Sunday, January 25, 2009

Concert Report: Paul Rishell and Annie Raines at Club Passim

Blues duo Paul Rishell and Annie Raines (Paul and Annie) played nearly two hours of masterful acoustic country blues last night at the legendary Club Passim, just off of Harvard Square in Cambridge, MA. The house was nearly at Passim's full capacity of 125 people, and the audience was attentive and appreciative.

Paul and Annie features Paul on guitar and Annie on blues harmonica, with both sharing vocal duties. Paul mostly played his gorgeous National Reso-Phonic guitar, and Annie switched to an equally beautiful Rigel mandolin on a few tunes.

Paul Rishell and Annie Raines, Club Passim, January 24, 2009

One of the things I most appreciate about Paul and Annie is their knowledge of blues history and the old time blues masters. We heard Paul tell stories of Scrapper Blackwell, Jelly Roll Morton, Washington Phillips, and Bo Carter. Annie told us of Ma Rainey ("Mother of the Blues") and Bessie Smith. By far the most jaw-dropping story of the night was told by Paul about Tommy Johnson. Tommy, it seems, had his demons and addictions, not unlike many of the blues legends. Tommy's particular problem was alcohol, and he was known to drink anything and everything that had alcohol in it, including hair tonic, shoe polish, and, yes, sterno - which is also known as "canned heat". Thus the origin of Tommy's Canned Heat Blues (not to mention the origin of the name of the Canned Heat band from the 60s):

I woked up, up this morning, with canned heat on my mind
Woked up this morning, canned heat was on my mind
Woke up this morning, with canned heat, Lord, on my mind
Crying, Lord, Lord, I wonder, canned heat, Lord, killing me

I was thrilled to hear Paul say a few kind words about another of my musical heros, Spider John Koerner, followed by a great rendition of Spider John's Good Luck Child.

Paul Rishell and Annie Raines, Club Passim, January 24, 2009

Audience favorites included Paul and Annie's own Got To Fly, an infectious and catchy tune that Annie sings, as well as the rousing Old Man Mose (a Louis Armstrong composition). We were singing along on both tunes, particularly well on the latter's chorus in a call-and-response fashion:

Now one time there lived an old man
With a very crooked nose
He lived inside a log hut
and they called him ol' man Mose
One dark and dreary morning I knocked upon his door
I didn't hear a single sound
so I ain't gonna do it no more.
 
'cos I believe ol' man, I believe ol' man
I believe ol' man, that ol' man Mose is dead.
I believe ol' man, I believe ol' man
I believe ol' man, that ol' man Mose is dead.

The evening's songs ranged from achingly slow and beautiful (It'll Be Me/I'll Be Looking For You), to the tongue-in-cheek humorous (Bessie Smith's You Been a Good Ol' Wagon), to soulful gospel (Washington Phillips' I Had A Good Father and Mother), to rousing blues (Johnny Winter's Dallas).

Paul Rishell and Annie Raines, Club Passim, January 24, 2009

If you see that Paul and Annie are going to be playing near you, give 'em a chance. You won't be disappointed.

As always, here are some YouTube clips to give you an idea. First up, a short clip of Paul and Annie doing Johnny Winter's Dallas. This really showcases Paul's vocals and National Steel guitar:

And on this clip, Annie's blues harmonica will blow you away:

The setlist:

Paul Rishell & Annie Raines
Passim Folk Music and Cultural Center, Cambridge, MA
Saturday, January 24, 2009
 
Set 1:
Custard Pie (Blind Boy Fuller)
Trouble Blues (Scrapper Blackwell)
Honey It Must Be Love (Blind Willie McTell)
It'll Be Me / I'll Be Looking For You (Jack Clement / Paul Rishell)
Got To Fly (Annie Raines / Paul Rishell)
I'm Gonna Jump and Shout (author?)
Black-Eyed Blues (Ma Rainey)
Dallas (Johnny Winter)
 
Set 2:
Ragtime Millionaire (William Moore)
You Been a Good Ol' Wagon (Bessie Smith)
Michigan Water Blues (Jelly Roll Morton)
Old Man Mose (Louis Armstrong / Zilner Randolph)
I Had A Good Father and Mother (Washington Phillips)
You're The One (Jimmy Rogers)
That Old Heartbreak (author?)
I Get The Blues (Bo Carter)
Canned Heat Blues (Tommy Johnson)
Good Luck Child (Spider John Koerner)
Encore: Some These Days (Charlie Patton)

Photography Notes: This was my second outing with my new Canon EF-S 17-55mm f/2.8 IS lens, and I must say I am loving it. A full set of 22 pictures are posted in a Flickr set if you want to see more than just the three four I included here. I did crop each photo, and also used an unsharp mask on each. I didn't do any color adjustments, though, and you can see that the lighting color on Annie was vastly different than on Paul - Paul's skin looks quite natural, while Annie is bathed in a pretty ghastly orange-yellow. I was tempted, but I left Annie's color alone - she really did look that way. Also I couldn't really do much with that Passim banner in the background which, from my vantage point, split both Paul and Annie right down the middle of their heads.

Paul Rishell and Annie Raines, Club Passim, January 24, 2009

Saturday, January 17, 2009

Concert Report: Lucy Kaplansky @ Tupelo Music Hall


Lucy Kaplansky at Tupelo Music Hall, January 16, 2009

Patti and I last saw Lucy Kaplansky at our favorite local venue, the Tupelo Music Hall, just about a year ago. She was back again last night, on a single-digit cold Friday night. Lucy seemed genuinely thankful for the turnout when the crowd let her know that, yes, this was cold even by New Hampshire standards; the room was probably at a bit more than half capacity.

Lucy opened with her haunting cover of the traditional Scottish song, Loch Lomond, one of the three four as-yet unrecorded covers she performed during her 75-minute set.

The second cover of the night was a beautiful rendition of Leonard Cohen's Hallelujah, performed on the Tupelo's baby grand piano. Lucy said this was the first time she had performed that particular song in concert. I am all for having this in her regular rotation. I guess most people are familiar with the Rufus Wainwright version used in the Shrek soundtrack, but there are a ton of wonderful covers (including, now, Lucy's!). I just had a blast browsing through a bunch of versions on YouTube, including versions by Jeff Buckley, K.D. Lang, Bob Dylan (a live audience recording), Sheryl Crow, John Cale (!), Bon Jovi (that one was a surprise), Allison Crowe (wow, who is she and why haven't I heard her before? fantastic voice!), and of course a version by Cohen himself.

Lucy Kaplansky at Tupelo Music Hall, January 16, 2009

Also covered on the baby grand, later in the set, was Lucy's version of Lennon and McCartney's "Let It Be." We also heard that last year, and it would take me a long time to tire of hearing her sing it. Lucy mentioned that she is considering a new CD containing nothing but stripped down live take versions of covers such as Loch Lomond, Hallelujah, and Let It Be. A number of us in the audience did our best to encourage her to do it. Personally I'd love an album like that. Even more so if she included one or more of her dad's songs, which she said it would.

Speaking of her dad (the late mathematician Irving Kaplansky), Lucy told of recently taking her daughter, Molly, to the New York Hall of Science. One of the current exhibits is a math exhibit (Mathematica: A World of Numbers), and Lucy couldn't help but break down in tears when she spotted a photo of her dad in the exhibit. She explained to Molly how much it meant to her to see her dad in the exhibit. This must have made quite an impression, as weeks later Molly (who is all of 6 years old) was talking about how she wanted to grow up and do math, just like her grandpa. Oh, and our Irving Kaplansky cover song of the night was A Song About Pi.

After performing Hallelujah and her own Just You Tonight on piano Lucy switched back to guitar to "lighten it up." I asked her if that was even possible, and she said something like "for a little while, at least." So Patti and I shared a laugh when she then launched into Don't Mind Me, a song about maniacal obsession, followed by Scorpion, arguably another song about maniacal obsession!

Don't mind me
I'm just a bit maniacal about you
And derailed when I'm without you
Don't mind me

Gonna sting you with a kiss from my lips
Gonna sting you with a piece of my mind
Gonna sting you with a taste of my skin
Then you're mine, then you're mine

Here's a nice version of Scorpion from YouTube, probably from sometime in the past year or two:

Another good example of Lucy's work, and also a song we were treated to toward the end of the set, is this version of Lucy performing Ring of Fire:

The set ending Guinevere was a nice treat of an oldie. Lucy recorded this Robin Batteau song on her first album, The Tide, originally released in 1994. It's nice to hear a song that isn't in regular rotation anymore.

The set list:

Loch Lomond (Traditional)
Line in the Sand
Mother's Day
Ten Year Night
Manhattan Moon
Somewhere Out There
Hallelujah (Leonard Cohen)
Just You Tonight
Don't Mind Me
Scorpion
More Than This
A Song About Pi (Irving Kaplansky)
When You Love Someone
Sleep Little Darling
Let It Be (Lennon/McCartney)
Ring of Fire (June Carter/Merle Kilgore)
Guinevere (Robin Batteau)
Encore: The Red Thread

The opening act was Karen Grenier, a local artist from Nashua, NH. Strong voice and good guitar skills, she played a nice seven song set. Some of her own songs, including the opening When I Say I Love You and closing One Life were just a tad too close to sounding like Indigo Girls wanna-be songs for my taste. Not that that is bad, but I preferred songs like Superhero, which to my ear just sounded like her own voice rather than an imitation. The set highlight for me, though, was an incredibly strong version of Tom Waits' Jersey Girl. She gets two thumbs up from me for that cover alone. Her set:

When I Say I Love You
Both Sides Now (Joni Mitchell)
Superhero
Love Will Come
Jersey Girl (Tom Waits)
One Life

Photographic notes: I posted the two photos above, along with four others, in a flickr photo set. The photos, as posted, are straight out of the camera with no post-processing (although resized down via the Flickr Uploadr application). This was my first chance to try out my new Canon EF-S 17-55mm f/2.8 IS lens. I do like having some zoom ability, but I also did miss the f/1.8 aperture of my fixed 50mm lens. I shot in shutter speed priority mode at 1/50 sec., ISO 1600. I think I like the piano shot the best. I wish I had the ability to take lots of shots and really play around, but the Tupelo is such a small and audience-focused venue that I am always very conservative - never taking more than about 10 or 12 shots during an entire show, and trying to be as non-distracting to the other patrons (and the artists) as possible. To me, even the sound of my shutter going off is too loud in that environment.

Wednesday, December 24, 2008

Reflections on the Great Ice Storm

All of the photos in this post are available in a photo set on flickr, The Great Ice Storm. You can also click on any of them here to see a higher resolution version.

It Rained
It rained. On Thursday, December 11, 2008, it rained. We didn't pay it much attention. After all, it was just a steady rain. Oh, maybe there was the small observation that we haven't had much rain lately. But it was more a wet annoyance than anything else.

I went to dinner with a group from work that night. End of the year celebration and all that. We had a great time with food and drink, without giving the weather a second thought. When I neared home around 8 or 9pm I noticed the temperature was dropping, and some small branches were down on the back roads near my house. Didn't think much of it though. Just some crap in the road. Not all that unusual.

But the temperature continued to drop.

The lights flickered several times around 10pm. I knew what was coming. Well, I knew we would lose power; I really had no clue what was coming. No clue at all.

The power was still on when we went to bed around 11pm. Shortly after the trees started falling. No, falling isn't the right word. Shattering is more like it. SNAP. CRACK. A frightening sound, when a tree branch shatters under the weight of all that ice. Think of the sound of a baseball bat shattering upon impact with a fastball down the middle of the plate. Now amplify that up to the size of a tree.

Did the power go out before we started hearing trees shatter, or after? I don't know. The sequence is lost in the dreamy drifting in and out of sleep of that night. But I do know that the trees continued to shatter. All night long.

The World Is Ice
Morning comes. No power. Outside, ice. Everything is covered with ice.

Everything is covered in ice
 
Ice

The trees are bending to the ground in submission. And the world is oddly black and white, as if the ice has sucked the color out of everything.

Trees bending under the weight of ice

And destruction. Holy crap. There was a war, and the trees were bombed. Thirty, forty, fifty feet up they snapped and shattered.

Shattered trees
 
tree branch down

Many small trees didn't stand a chance.

small tree damaged
 
small tree damaged

It doesn't take a genius to understand that travel will be treacherous. Roads will be blocked.

Trees in the road
 
Travel at your own risk

There Is No Power
The numbers are old news by now. What was it, somewhere north of one million people without power in the five northeast states? In New Hampshire alone, almost 400,000 were without power. Even today, almost two weeks later, there are about 2,000 poor souls who haven't been restored. Public Service of New Hampshire (PSNH) reports that it has restrung more than 120 miles of power cable, replaced more than 250 broken poles, 16,000 fuses, and 1,500 transformers. They don't do that in an entire normal year, no less in a couple of days. But the numbers alone don't tell the story.

We started preparing that first day long before darkness took over. Emergency lanterns. Mag lights and other flashlights. Batteries. The emergency supply of water from the basement. The emergency one-burner butane cook stove. Inventory of easy to prepare food. Check. Check. Check. Check. Check. And check. Surely the power will be back on soon, but these are the necessary steps you take when you lose power during winter in New England.

We ventured out in the afternoon. The Shaws grocery store in Derry was open and operating under emergency power. What an odd experience. A bare minimum of dim emergency lights. All of the open cold cases, normally stocked with milk and OJ and eggs and meat, are empty and dark; all of that stuff was evacuated to power-safe locations in the middle of the night. The freezer aisles are still stocked, but blocked off to prevent anyone from opening the case doors and letting the precious cold air out. The water aisle is pillaged, but we score some; without the ability to run our well pump, we are entirely dependent on our emergency supply. Tuna fish and canned soup are gold.

By 3pm we worry about the house getting cold. Our friend, Mark, is our lifeline. Mark heats with a woodstove, and he stockpiles wood on his property the way a squirrel prepares for a long winter. We can use our fireplace woodstove insert as an emergency heat source. It isn't nearly as good as an honest-to-goodness wooodstove, but it will keep the house out of the danger zone. After a trek to Mark's to bring home two recycling bins of wood, the stove is generating heat. Patti and I laugh when I go to plug in the woodstove fan power cord. D'oh! But soon the living room is above 60 degrees F.

Without the ability to circulate heat out of the woodstove via its fan, we burn wood at probably four or five times the normal rate. Mark is a trooper, though, and he keeps us supplied. We average two to three bins a day, with the living room hovering around 60. Rooms further away are down to 50. The basement is 45. The pipes won't freeze. We are thankful. Monitoring the temperature becomes a fundamental activity, particularly when the outside temperature drops into the mid-teens on Saturday night.

In all, we were without power for eight and a half days. They were exhausting days. Our supply of water, batteries, butane, and wood become our primary focus. We sleep in sleeping bags on the living room floor, near the woodstove. Sure as hell can't sleep on our now stone cold waterbed, much to the dismay of our cat.

The house is a wreck. Everything is dirty. Between the dirt from burning wood, and conservation of our bottled water supply, daily activity clean up is nowhere near normal. I wonder, what did the pioneers ever do without Clorox Wipes?

We may be running out of clean clothes, but showers at work are a blessing.

Our cat, GK, a creature of habit if there ever was one, is freaked. He has this look that says, "SRSLY, WTF?"

The tropical fish tank water temperature is well below the safe zone. The neon tetras are dead within three days, but Pleco the plecostomus hangs in. He's got a lot of body mass, and he appears to go into a state of semi-hibernation. We establish a pattern of filling the tea kettle with bottled Poland Springs water, heating it on the wood stove, and using it to bring the water temperature up a few degrees. We don't really know if it helps Pleco at all, but it makes us feel better.

We emptied both refrigerators, as well as the upright freezer, on Sunday afternoon. It started when we noticed a puddle of water under the fridge in the kitchen. Sh*t, there goes a whole bunch of food. But at least we have curbside garbage pickup, and tomorrow morning is garbage day. All three appliances are spic and span. Better to do it now, before it becomes a battle against rotting smell.

The sound of portable gas generators fill the neighborhood, but we don't have one. People wait in lines at Home Depot for daily shipments.

Eight long days of this. Sure, going to work helps. But we're distracted, and tired, and scattered.

Twitter Shines Brightly
Coming home after work at night was the most difficult. It would be all too easy to let depression get the better of you. You drive toward your home, seeing houses and neighborhoods brightly light with restored power. But as you near home it all goes dark, except for the dimmest of lights coming from houses with generators. You wander around the house with a headlamp and a flashlight, feeling like a stranger. It's your house, but it isn't home. (Credit for that last line goes to my friend Carolyn. Actually, her exact words were, "Impossible to explain being a refugee in your own home... you just want to go home, but you're already there, and it's not home." Exactly.)

Our twitter community kept us sane, though. Patti and I both have lightweight twitter clients on our smartphones, and the ability to stay in contact became far more important than I would have thought. Some of it was the solidarity (misery loves company?) among the many of us without power. We stayed in touch, and rejoiced when one of us was restored. We were warmed by invitations to come to friends' houses. We were touched by expressions of concern from those near and far. And we were able to shout out to the world; twitter became a cathartic outlet. I smile looking back at my twitter stream. Just a few posts:

Sunday night: have another guinness. throw some more wood in the stove. fall asleep reading in the dark, with cat on lap. my house. tonight.

Monday night: one of our 6 volt battery lanterns hit the too dim stage. OTOH, i scored D batteries today. we measure quality of life by batteries & water

Tuesday: PSNH told my neighbor "maybe Thurs, Fri, or Sat. But maybe next week." Translation: we dunno

Tuesday: Score! 2 butane fuel cartridges and 2 6 volt lantern batteries at Ace Hardware in Concord, MA. Living high on the hog tonight!

Wednesday morning: a hot cup of freshly brewed coffee and the morning paper bring a sense of normalcy

Wednesday night: I know! Let's sit in the dark and read by flashlight! <sarcasm>Again.</sarcasm>

Thursday: at first those PSNH restoration estimates seemed so full of progress and hope. now they just seem like taunts, don't they?

Friday morning: Day 8 begins. PSNH telling us there are only 30,000 customers to go does not bring joy. Where is my fricking power?

Friday afternoon: When I woke up this morning I wondered what would come first - restored power, or the snowstorm? Yea, you guessed it. The snowstorm is here

Friday night: Dear Santa, All I want for Christmas is for MY FRICKING POWER TO BE RESTORED AGAIN. Yours truly, Tommy

Saturday morning: Day 9 of power outage hell begins. Oh boy, I can use snowblowing the driveway as a diversion from my other survival activities.

And then at 11:12am on Saturday: OMG OMG OMG!!!!! WE HAVE POWER!!!!!! WE HAVE POWER!!!!!!!!!!

Beauty
Yea, so the week was hell. But on that first Friday morning I grabbed my camera and walked around. And what I was most attracted to was the beauty of the small, rather than the large. Some examples:


 

 

 

 

 

 

 

 

Perspective
Some perspective is called for. My first thought here is that the region got lucky on that first Friday, because the temperature went up to the high 30s rather than the other way. Had the region gone into a deep freeze while all that ice was still in the trees, it would have been far worse; no question. But with higher temperatures on Friday, and the help of the sun, much of the ice melted and set the trees free. As bad as the ice storm and power outage was, New England dodged an even bigger bullet.

And next, really, all this only amounted to a week or so of inconvenience. Sure, we worried about freezing pipes. And chimney fires. And I understand there was at least one death because of carbon monoxide poisoning. And yes, some people had damage to their houses and cars from trees and branches falling into them. But for the vast majority of us in the region, it really amounted to a major pain in the ass. Nothing more.

Not like my former colleague and friend, Lucille, whose house in Biloxi, Mississippi was hit by Katrina. I remember her description of the first floor of her house. She said something like this: it was as if someone had filled the first floor with 6 feet of water...and then turned the blender on.

Or Ellen Isaacs in California. Her description of losing her house in the Ormsby Fire ("solving the mouse problem once and for all") in March 2008 puts our power outage in its rightfully puny perspective.

Within days, heck, within hours, of having our power restored we were back to normal - heat, lights, wireless network, cable, the works. But for Lucille, and Ellen, and thousands more, well, some of them are still putting the pieces back together. So I will count myself as inconvenienced for a week, but very fortunate.

But I sure as hell am getting a stand-by backup generator running on liquid propane. Never again!

Saturday, November 29, 2008

Concert Review - David Bromberg @ Newburyport City Hall Auditorium


Wow. This was special. David Bromberg played a solo acoustic show last night at the Newburyport City Hall Auditorium. I have seen David play in all sort of configurations - with the David Bromberg Big Band, with the acoustic David Bromberg Quartet, with the Angel Band, and with Jorma Kaukonen and Jack Cassidy in an acoustic Hot Tuna Bromberg format. But solo acoustic is a rarity and a special treat.

David Bromberg ticket stub, November 28, 2008
David Bromberg ticket stub, November 28, 2008
Like so many other supremely talented musicians, Bromberg isn't as well known as he should be. He plays an eclectic range of styles that mixes bluegrass, blues, folk, and rock in his own unique way. As a music major at Columbia University in the early to mid 60s, Bromberg was shaped by the Greenwich Village music scene of the time. He studied finger-picking blues guitar from the Reverend "Blind" Gary Davis by exchanging lessons for helping to lead the Reverend to his gigs; imagine being a human seeing eye dog for a blues guitar legend! Bromberg has been a sideman studio guitarist on literally hundreds of albums, including records by Bob Dylan, The Eagles, Ringo Starr, Willie Nelson, and Carly Simon. He co-wrote one song, "The Holdup" with George Harrison, and has played with the likes of Jerry Garcia (who appeared on two of Bromberg's albums), Tom Rush, Vassar Clements, and more.

The Newburyport City Hall was built in 1851, and it includes an honest to goodness auditorium right in it. It's not ornate, but it does have surprisingly good acoustics. The sound was bright and clear with no noticeable echoes. The floor was set with folding chairs; I estimated about 250 chairs on the floor and probably another 100 or 150 seats in the balcony that ringed three sides of the hall.

You know those crystals that swell to one hundred times their size in water? Bromberg reminds me of that. I mean, when you look at the man you think nothing of him. In his own words you just see "an average, overweight, middle age, Jewish guy." But like those crystals in water, he swells to a hundred times his normal size on stage. He has a command of the stage, and a performing presence, that strikes awe. This is equally true when he is performing something slow and sad, such as "Watch Baby Fall" or rip roaring like his unique version of "Statesboro Blues."

We got the full range of Bromberg's styles during the 90-minute set. Some of it was Bromberg's own humor infused songs, including "Demon in Disguise", "Black and Tan", and "Tongue". His cover of Big Bill Broonzy's "Long Tall Mama" fits equally well in this category:

I got a long tall mama
She stands about seven foot nine
I got a long tall mama
She stands about seven foot nine
When it comes to making love she hollers
Lordy, Davey, take your time


We also got a good mix of the heartfelt, including a beautiful show version of Dylan's "It Takes A Lot To Laugh, It Takes A Train To Cry" Bromberg's own "Watch Baby Fall" (there's a song that can make you cry), and Ian Tyson's "Summer Wages". The latter is a song that I consider signature Bromberg, even if it is a cover; his version is so fine he simply owns the song. He called Annie Raines up to the stage to accompany him on harmonica for a rare "Going to Germany", a World War I era song he was inspired to do because of the WWI memorial plaques lining the downstairs hallway in the city hall. Another treat was an instrumental "Over the Rainbow", as well as the show ending "Mr. Bojangles".
And we had our fill of the blues. From the traditional "Delia's Gone" (a song about the murder of fourteen-year-old Delia Green in Savannah in 1900), to Robert Johnson's "Come On In My Kitchen", the Reverend Gary Davis' "Maple Leaf Rag", and Tommy Johnson's "Big Road Blues."

Most of the set was solo Bromberg, but he did call his wife, Nancy Josephson, to the stage a little more than half way through his set, and she accompanied him on a standup electric bass and with harmony vocals. There were a few humorous moments between them when David started playing songs which she has never done before, but she was a trooper and it all went without a hitch.
I looked around on YouTube for something that would capture what Bromberg is like today, and this studio piece of him talking about the Reverend Gary Davis and then playing "Maple Leaf Rag" seemed to be the overall best to give you a sense of the man:



The opening act, Paul Rishell & Annie Raines, was a fantastic surprise. Although their names were familiar to me, I was not familiar with their music at all. Their acoustic blues floored the entire audience, with Paul playing a National Steel guitar and Annie on kick-ass harmonica, and both sharing vocal duties. Their thirty minute set ranged from Spider John Koerner's "Good Luck Child", to Scrapper Blackwell's "Trouble Blues", to their own infectious "Got To Fly" which included an audience call and response. More than a handful of us headed to the merchandise table to pick up their CDs at the break.

I was disappointed that I couldn't find a version of "Got To Fly" on YouTube, but here's a small snippet of Paul and Annie performing "Louise" that very much tells the tale:



The set list...

David Bromberg
Friday, November 28, 2008
City Hall Auditorium, Newburyport, MA

Solo:
Demon In Disguise
Black and Tan
It Takes A Lot To Laugh, It Takes A Train To Cry
Try Me One More Time
Come On In My Kitchen
Delia's Gone
Maple Leaf Rag
Big Road Blues
Long Tall Mama
Levee Camp Moan
Watch Baby Fall

With Nancy Josephson on upright electric bass:
Don't Let Your Deal Go Down
Summer Wages
Who's Lovin' You Tonight
Dark Hollow
Going to Germany
Over the Rainbow (instrumental)
Tongue

Encore 1 (solo):
Statesboro Blues

Encore 2 (w/ Nancy):
Mr. Bojangles

Opening Act
Paul Rishell & Annie Raines:
Custard Pie
Honey It Must Be Love
It'll Be Me / I'll Be Looking For You
Good Luck Child
You Been A Good Ol' Wagon
Trouble Blues
Got To Fly

Saturday, November 22, 2008

Concert Report - Janis Ian @ Tupelo Music Hall

Janis Ian at Tupelp Music Hall, November 20, 2008
Patti and I were back in our front row seats at Tupelo Music Hall this past Thursday night for an evening with Grammy award-winning singer/songwriter Janis Ian.

For many in the audience, Janis is an icon and a legend and we greeted her warmly and paid rapt attention to her every word. Janis' concerts have a leisurely pace, and are as much about her stories as they are about the music. Three stories from Thursday night stood out for me.

The first was her recounting of the events surrounding her first hit single, "Society's Child" in the mid-1960s. This song is about an interracial romance between a white girl and her African American boyfriend, and the societal pressures that ensue from the girl's family, classmates, and teachers. Written when Janis was just 14 years old, it thrust her into the spotlight of the civil rights movement, and propelled her from playing 50 seat clubs to 1,500 seat halls almost overnight. She told of the controversy it generated in those racially turbulent times - a radio station in Atlanta was burned for playing it, and disc jockeys who played it were fired. And she told of hateful racial epithets being hurled at her as she sung the song, and her discovery of courage and the power of song to overcome hate and racism. Imagine a barely 5 foot tall Jewish teenager from New York mustering the courage to face bigotry and racism with lyrics and guitar (Janis mentioned the slogan written on Woody Guthrie's guitar: this machine kills fascists).

Come to my door, baby,
Face is clean and shining black as night
My mama went to answer
You know that you looked so fine
Now I could understand the tears and the shame
She called you "boy" instead of your name
When she wouldn't let you inside
When she turned and said
"But honey, he's not our kind."

Janis ended the first set with a long and well-practiced story of her mom. It built from the innocence of her mom's clumsy ways as a source of family humor, to the sober realization of the slow onset of multiple sclerosis as the real cause of mom's pratfalls, to the onset of depression and dementia. The description of her mom's last night left not a dry eye in the house, and was followed by "I Hear You Sing Again", a song that Janis finished based on unreleased Woody Guthrie lyrics:

If I could only hear my mother sing again
If I could close my eyes and hear your voice as then
All the friends and family
would sing along with me,
and set your spirit free
 
In my heart I hear you sing again
Every note as natural as then
and when I sing those songs
for family and friends,
in my heart I hear you sing again

The third story preceded the humorous "Married in London." Janis is openly gay, and she recounted getting married to her partner in Toronto, and the amazing feeling of being treated as "normal" for once in her life. As much as we were all crying when she spoke of her mother's death, we were all bursting with joy and pride to hear this story of love and committment.

We're married in London
but not in New York
Spain says we're kosher
The States say we're pork
We wed in Toronto
The judge said "Amen"
and when we got home
we were single again

One nice surprise was the slow treatment given to John Lennon and Paul McCartney's "Love Me Do." It's nice to hear such a familiar song given a well-done alternate delivery. We also were treated to, of course, Janis' most famous song - the 1975 Grammy award winning "At Seventeen." It's likely that if you have no idea who Janis is, you have heard this song:

I learned the truth at seventeen
That love was meant for beauty queens
and high school girls with clear skinned smiles
who married young and then retired
The valentines I never knew
The Friday night charades of youth
were spent on one more beautiful
At seventeen I learned the truth
 
And those of us with ravaged faces
lacking in the social graces
desperately remained at home
inventing lovers on the phone
who called to say - come dance with me
and murmured vague obscenities
It isn't all it seems at seventeen

Want to learn or hear more? Head over to the Free Music Downloads page on janisian.com for some free MP3s; count Janis among the enlightened musicians who understand that freely sharing her music is the absolute best way to sell more music and concert tickets. And, as always, YouTube is our friend...

"When The Party's Over" is a song that you might recognize from some FM airplay:

Another interesting thing that YouTube allows is to compare Janis "back then" and Janis today. Try these:

Finally, how about a little humor? "Married in London":

Oh, the photo at the top of this post is mine. I have a few more that I took posted on flickr.

The set list:

Set 1:
Through The Years
When The Party's Over
Society's Child
From Me To You
Silly Habits
My Autobiography
I Hear You Sing Again (Woody Guthrie/Janis Ian)
 
Set 2:
Love Me Do (Lennon/McCartney)
Tea & Sympathy
Light a Light
Watercolors
Married in London
At Seventeen
Encore: Jesse

Sunday, November 16, 2008

Concert Report - John Gorka, Cliff Eberhardt, & Eliza Gilkyson @ Tupelo Music Hall

Humorously billing themselves as "Longing for Eliza", or even better yet, "Laugh Laugh Laugh" (see this if you don't get the reference), John Gorka, Cliff Eberhardt, and Eliza Gilkyson took to the Tupelo Music Hall stage last night. Once again Patti and I were sitting up front, not more than about 6-feet from John and Eliza, and maybe a whole 12 feet from Cliff!

John Gorka at Tupelo Music Hall, Nov. 15, 2008

We've seen all three of these Red House recording artists solo before, but tonight they were all on stage together in a songwriter's circle format. Unlike Cry Cry Cry, they stuck to their own songs with minimal backing vocals and guitar here and there helping each other out. The notable exceptions to this were the opening and closing numbers, both Gorka tunes, but executed as a trio, ala Cry Cry Cry. The energy and power of these two tunes made me wish for more of this, rather than the one at a time format; "Good Noise" indeed, as that closing song reminded us.

As with Cry Cry Cry a decade ago (has it been that long? wow.), you could feel how much these three artists were enjoying the company and companionship of each other. The solo artist gig must feel a bit lonely after a while, and sharing the road and stage for a change was clearly uplifting to all three. It was particularly interesting to see Eliza concentrating on John and Cliff's songs, learning parts and softly singing away from the microphone.

Eliza Gilkyson at Tupelo Music Hall, Nov. 15, 2008

The show was two sets, with the first lasting nearly 90 minutes and the second around an hour. Some of the length was due to the leisurely banter between the artists; there was no hurry, but the audience didn't mind.

Highlights? I was surprised by Gorka pulling out his classic "I Saw a Stranger With Your Hair" early in the first set; I expected this to show up more towards the end of the show. No complaints from me though, as "Stranger with Your Hair" and "Heart Upon Demand" are I think Gorka's two best songs ever; we didn't get the former though.

The best song sequence of the night was Gorka's "Writing in the Margins" followed by Eliza's beautiful "Jedidiah 1777." Gorka's song was inspired by a conversation he had with an Iraq war veteran. It is written from the perspective of a soldier, writing a letter to his loved one back home. Eliza's "Jedidiah 1777" is based on letters written by her ancestor, Brig. Gen. Jedidiah Huntington. Jedidiah fought in the Revolutionary War with George Washington, and participated in the dreadful Valley Forge winter encampment in 1777.

Cliff Eberhardt at Tupelo Music Hall, Nov. 15, 2008

As always, I encourage you to check out some YouTube samples if you aren't familiar with these three wonderful artists. Recommendations:

The photos above are mine, and you can see a few more that I took on Flickr.

The set list:

Set 1:
When She Kisses Me (Gorka)
The Party's Over (Eliza)
Money Don't Care for Me (Cliff)
I Saw A Stranger With Your Hair (Gorka)
Think About You (Eliza)
It's Home Everywhere I Go (Cliff)
Writing in the Margins (Gorka)
Jedidiah 1777 (Eliza)
Only in Heaven (Cliff)
Branching Out (Gorka)
He Waits for Me (Eliza)
The High Above and the Down Below (Cliff)
 
Set 2:
The Long Road (Cliff)
When You Walk On (Eliza)
Ignorance and Privilege (Gorka)
Love Slips Away (Cliff)
Mama's Got a Boyfriend (Eliza)
Mean Streak (Gorka)
Sugartown (Cliff)
Beautiful World (Eliza)
That's How Legends Are Made (Gorka)
That Kind of Love (Cliff)
Wildwood Spring (Eliza)
Good Noise (Gorka)

Saturday, November 15, 2008

Concert Report - Rory Block @ Tupelo Music Hall

We were back at the Tupelo Music Hall last night for a nearly two-hour solo set by Rory Block, a master of the Mississippi Delta Country Blues style.

Rory Block at Tupelo Music Hall, November 14, 2008

Patti and I have seen Rory, oh I dunno, maybe five or six times going back to around 1990 or 1991. Each time I am struck by both her mastery of the acoustic blues, as well as her encyclopedic knowledge of the blues masters. She is a walking history book, telling tales of Robert Johnson, Son House, Muddy Waters, Mississippi John Hurt, Reverend Gary Davis, and others. Some of this is first-hand knowledge, as she left home at the age of 15 to seek out and learn from the blues pioneers who were still alive. Her stories give insight into the men and the music. I never tire of hearing her compare and contrast the guitar styles of Robert Johnson and Son House, or of her demonstration of how to find the tuning for old country blues songs.

Patti and I were right up front at Table 3, and my seat couldn't have been but about six feet from her. I was so close that I was hesitant to take too many photos, but you can see how close I was from the photo at left, as well as three others I posted to Flickr.

As is typical of her shows, the set started with a bunch of Robert Johnson and Son House tunes. We also got our fair share of her own songs, including "Lovin' Whisky", "Like a Shotgun", and at fan request both "Silver Wings" and "Gypsie Boy." She told a wonderful story of Stevie Wonder singing on the latter tune on her 1986 I've Got a Rock in My Sock album. (Side note: David Bromberg and Taj Mahal also appear on that album.)

As with most artists these days, you can get a good feel for their live shows from YouTube. If you aren't familiar with Rory, here are a couple of clips to get you started:

The set list:

Crossroad Blues (Robert Johnson)
County Farm (Son House)
Me and the Devil (Robert Johnson)
Death Letter (Son House)
Preaching Blues (Son House)
Rambling on My Mind (Robert Johnson)
Declare
Lovin' Whiskey
Don't You Mind People Grinning In Your Face (Son House)
Like a Shotgun
I Be Bound (Muddy Waters)
From the Dust
Silver Wings
Gypsie Boy
Encore (a cappella): Ain't No Grave Gonna Hold My Body Down (Claude Ely)