and Portland Boat Works, are among five sites in the Connecticut River Watershed selected for testing of aquatic herbicides this summer as part of an ongoing hydrilla research project by the U.S. Army Corps of Engineers (USACE).
Other test sites include Chapman Pond in East Haddam, Keeney Cove in Glastonbury and Selden Cove in Lyme.
Scientists hope to reduce and control hydrilla, while protecting plants, fish and the long-term health of the river, as well as its $1 billion-plus contribution to Connecticut’s economy.
The results of that research could also bring a sigh of relief inland, where 10 lakes, so far, have been identified as hosts to hydrilla, which is spread between bodies of water primarily by unsuspecting boat owners.
East Twin Lake in Salisbury was the first lake outside of the Connecticut River watershed to identify an infestation late last summer. That number is expected to rise once the Connecticut Agricultural Experiment Station (CAES) concludes its planned inspections of every state-owned boat launch throughout Connecticut.
Invasive aquatic plants in the Connecticut River.Connecticut Agricultural Experiment Station
In 2021, Sen. Richard Blumenthal (D-Conn.), announced that he is leading an effort to secure $100 million over four years in federal funding for a multistate effort to control hydrilla in the Connecticut River Watershed, and in June, he announced $5 million in federal funding for the USACE demonstration project.
“Senator Blumenthal was here. He pledged his support in getting government funding for this continual battle,” noted Petzold, who referred to hydrilla as “the biggest threat beyond our control” in the nearly 80-year history of his family business.
The funds will also support other goals including preventing hydrilla from spreading into coves, tributaries and inland waters, improving surveillance and detecting new infestations early and responding quickly to control and eradicate new infestations.
In addition, the Connecticut Department of Energy and Environmental Protection (DEEP), through the State Aquatic Invasive Species (AIS) Grant Program, made $500,000 available to municipalities, state agencies and nonprofit organizations to reduce impacts of aquatic species, including hydrilla, on inland waters.
Connecticut awarded approximately $952,700 to 46 projects statewide during the first three years of the AIS Grant Program.
As stakeholders await the results of the USACE’s demonstration project, already there are encouraging signs.
Petzold pointed to the gently rippling water surrounding the boat basin, which he said had not been that clear during peak boating season for several years. Around the slips, strands of sickly-looking hydrilla floated among dead leaves, victims of herbicidal dosing.
He credited the bipartisan support of lawmakers on the local, state and federal level for going “above and beyond” in supporting and communicating with stakeholders.
“In my mind, it’s made a world of difference. We’ll see what the test studies reveal, but it seems like it is doing the trick here, at least in the basin,” said the marina owner, who credited DEEP and USACE for working together effectively and keeping stakeholders in the loop and respond to their concerns.
“At this point I guess there’s no cure for it, but we have to figure out a way to stop it from spreading and growing as best we can.”
Beth Rye of Chester, who owns two vessels, a 20-foot Grady-White and 35-foot Viking, was ecstatic about being able to navigate in and out of the slips without her boats’ props getting snarled in hydrilla. “It’s gone!” she announced with glee.
Relief for some raises red flags for others, noted Drozenko, particularly when aquatic herbicides are involved.
“There has been a lot of concern about the use of herbicidal treatments, especially in very fragile, ecologically sensitive zones.”
Lakes and ponds, she said, are easier than flowing rivers to treat, as they are more contained and especially if the infestation is caught early, as in Salisbury’s East Twin Lake.
“Whereas if hydrilla moves into the Housatonic River,” the river steward cautioned, ‘it will have the same impact as in our river.”
Coming next: What’s at stake for Salisbury’s six lakes in 2025 and beyond.
The Down County Jump festival headliners are, from left, Tony Trischka, Bruce Molsky and Michael Daves.
From Friday, June 13 through Saturday, June 14, The Race Brook Lodge in Sheffield, Massachusetts, presents a weekend long music festival dubbed Down County Jump. Top-notch local and national touring musicians will perform early Americana styles.
On Saturday, festival headliners Michael Daves on guitar, Tony Trischka on banjo, and Bruce Molsky on fiddle will regale audiences with old time and bluegrass styles with enough room for modern interpretation and improvisation.
Trischka, mentor to Bela Fleck, broke the banjo world open by combining traditional Scruggs style with jazz and pop. Molsky is known as the foremost exponent of old time fiddling, while Daves is highly regarded as one of the best proponents of bluegrass guitar.
In a phone interview, Daves distinguished between styles they will play. “Old-time predates bluegrass. There’s very little improvisation, and it’s most often instrumental fiddle tunes. The fiddler leads the melody, plays it repeatedly, and everyone finds this amazing groove.”
“Old-time musicians tend to be more straightforward about the melodies, whereas bluegrass musicians tend to use those traditional melodies as a jumping-off-point for improvisation. Tony and Bruce play at such a high level. There is a musical conversation that encompasses so much musical understanding and finds common ground,” he added.
Down County Jump returns to Race Brook Lodge June 13 and 14.Provided
Scholarly in his knowledge yet down to earth, Daves grew up in Georgia, was raised by musician parents, and attended Hampshire College in the Pioneer Valley of Massachusetts where he studied with jazz maestro Yusef Lateef.
Though he tours the world with high profile musicians like mandolinist Chris Thile, Steve Martin, and The Steep Canyon Rangers, Daves now lives in Adams, Massachusetts, having relocated there with his wife, luthier Jessi Carter from Brooklyn several years ago.
In addition to performing and recording, Daves teaches guitar and bluegrass singing. He’s inspired by the “high lonesome” bluegrass sounds of legendary artists like Del McCoury, Bill Monroe and Ralph Stanley.
“There’s an openness to their sound. It’s intense with mournful bluesy wailing and smearing, sliding notes over a breakneck speed. It borrows from African American traditions like blues and gospel and mixes with Appalachian ballad styles, which has roots in the British Isles. It’s a uniquely American form from people who were listening to one another for centuries.”
The Down County Jump will be his first show at Race Brook Lodge. For tickets and information, go to: rblodge.com
A rock shelf formation on the private stream. This kind of terrain creates excellent cover for trout.
When syndicated columnists get lazy they gather together bits and pieces that never made it out of the notebook, mash them together, and email it in.
Usually they try to unify the disparate items under a catch-all heading, such as “Heard on the Street” or “Things the Cabby Told Me.”
I’m working on that.
A few days before Memorial Day I was whiling away an idle hour or two on the Blackberry.
From the bridge at Beckley Furnace I observed a fellow fly-caster. We acknowledged each other, and after a couple casts he called up “Got any tips?”
I scrambled down. He was Andrew Stone of Illinois, with a teenager at one of the private schools.
I gave him the little mini-bugger I have been using with considerable success in recent years and almost immediately he was on a fish.
This was very good for my ego.
Andrew Stone netted a trout on the Blackberry in May, thanks in part to some stellar advice from yours truly.Patrick L. Sullivan
In the last week of May I went on my first solo trip to the private fishing club water. I had my button proclaiming my status as a paid-up member attached to my hat. On advice from the club president, I also made an enlarged photocopy of said button and left it on the dashboard.
The club has an arrangement with property owners along the medium-sized stream. Three members of this particular family drove by at various times, with much waving and tooting of horns.
Armed with an old Orvis seven and a half foot four weight with a slow action and a 10-foot Tenkara rod tucked in my pack, I slithered downstream along surprisingly slick cobble, swinging a team of traditional winged wet flies below me.
Nothing happened.
Then the stream took a hard left into a long shelf formation, and here I struck gold.
Alertly noticing the casings from a bug called isonychia on the streamside rocks, I changed over to a Leadwing Coachman winged wet fly on a dropper under an iso dry fly.
I like isos. They are big, and their imitations are big too. I can see them to tie on.
Isos are also good swimmers, so instead of obsessing about the perfect drift, I can put some English on them, especially the subsurface versions.
There are typically two rounds of isonychia in the streams I frequent in New York and Connecticut. The first starts around the beginning of June and seems to taper off as July approaches.
Then it all starts again in August, and runs for a couple months. I have caught fish in the Esopus and Housatonic in late October on iso imitations.
The first brown nabbed the wet fly, and a few minutes later another sportingly took the dry.
The first brown trout from the private fishing club stream looks much bigger than it was because I deliberately brought my smallest net.Patrick L. Sullivan
After an unfortunate encounter with some knotweed I switched over to the DragonTail Talon Mini 310, which is a fixed-line rod with a slow action that fishes at 10 feet and packs down to 12 inches when collapsed, which means it can be stuck in a shallow pocket on a vest or in the wader’s handwarming pocket or even in a pants pocket
The extra reach allowed me to simply flick the line back and forth in front of me, thus avoiding a back cast and the dratted knotweed.
Using a team of a yellow soft hackle wet in size 14 and the Leadwing, I rustled up a couple more of the truck fish from the stocking the first week of May. Neither paid any attention to the yellow fly, which I only included because I saw a yellowish bug flying around. This is called “Not Matching the Hatch.”
Back at base I next spent a thoroughly frustrating day failing to catch anything anywhere on a day that should have been perfect — overcast, warmish, drizzly. The kind of day that makes aquatic insects leap from their beds and rejoice in the promise of a new day.
After a solid five hours of fooling around I finally found some wild browns who were willing to play. They weren’t big but they were very wiggly, resulting in many “compassionate releases,” which is a convenient rationalization of the failure to land a fish.
Speaking of failure, I forgot to buy milk. Twice. So on two successive mornings I had to drink my coffee black.
I remembered to buy a quart, figuring I could bring it back to Connecticut in the cooler.
Well…
Let’s just say that as I peck this out on a rainy Saturday morning, May 31, I am enjoying a cup of black coffee.
Passages #3 by ErickJohnson (oil on paper).
When the Furnace – Art on Paper Archive opens “Passages,” Erick Johnson’s first solo exhibition at the Falls Village gallery, it won’t just be the art that beckons. The coffee will once again be flowing from the café next door.
“There’s a door right into the café,” said gallery director and artist Kathleen Kucka, walking into the adjoining room. “The opening will spill in there. It always does.” The Falls Village Café closed in October, much to Kucka’s dismay, but is set to reopen as Off the Trail Café.
“Without the café,” Kucka said, “it just didn’t work. Not to mention my own hunger. So Ijust closed for the winter, which actually worked out really well.” With the reopening, there is a revived enthusiasm fueled by art and caffeine.
Johnson’s paintings and works on paper that ripple with color mark a bold step forward for the artist. While his abstractions have long played a quiet presence in group shows and the gallery’s flat files, “Passages” offers the first full spotlight with all eyes on the shifting geometries, the softened edges, the negative space that Kucka called “meandering.”
Johnson, who splits his time between Tribeca and Hillsdale, is steeped in the art world. He was the assistant for landscape painter Wolf Kahn for over a decade. He knew de Kooning. “And the work has only gotten more inventive,” said Kucka. “The stacking. The shapes. Even the way he’s using the brush. It’s like woven fabric.”
Two of the works in the show are paintings in the formal sense — paint on stretched canvas — while the rest are pigment-rich explorations on thick paper. “There really is a distinction,” Kucka explained, and a difference in the impact from the smaller to the larger pieces. And yet, the through-line is unmistakable: color as a portal, form as an exploration.
So come for the conversation, stay for the coffee. But mostly, come for the work — vibrant, unfolding, and, as Kucka put it, “just beautiful.”
The opening reception is Saturday, June 7, from 4 to 6 p.m. The show will be on view through July 6 at Furnace – Art on Paper Archive at 107 Main St., Falls Village.
A hungry starfish appears in “The Ghost Net: An Environmental Musical of the Sea” at CCS June 3.
CORNWALL — The Grumbling Gryphons Traveling Children’s Theater transformed the gymnasium of Cornwall Consolidated School into an underwater wonderland Tuesday, June 3.
The troupe performed “The Ghost Net: An Environmental Musical of the Sea” with participation from students in all grades and a few teachers.
The 10-scene musical takes the audience on a journey from land to sea showing the impact of pollution on marine habitats. A girl, Marina, saves wildlife as she is guided underwater by a horseshoe crab with a broken tail, a sea turtle who swallowed plastic, a seagull with a tangled wing, an oil-soaked duck and others. Ultimately, she helps defeat the evil Ghost Net and save her friends.
Students played different roles by grade.
Kindergarten and 1st-graders played clams avoiding a hungry starfish.
2nd- and 3rd-graders played the minnows in a school of fish.
4th- and 5th-graders were tropical fish at a coral reef party.
6th-, 7th- and 8th-graders played trash creatures in the “Slimy Sludge Rap.”
Director Leslie Elias and cast fielded questions from students after the show, like “What is that thing in your pocket?”
“Wireless microphones,” Elias explained.