Friday, September 14, 2012

Kawasaki Concours 14 - The Ultimate Test Drive

10 days, 2,016 miles, and 2 up aboard a 2010 C14

Yes, this was the ultimate test drive. It's one thing for your local (ahem, BMW) dealer to let you take out a bike for an hour or two. It's a whole 'nother thing to live with a bike for ten days, two thousand miles, two up. My wife and I rented a 2010 C14 ABS from Mountain to Sound Motorcycle Adventures in Issaquah, WA, just outside of Seattle. The bike had just over 20,000 miles on it when we started, and it was sporting a fairly new pair of Michelin Pilot Road 3 tires.

Our 2010 Kawasaki Concours 14 rental bike

Much of what I write here will be in comparison and contrast to my daily ride, a 2004 BMW R1150RT that is approaching the 50,000 mile mark. I've owned the RT since it was new.
My 2004 BMW R1150 RT, on the Cabot Trail in Nova Scotia


Just the Facts, Ma'am

According to my Garmin Zumo 550, we covered 2,016.3 miles and our average speed was 46.5 mph. This took a little bit more than 43 hours of riding time (moving time). I will neither confirm nor deny that the Garmin recorded a triple digit top speed; use your imagination. Because of some unforeseen circumstances at the end of our ride (which will be covered later in this report), I neglected to compare the Garmin's mileage reading with the C14's odometer at the end of the ride, so I cannot report on potential odometer error. I will note that I observed optimistic readings on the C14's speedometer starting at about 60 mph (when compared to the Garmin's speedometer) and the C14's speedometer may or may not have been as much as 5 mph optimistic when the Garmin was reading 105 mph.

We were two-up and fully loaded (luggage in the side bags, plus an additional soft luggage tail pack) pretty much the entire time. The C14's on-board mileage computer reported a total average 42 miles per gallon at the end of the ride. I never, not once, put the C14 into its fuel economy assistance mode. When I can get 40+ mpg riding two up in a sporting fashion, that's good enough for me. I'll let others play the high fuel mileage game.


The Route

Our route was a large, counterclockwise loop, starting and ending just outside of Seattle. The green "pins" in the map below show our overnight stopping points.

We started with the Olympic Peninsula, then down the northern half of the Oregon coast before heading east to Bend. From there we wound our way through the Hells Canyon National Recreation Area and on up to Lewiston, Idaho. From Lewiston, we turned back west to cut across the state of Washington to get back to Seattle.

Although this post is more about the bike than the ride, notable portions included the amazingly smooth mountain road up to Hurricane Ridge in the Olympic National Park, of course US 101 along the Pacific coast, Oregon Route 242 over the McKenzie Pass, the Cascades Lake Scenic Byway from Bend past Mt. Bachelor to the Crane Prairie Reservoir (beyond that it's too straight and boring), the Hells Canyon Scenic Byway through (duh) Hells Canyon, and Oregon 3/Washington 129 across the incredible Grande Ronde River gorge. These are some of the finest roads anywhere, and our ride included just about everything from fast sweepers, to tight twisties, technical mountain hairpins, and miles and miles of straight as an arrow empty and fast roadway.

Rough outline of our route, starting and ending just outside of Seattle

But this post really isn't about the route. It's about the bike...


Gobs and Gobs of Silky Smooth Power. What's Not to Like?

Are there enough superlatives to adequately describe the amazing 1,400 cc (well, technically 1,352 cc, I suppose) inline-four engine in the C14? Gobs and gobs of power, delivered without any fuss, without any muss. It does its job, with smooth, vibration free delivery of as much acceleration as you want, whenever you want. Yet despite having a power-to-weight ratio worthy of a rocket ship, the bike is incredibly easy to ride at low speeds and in a civilized fashion when in town or in traffic. It was so very easy to fall in love with this engine, especially in comparison to the far less powerful boxer twin in my RT. It's not even a fair fight.

The clutch on the C14 is silky smooth with a light pull. This is another area where it was easy to fall in love, particularly when compared to the much heavier pull of the dry clutch on my RT, or even when compared to the clutch on the new BMW K1600 GT/GTL bikes. The K1600 bikes transmit a very noticeable "thunk" up through the clutch lever when shifting that I found very disconcerting during a recent test drive. The C14 clutch, on the other hand, just works much like the engine - no muss, no fuss. Smooth like butter. Advantage: Kawasaki.

I was similarly suitably impressed with the suspension. It never felt upset. It never wallowed. It never bottomed. In every respect here, the C14 beat my RT hands down. It even has me thinking of looking into aftermarket suspension upgrades should I decided to keep the RT. Despite this difference, though, I found little actual difference in the two bikes in terms of pure handling. Both are incredibly nimble bikes, whether doing parking lot U turns, fast and accurate twisties, or mountain hairpins. And other than me knowing when I'll be stressing the RT suspension when viewing rough road, I thought the two bikes felt like, well, the sport tourers that they are.

One area where I do vastly prefer my RT over the C14 is on the brakes. I'm certain this is more of a feel difference than any stopping distance performance difference. And I account my preference to two factors, well maybe three: the BMW's Telelever front end, the BMW's servo assist, and the cumulative feel at the brake lever. I fully realize that many people have negative reviews and reactions to BMW's servo assist on the RT, but I happen to love it. The RT's front brake lever has a firm, hard feel to it that, frankly, is tricky to master. But I have mastered it, and the end result is a fantastic feel. I'm certain the C14 probably has as much, or heck maybe even more, stopping power. But the front lever felt softer to me, and I didn't have quite the feeling of braking authority as I do on my RT. I found little difference to the brake pedals on the two bikes, but for me, lever feel is more critical than pedal feel. Again, before any C14 owners and lovers start to pull out stopping distance facts and figures, I fully realize that my preference is likely due to a perception difference, not a performance difference. But for me, advantage BMW.


Rider Comfort - An Ergonomics Mixed Bag

A sport touring bike should be both sporty and long-haul comfortable. You might say that's what the entire category is about. We already know that the C14 excels on the sporty front. How did it did do on the comfort side?

Let's start with the truly awful. What the hell was Kawasaki thinking with those handlebars? What size human are they designed for? Somebody way taller than me? Or way shorter? Longer arms, maybe? I don't know, but I pure hated those bars. After thirty minutes of riding, the pressure on my palms and wrists was annoying as all hell. I could not find a position that ever worked. This is a serious fail on Kawasaki's part.

Before any C14 owners respond with "that can be fixed", sure I understand that. That's not the point. This isn't about what can be changed by aftermarket parts, but what I thought about the bike as it is, out-of-the-box, as it were. I don't expect any bike to be perfect in all respects, but I certainly do expect a sport tourer to at least be adequate in terms of all-day ergonomics. And the stock C14 bars simply fail here.

On the other hand, I found the stock windscreen perfectly acceptable. If I were to own a C14 might I replace the stock windscreen, as I did on my RT with a Cee Bailey? Sure, I might. But the stock screen does a perfectly acceptable job, with a minimum of buffeting, and a minimum of wind noise - for both rider and passenger. Nothing to complain about here, other than the stupid (stupid, stupid) default for the windscreen to lower itself all the way when the bike is shut off and then to stay there when the bike is started again. I was infuriated with this. It was like a car that made you adjust the car seat every fricking time you started the car. For the first couple of days I cursed the bike with an ever increasing loathing every time I started it. Then my brother taught me how to change the default setting so the windscreen would raise when the bike was started. I picked setting 3, which raised the windscreen three-quarters of the way up. From that point on, I was a happy camper. However, if you ask me, the default behavior should be to return the windscreen to the position in which the rider last had it.

I didn't really have any problem with the seat, although I do vastly prefer the stock "comfort seat" on my RT. The stock RT seat has a wider and deeper (front to back) seat pan, and gives me lots of ability to move around. The C14 seat basically felt like one position. I know that some people complain about its forward slope, but I did not find that to be a major annoyance. The seat wasn't stellar, but it was OK. Unlike the bars, I thought it was perfectly acceptable for a stock item. If I were to own a C14 I would probably upgrade to an aftermarket seat, but mostly to change the seat to foot peg relationship. I found that after about 4 or 5 hours on the bike I would feel a cramping in my hips. I suspect a higher seat would eliminate that issue.

Overall, however, I think the RT is more ergonomically friendly for the rider than the C14 - even taking the C14's handlebars out of the equation. Part of this is the ability to move around in the RT's stock seat, but another part has to do with the width of the tank. Either the RT's tank is narrower at the knees, or the pegs are positioned such that it allows more knee inward and outward movement. I can ride the RT with my knees tucked right up against the RT's tank knee pads, or I can just relax my legs and have lots of airspace between the tank and my legs. Not so on the C14, where I found my inner thighs and knees were pretty much always in contact with the tank. We had mostly very pleasant temperatures with low humidity. But I suspect in higher temperatures and higher humidity, this could get annoyingly hot and uncomfortable.


Passenger Comfort - A Nice Surprise

We were a little apprehensive when we discovered that our C14 would not have a top case. Mountain to Sound has two C14s, one with a top case, one without. We were slated for the top case bike, but it came back from a previous rental in dire need of a brake job. Thus, we had a last minute bike switch. I don't fault Mountain to Sound for this at all, and they were very accommodating and gave us a nice waterproof soft bag and bungee cords to use instead of a top case. This turned out to be a wonderful surprise! It gave Patti just enough support behind her so that she felt secure, and it also allowed her to have a great amount of upper body movement. In fact, we're even thinking of experimenting with taking the top case off the RT! Who knew?

Patti was also happy, overall, with the C14's seat. She says the seat was really comfortable, maybe even more comfortable than on our RT's seat. "I would be perfectly happy with that seat,", she said. Even more importantly, she was happy with the C14's foot pegs. Surprisingly, she thinks the fact that the pegs are not covered in rubber contributed to her liking them; not being covered in rubber made it easier for her to get on and off the bike. Rubber peg covers tend to twist. But the pegs were comfortable too. In fact, during the trip she remarked that she had never before felt so comfortable on a bike with foot pegs instead of floorboards. So for passenger comfort and ergonomics, the C14 scored big points.


Knobs and Dials

Let's cover a few additional details that aren't about long-haul comfort, but more about the fit, finish, and feel of the C14.

First, the mirrors. The mirrors on the C14 are quite good. They are well positioned, large, and vibration free. Much better than the mirrors on the RT, which are positioned lower and don't give as good of a rear view.

As I mentioned above, my legs were always in contact with the C14's tank (well, its bodywork, really). Why the heck doesn't Kawasaki ship the C14 with some sort of paint protection, especially in that scalloped area where your legs go? The RT has glued on contoured knee pads to protect the body. The C14 should have something like that, or at least a layer of paint protection film. The rental C14 was severely scratched here, and I even wondered if a previous rider had riding pants with inside leg zippers instead of outside zippers because the scratches were so deep and visible. Similarly, painted side cases look great when they are new, but it is so easy for both the rider and passenger to scuff them up when mounting or dismounting the bike. For crying out loud, ship the bike with protective film in the most vulnerable places. I wonder how many C14 owners have had to scramble to apply aftermarket film kits only after learning the hard way?

I was fairly pleased with the C14's side cases. When empty, each contains a full face helmet with room to spare. And they swallowed up my BMW side case bag liners (actually I think mine are an aftermarket, not a BMW branded product) with ease, even though they were both stuffed with two weeks worth of clothing. The latching system worked OK, although it felt fragile in comparison to the RT's latching system. This was especially noticeable when the side cases were stuffed to the gills, like when adding a jacket liner on top of the stuffed bag liner. I kept having this nervous feeling that I was going to break some internal part of the latching mechanism. Never did, but it just didn't feel robust.

And that last point holds true across the two bikes. The RT's controls and latches all have a solid, well built feel. It's the sort of feel that makes you think, "oh, German engineering." But the feeling I got from the C14's pieces and parts, the latch mechanism on the side cases and the turn signal switch are two that come immediately to mind, was that Kawasaki sourced the components from low bid suppliers. The components just plain felt cheaper, because, well, I suspect they are cheaper. And sure, I understand that this is what keeps the cost of the entire bike way down in comparison to a BMW; I get that. But given a choice, I'll take quality switches and latches any day. Another example of this is the inclusion of just a single cigarette style accessory outlet, rather than the more expensive (but arguably better) Powerlet style (also known as BMW style) outlet.

Oh, and what's with that sad excuse for a glove box? Heck, I couldn't even fit my reading glasses in it - it wasn't deep enough. Besides that, anything you do put in the glove box is going to toast - the heat build up in it was nasty. Darn near useless.

I like the idea of the dashboard computer display, but it didn't take me long to realize that the Range (distance to empty) display was utterly useless. How could they have gotten this so wrong? I love the distance to empty readout in my car (a Nissan) - it is rock steady and deadly accurate. But the C14 must be calculating the range based on very short intervals using throttle position and engine load. It wasn't unusual to see 70 to 80 mile swings in the readout at almost any time. Stupid. Bad software programming.

I ended up just leaving the dashboard display on temperature, and Patti and I both got a chuckle out of the fact that Kawasaki decided it was important to tell us that this was the "outside" temperature. Yea, thanks, I would have never guessed. That label would have made perfect sense if the C14 had another digital readout telling me about engine coolant temperature, but it doesn't. Yet another cost cutting measure, perhaps?

Given the size of the LCD, I thought the whole thing could have been easily designed to show me much more information all at once. Even just two pieces of information, rather than one. For me, I'd like a digital speed readout in a permanent spot, and then the ability to cycle through other information in an adjacent spot.

I also found myself accidentally hitting the display cycle switch on left handlebar. It took me several days to realize this. I'd have the display set to temperature, and then would be baffled when the display seemed to randomly switch over to mileage. I kept wondering if there was some sequence of events that was causing the bike to decide to switch the display, but after a while I figured out that I must have been hitting the switch without knowing it. I never did catch myself actually doing it, but it must be what was going on.

I didn't have any issues with the KIPASS (Kawasaki Intelligent Proximity Activation Start System). I kept the KIPASS fob in a zippered breast pocket of my riding jacket, since I never (never ever) get on the bike without the jacket on. I used the large ignition switch key for the fuel door and side cover locks, not the smaller key stored in the KIPASS fob; I wonder whether I'd change that behavior if I actually owned a C14. I found the ordering of the ignition switch positions puzzling. From lowest left, counterclockwise they are: Steering Lock, Off, On, and FSS (Fuel, Seat, Storage). You can only remove the ignition key when it is in that last position, FSS. What's puzzling to me is if you have the bike in Lock or Off, then to remove the ignition key you have to pass through On. Similarly, if you have the ignition key out, say to unlock the side cases, then to put it in lock you again have to momentarily pass through On. Why didn't they just order them differently, say Lock, FSS, Off, On? Do C14 owners bypass this oddity by just using the smaller FOB key?

Whew! This was a long section, I know! But these details are important when it comes to living with a machine. And I think my bottom line in this whole area is that, well, the Kawasaki is not a BMW. Perhaps just a little less attention to detail. Perhaps just a little cheaper in terms of component quality. For the new bike buyer, this area might represent the ten thousand dollar question, as this is about the price difference between a C14 and a K1600 GT. Everyone's mileage is sure to vary on this front. Is a higher level of fit, finish, and quality controls worth ten grand? I don't know. I just don't know.


Can I Get Another Gallon of Gas Please?

I'm sorry, but you ought to be able to go 200-miles on a sport touring bike without thinking about refueling, confident in the knowledge that even at 200 miles you have an easy 60 or more miles left in the tank. I never felt that confident, given the C14's 5.8 gallon capacity. Sure, I suppose that theoretically since I was averaging 42 miles per gallon that I should have been able to fuel up at 200 miles, but with no real confidence in the Range display and a precipitous drop in the LCD gas gauge bars when pushing 150 miles or so, I was not going to push my luck. If Kawasaki found room to put another gallon of gas somewhere in there, I'd be a whole lot happier.


Beauty Is In the Eye

I like to fall in lust with the vehicles I purchase, even when they have flaws. My RT is the last of the 1150cc engine, but more importantly is the last of that swoopy, sexy, curvy bodywork. I love the curves of the 1150RT, and often field positive comments about the bike's looks. The C14? Eh, it's sorta Plain Jane to me. It's not ugly, but I don't find it to be eye candy either. Part of this might be color (and come on Kawasaki, how about at least two color choices every model year, instead of just one!), but that's not all, I think. The C14 body work just doesn't seem as sleek to my eye. Too many wide seams in it. Too many unnecessary visual flourishes, like the horizontal bumps in the side cases. The lower fairing cowling, and the headlight glass seem ham-fisted to me (although I will say that the headlights are excellent). The Kawasaki badge seems unbalanced (too large). The whole visual package just doesn't make my heart go thump, thump, thump. I wish it did. Oh, how I wish it did.


All Good Things Must Come to an End, Some More Suddenly Than Expected

At about noon on our last day, just as we crested Stevens Pass on Washington Route 2, I saw something odd in the road ahead. I had just enough time for these thoughts to pass through my mind: "What's that? Oh shit!" before we hit the 10-foot long piece of pressure treated 4-inch x 4-inch lumber that was lying across our lane of travel. I had enough time to brace for the impact, but not enough to roll off the throttle, or to brake. We hit it, thankfully at right angles, at about 60 mph. There was one hell of a "bang" when the front wheel impacted the lumber.

Patti, unaware this was about to happen, was launched out of her seat. She doesn't believe, however, that her feet ever left the foot pegs. Nor did I feel her go up, or come back down again.

For a brief moment after the impact I thought to myself, "Huh, we didn't blow the tires." But then the bike landed, and the wobble was immediately noticeable. The dashboard was also reporting a zero PSI warning, which Patti noticed immediately.

I brought the bike to a safe, controlled stop without any difficulty. The front tire had zero PSI, and the front wheel was toast. The rear tire was still holding some pressure, although the rear wheel was also bent - just not quite as badly as the front. Here's a photo of the front:

Ouch!


Our ride, clearly, was over. We were just about 80-miles from completing our 10-day loop. But we were upright. All of us - me, Patti, and the bike.

Amazingly enough, the Washington Department of Transportation had a crew working at the exact spot where all of this happened. They didn't have anything to do with the lumber in the road, but they were working across the road installing electronic speed limit signs. The WSDOT (Washington State DOT) crew had watched as the lumber fell off a flatbed 18-wheeler that was about 30 seconds ahead of us. Two crew members were headed out to remove the road hazard just as we came around the bend. There was nothing they could do but watch in horror as the scene unfolded. They told us that they all reflexively pulled out their cell phones in anticipation of having to call 911. They were amazed when the bike stayed upright.
By the time I brought the bike to a stop, and Patti and I dismounted, the WSDOT crew had a truck in front of us, and another truck behind us, and they were setting out perimeter safety cones around us! These guys (and one gal) were great! They gave us water, and made sure we were OK, and stayed with us the entire two hours it took Mountain to Sound to get out to us with their trailer to take us back to Issaquah. Patti and I cannot express how grateful we were for their assistance, although we have written to the WSDOT to let them know. I also want to give a shout out to the Washington State Trooper who responded to my 911 call and took my report; he got to us as quickly as he could, and he was kind and courteous. And I would be remiss in not expressing our gratitude to Mountain to Sound. They handled everything with a calm grace, letting us know they were on the way with a trailer as soon as we called them with the news. I highly recommend them for anyone considering renting a motorcycle in the Pacific Northwest.

And I have to praise the C14, too. It was bent, but certainly not broken. It took the impact, and it was remarkably easy to bring the bike to a controlled stop. Not once did I feel any concern or danger after we landed.


ATGATT

I feel entitled to preach. Hitting that 4x4 only reinforced my belief in ATGATT - All The Gear, All The Time.

Would a lesser motorcyclist gone down? Would a better one have been able to avoid it all together? Those are unanswerable questions. But I do know this... I have been a street rider for 35 years, and I have somewhere around 180,000 miles under my seat. In that time, this was only my second "incident." The first was a self-inflicted lowside just about 30 years ago. And both incidents had exactly two things in common:
  1. neither was planned, and
  2. they both happened in an instant.
Now, you can tell yourself that you know what you are doing, that you are skilled, that you are prepared, whatever. But if you are out there in sneakers (or worse), blue jeans, t-shirt, or no helmet, I say "bullshit." I don't care if you are 6,000 yards from home going 30 mph (as I was in my first incident) or if you are 3,000 miles from home going 60 mph - when it happens, it happens unexpectedly, and it happens damn fast. It is all about risk management, and I say that you are an idiot if you are not wearing boots, gloves, helmet, and full riding suit that includes protection at the knee, hips, back, shoulders, and elbows.


Final Thoughts

Ah, the big question - am I going to get a C14, or stick with my RT? And the answer is... I don't know.

Oh sure, I freaking love the C14's power and smoothness. No question. And most, if not all, of my ergonomic complaints can be addressed with aftermarket fixes. I probably could overlook the (relatively?) minor complaints I have about switches, knobs, dials and whatnot.

I sure wish the body design made my heart go pitter-patter though. But truth be told, none of the current bikes are as visually appealing to me as my 1150RT. Not the 1200RT, not the K1600 GT, not the C14. I do want to take a test ride on a K1600 GT, though, as I have only tested the GTL up to now. I suspect I will like the GT a lot more than the GTL. Whether I like it enough to come to grips with a greater than $20,000 cost is another question though.

But the C14? Awesome bike. Powerful. Smooth. Competent. It is worth all of the praise it has received in the bike magazines. Without a doubt.

Sunday, June 21, 2009

Concert Report: Spider John Koerner @ Studio 99, Nashua

On the first of June I received the latest monthly email newsletter from Village Records, a wonderful place for finding new music. While scanning the newsletter during lunch, I noticed mention of a new live Koerner & Glover CD. "Oh," I thought, "I'll have to remember to check into that later, and also double check on whether Spider John is going to be playing on the east coast this summer." With that I returned my attention to work.

Around 8pm that night, Spider John Koerner just happened to pop into my head again. I thought I'd go to his web site to see what's up with the new CD. While doing that I looked at his concert calendar and, I'll be darned, but it says he is playing in Nashua, NH the very next night, June 2nd! Woah, if not for the Village Records newsletter, and if not for remembering it later in the day, I'd have missed this completely. Serendipity.

Any hey, what's this? A new music venue in Nashua? Who knew? Studio 99 is nestled in the fourth floor of one of the old mill buildings on the Nashua River. It isn't easy to find, and parking can best be described as, uhhh, creative, but it's just the kind of place I love. Unpretentious and welcoming. Old wooden floors and brick walls, with glimpses of the river out the window. The nice folks running the place appear to be having a good run at offering a full schedule of open mics, jam sessions (jazz, blues, folk/acoustic, and bluegrass), and concerts. I'll be keeping my eye on their calendar.

Spider John Keorner @ Studio 99, Nashua - photo by Tom Spine

Spider John, if you are not familiar, is a traditional American folk and country blues musician. Based out of Minneapolis, Spider John was an early influence on Bob Dylan — back before he was, well, Bob Dylan. Oft quoted is this excerpt from Dylan's autobiography, Chronicles, Volume One:

"With my newly learned repertoire, I then went further up the street and dropped into the Ten O'Clock Scholar, a Beat coffeehouse. I was looking for players with kindred spirits. The first guy I met in Minneapolis like me was sitting around in there. It was John Koerner and he also had an acoustic guitar with him. Koerner was tall and thin with a look of perpetual amusement on his face. We hit it off right away. ... When he spoke he was soft spoken, but when he sang he became a field holler shouter. Koerner was an exciting singer, and we began playing a lot together."

Dylan correctly captured one essential aspect of Spider John - his now signature style. Part field holler, part ragtime, part country blues, part American roots, it's instantly recognizable as Spider John. I tried to find something on YouTube that would really showcase him, and this was the best I could come up with:

The show in Nashua turned out to be darn near a private concert. There were only fifteen of us in the room, and that included the event staff! Sixteen, if you count Spider John! I owe the poor turnout to the newness of the venue, its off-the-beaten-path location, perhaps a little lack of advertising, and it being a Tuesday night. While half of me wanted the room to be packed, the other half was thrilled at the intimacy.

Before the show I asked Spider John if he minded if I took some non-flash photos, and he said that was fine. So I also felt less self conscious than normal taking some shots. I have posted the six shots I am happiest with on a Flickr photo set.

Spider John Keorner @ Studio 99, Nashua - photo by Tom Spine

Spider John played two sets plus an encore, for what must have been close to two hours of music (I seem to have not noted time in my notebook). We got a slew of traditional songs, his own songs, and a few by Woody Guthrie, Leadbelly (Huddie Ledbetter), and others. Two songs into the first set I was as happy as I could be, when we were treated to one of my favorites, Acres of Clams, a traditional song about the settling of Puget Sound; John sings what is known as the "Lay of the Old Settler" version of this song. When he finished and our applause died down I couldn't help but tell John that I loved that song!

We were treated to songs and stories of old British racehorses (Stewball), the California gold rush (The Days of Forty-nine), trains (Casey Jones), and love and war (When First Unto This Country). Prior to singing one of his own songs, Phoebe, Spider John spoke lovingly, if humorously, about the phoebe birds who have been making nests in and around his house for more than forty years, wondering about their migration every winter and return every spring.

Spider John is also known for what can only be described as corny humor. We were treated to a number of these "groaners" including the one about the two guys in the woods who came upon a grizzly bear. The one fellow says to the other, "I'm making a run for it." His friend replied, "Are you crazy? You can't outrun a grizzly bear!", to which the first guy replied, "True, but I reckon I don't have to outrun the bear. I just have to outrun you!"

Spider John Keorner @ Studio 99, Nashua - photo by Tom Spine

At the set break I made a mental note of songs that I wanted to hear in the second set. More Pretty Women Than One and Sail Away Ladies were at the top of my list, so when John announced he had just three more songs to play in the second set, I went ahead and asked, "And will More Pretty Women Than One be one of them?" While he hadn't planned on it, his tuning was right, so John obliged me with his cover of this Woody Guthrie song. John did explain, though, that Woody used to sing "more pretty girls than one" but he thought it more appropriate and respectful to sing "more pretty women than one."

Spider John Keorner @ Studio 99, Nashua - photo by Tom Spine

Spider John is nothing short of a national treasure. It's been too many years since Patti and I last saw him. If you get a chance, go see him. If you don't, go buy one of his CDs. Heck, go buy the new Koerner and Glover live CD from Village Records! Tell 'em I sent ya!

Spider John Koerner
Studio 99, Nashua, NH
Tuesday, June 2, 2009
 
Set 1:
Careless Love (W.C. Handy, Martha Koenig, Spencer Williams)
Acres of Clams (Francis D. Henry)
Stewball (Traditional)
The Wabash Cannonball (Traditional)
Dodger (Traditional)
Good Time Charlie (Traditional)
Don't Look Now (?)
Phoebe (Spider John Koerner)
When First Unto This Country (Traditional)
Red Apple Juice (Traditional)
Midnight Special (Traditional)
 
Set 2:
St. James Infirmary (Joe Primrose)
Danville Girl (Woody Guthrie)
The Ballad of Casey Jones (Traditional)
The Days of Forty-nine (Traditional)
Some People Say (Spider John Koerner)
The Summer of 88 (Spider John Koerner)
No Regrets (?)
Delt My Cards in England (?)
More Pretty Woman Than One (Woody Guthrie)
What's the Matter With The Mill (Minnie McCoy)
Goodnight Irene (Huddie Ledbetter, John Lomax)
 
Encore:
Black Dog Blues (Traditional)
Rattlesnake (?)

Thursday, May 28, 2009

Concert Report: Steve Forbert @ Tupelo Music Hall

Oh, hey. Before too much more time passes I ought to make a quick note about Steve Forbert's return to Tupelo on Sunday, May 17. Looking back at my previous concert reports, I see it was darn near exactly one year since Steve last took the Tupelo stage.

This year there was no battle over the house and stage lights, much to my camera's disappointment. Steve likes the house lights bright enough to see the audience, and the stage lights not so bright as to blind him. This worked great for Steve's interaction with the crowd, but made it extremely difficult for me to get good photos — simply not enough stage lighting, and I struggled with shutter speed all night long. I also spent the night battling the view around the vocal microphone — I was sitting more directly center stage than normal.

Steve Forbert at Tupelo Music Hall

Steve's concerts are informal affairs, and he thrives on the audience. He encourages the audience to keep rhythm, and there are also always multiple opportunities for the audience to demonstrate its knowledge of his songs and lyrics. Audience requests are also a staple, and a number of tunes were audience suggestions.

No big surprises in the set, other than perhaps One After 909. How many in the audience knew this early Lennon/McCartney song? Hard to tell. Steve also flirted with The Beatles' Good Night before launching into Romeo's Tune.

Steve Forbert at Tupelo Music Hall

The opening act was Diana Jones, a country-flavored singer songwriter with a clear Tennessee/Kentucky influence. Her voice reminded me a little of Kate Campbell, although her lyrics tended to be a bit more, ummm, serious or somber than Kate's. Nevertheless, an enjoyable opener.

Diana Jones at Tupelo Music Hall

Steve Forbert
Tupelo Music Hall, Londonderry, NH
Sunday, May 17, 2009
 
Thinkin'
Trouble No More
Hang On Again Til The Sun Shines
My Stolen Identity
Rock While I Can Rock
One After 909 (Lennon/McCartney)
Complications
My Blue Eyed Jane (Lulu Belle White/Jimmie Rodgers)
Sing It Again My Friend
The Sweet Love That You Give
The American In Me
Write Me A Raincheck
Baby Don't
Song For Katrina
California Cotton Fields (Dallas Frazier)
It Sure Was Better Back Then
Simply Must Move On
Lonesome Cowboy Bill's Song
What Kinda Guy
Blackbird
Good Night/Romeo's Tune
Encore:
Middle Age
Good Planets Are Hard To Find
 
Opening Act, Diana Jones:
All God's Children
Cold Dark Mine
Cold Grey Ground
If I Had A Gun
Henry Russell's Last Words (aka, Oh How I Love You Mary)
Pony

Wednesday, May 6, 2009

Bacon - Not For Sale

(There's nothing in here about swine flu, so if that's what you are looking for, move along. Nothing to see here.)

On our travels, on a side road off of a side road, we came upon a farm. I'm not sayin' exactly where, mind you.

Out at the roadside, this farm has a neatly lettered, hand painted sign. The sign says:

EGGS

BACON

Now farm fresh eggs, there's nothing much unusual there. But bacon, well, that caught our eye. A quick conversation ensued among the four of us in the car, and a U-turn followed in short order. Foodies that we are, we had to investigate.

The farm raises, slaughters, and sells ducks and pigs, and also sells duck and chicken eggs. There's no store, per se, but rather an upright side-by-side freezer-refrigerator stocked full of goodies. It's an honor system. Take what you want, write down what you take on a clipboard inside the fridge, and put your money or check in the coffee can in the fridge door.

There's a sign taped to the door of the freezer that explains all of this, and then also this sign that gives a little more detail:

Bacon - Not For Sale
Bacon - Not For Sale

What? The carefully vacuum-sealed 1 pound packages of bacon in the freezer are not for sale because the smokehouse is not federally inspected? Oh, but if it were for sale, it would be $14 a pound? All that is missing is the "wink, wink, nod, nod."

Disappointed as we were, we realized that we couldn't buy a pound of bacon. But we did leave a $14 donation in the coffee can. And we sure are looking forward to farm fresh bacon we're gonna have for breakfast this weekend. "Wink, wink, nod, nod."

Saturday, April 11, 2009

I Ride for Paul

I know a lot of people who really enjoy riding bicycles. I'm not one of them. Given the choice, I will choose to go for a run over a bicycle ride any day of the week. I know, you probably think I'm nuts. Maybe I am. When I run, I can zone out. I can be in the moment, and my mind can wander to all sorts of interesting places. I don't get that on a bicycle. There's too much to pay attention to. Too much that distracts me. The helmet. The funny cleat shoes. Changing gears. Watching out for pot holes and other road hazards. Not to mention watching out for cars. It's all too distracting.

But every spring I put in enough bicycle "seat time" training to participate in the 100-kilometer Ride the Vineyard bike ride to raise funds for the National Multiple Sclerosis Society. This year's ride is on Saturday, May 2, 2009.

I ride for my friend Paul, and for thousands like him who are fighting MS every day of their lives. Imagine unpredictably having blurred vision, or losing your sense of balance, your ability to use your hands to grip everyday objects, or your ability to walk. Or worse. Paul has taught me what true courage is, and how to face adversity head on and with high spirits and thankfulness for every day. He is my inspiration, and I think of him often during long runs and bike rides.

The funds I raise will be used by the National MS Society to support research as well as programs to help address the needs of people living with MS, which remains an incurable disease today. Would you please consider sponsoring me via a tax-deductible donation? My goal this year is to raise $2000, and you can help by donating via my pledge page. Any amount will help. Thanks!

Please visit http://main.nationalmssociety.org/goto/tomspine to make a pledge.

Paul and me at the Cape Code Canal, June 2004
Paul and me at the Cape Code Canal, June 2004


Sunday, April 5, 2009

Concert Report: Vance Gilbert @ Tupelo Music Hall

The music keeps on coming, and on Friday night, April 3rd, Patti and I were back at Tupelo's Table 3 for one of the most gifted performers on the singer-songwriter circuit, Vance Gilbert. Where the heck was everyone else? Tupelo was nearly empty, with only about sixty tickets sold (capacity is just over 200). We've seen Vance fill the place before, so what gives? Competition from other shows? I know that the Cowboy Junkies were in Newburyport, and Susan Werner was back at Club Passim. Even still, I would have expected over a hundred people, not sixty.

Vance Gilbert at Tupelo Music Hall, April 3, 2009

Vance is so multi-talented. He can write a song that will make you cry. He's got guitar chops. He's got a voice to die for. He's got command of the stage. And he's got some serious funnies (now there's an oxymoron, eh?). The man could easily be a stand up comic, and he's worked with some of the best stand ups in the business in days gone by, including George Carlin and Bill Cosby. He puts all this to good use in his concerts.

The core of his current show is a handful of songs from his newest album, Up On Rockfield. This is a concept album in which Vance writes songs as inspired by other artists. Some of these are clearly "as if written by" efforts, while others are more "as inspired by." And others are just plain whacky.

Goodbye Pluto, an ode to the former planet, falls squarely in the whacky side; it is written as an inspirational combination of Shawn Colvin and Raffi! Old Man's Advice is written as if by Tom Waits. The line "never look for Friday's kiss with Thursday's broken heart" is clearly straight out of the Tom Waits inspiration book. Welcome to Lovetown combines John Hiatt and Prince! By far the most "as if written by" song is Judge's House, which was written as if it were an outtake from Bruce Springsteen's Nebraska album. Close your eyes and listen to the lyrics, and you can absolutely imagine that Bruce wrote this song during the Nebraska period:

It's 3:00 in the morning
On this side of town
A lonely dog barking
Is the only other sound
I'm sitting in my car
Outside this judge's house
Ten years to the day he brought
His gavel down
 
Ten years ago
But I recall it
Like it was yesterday
A man remembers when you take
Ten years of his life away

Vance Gilbert at Tupelo Music Hall, April 3, 2009

Round Midnight featured Vance channeling first Billie Holiday, then Louis Armstrong — both trumpet and vocals. Responding to a giggling child in the audience, Vance added both the Cookie Monster and Elmo to the vocal impersonations. It's likely that neither of those two Sesame Street characters ever sang the classic Thelonious Monk song before, nor shared a single song with Billie Holiday and Louie Armstrong! Vance had great fun with the giggling child, both during and after the song. It's likely she will remember the night for a long time.

Vance closed with an off microphone, acappella version of King of Rome, a not-infrequent closing song for Vance and clear crowd favorite. Vance has a powerful voice, and King of Rome is a perfect showcase:

In the West End of Derby lives a working man
He says "I can't fly but me pigeons can
And when I set them free
It's just like part of me
Gets lifted up on shining wings"

I was hoping to find a YouTube version of Vance singing King of Rome, but didn't have any luck. But here's a video of Vance singing Unfamiliar Moon from 2006 that nicely illustrates his songwriting, his vocals, and his guitar playing:

The opening act was twenty-year old Berklee College of Music student Emily Elbert.

Emily Elbert at Tupelo Music Hall, April 3, 2009

She did a nice set of her own songs, and considering she's just a sophomore in college, she clearly has one heck of a career ahead of her. You can easily find videos of her doing her own tunes on YouTube, but I was most impressed with her closing cover of Paul McCartney's Oh! Darling, and so I'll leave you with a YouTube video of Emily singing that song:

Vance Gilbert
Tupelo Music Hall, Londonderry, NH
Friday, April 3, 2009
 
It Wouldn't Have Made Any Difference (Todd Rundgren)
Taking It All To Tennessee
Castles Made of Sand (Jimi Hendrix)
Goodbye Pluto
Unfamiliar Moon
Old Man's Advice
Welcome to Lovetown
I'm So Tired of Being Alone (Al Green)
Judge's House
Highrise
Save the Last Dance for Me (Doc Pomus and Mort Shuman)
Round Midnight (Thelonious Monk)
Some Great Thing
Encore: King of Rome (David Sudbury)
 
Opening act, Emily Elbert:
In the Summertime
Caught Up In Your Love
Silent Time
Thinking Hybrid Redirected
Easy to Love
Do Without
You Put the Good in Goodbye
Oh! Darling (Lennon/McCartney)

Saturday, April 4, 2009

Concert Report: Susan Werner @ Club Passim

Patti and I caught the first night of Susan Werner's two night stint at Club Passim this past Thursday, April 2. Susan is on a CD-release tour for her new project, Classics (more on this in a bit). This tour has Susan in a trio format, with Julia Biber on cello, and Trina Hamlin on vocals, harmonica, and a variety of percussive instruments.

Susan Werner at Club Passim, April 2, 2009

The first portion of Susan's nearly two-hour set focused not on the new CD, but rather her previous project, The Gospel Truth. Notice how I say "project", as each of Susan's last three releases have been exactly that — projects with clearly identifiable themes. Susan variously describes The Gospel Truth as "agnostic gospel", "protest gospel", "music for the spiritually ambivalent", and "music from the religious left." Those are all apt descriptions of what to me is an innovative, honest, and profound body of music.

To be sure, The Gospel Truth denounces the hypocrisy of the religous right ("i know you'd damn me if you could, but my friend that's simply not your call"), and pokes particular fun at the catholic church ("and please allow for women in the catholic priesthood, and remind the pope he could have been a girl"), but it also quiets us with its moments of profound meaning, as in Did Trouble Me:

when i closed my eyes so i would not see
my lord did trouble me
when i let things stand that should not be
my lord did trouble me
when i held my head too high too proud
my lord did trouble me
when i raised my voice too little too loud
my lord did trouble me

After a half dozen Gospel Truth songs, Susan moved to the keyboards and songs from her 2004 project, I Can't Be New. That project consists of original Werner compositions in the style of the Great American Songbook, or as Susan puts it, songs written as if she were "Cole Porter's smart mouthed little sister." She performed "Give Me Chicago", her rousing ode to her adopted home town with its long list of praises for the windy city. I noticed that the verse mentioning Studs Terkel is gone, as Studs passed away last October. But a new verse has been added, ending in "music and drama, Barack Obama" in honor of the new president. We also got the plot-twisting romance, I Can't Be New, and the humorous self-effacing Movie of My Life.

The clear highlight of the mid-section of the set was Time Between Trains, which is now more than ten years old and was the only song of the night from Susan's earlier work. Trina Hamlin's harmonica playing takes this allegory about the interlude between relationships to a new level. Trina gets an extended harmonica solo during Time Between Trainsthat simply brings the house down.

Trina Hamlin at Club Passim, April 2, 2009

Susan's delight was evident:

Trina Hamlin at Club Passim, April 2, 2009

Another highlight prior to the new stuff was Susan's somber but uplifting hymn, May I Suggest. I never tire of this song, as it makes me want to cry and smile all at the same time. Here's a good version from YouTube, for any of you who are unfamiliar with either Susan or May I Suggest. Watch it and see if it gets to you too:

Which brings us to Classics, Susan's latest project. This project consists of reinterpretations of classic songs from the 1960s and 1970s with chamber orchestra arrangements. Don't wince, it's far better than you might imagine at first. No, it's not elevator music! It's new and fresh interpretations that make these songs sound all new &mdash and newly relevant.

For this section of the set, Trina left the stage, and Julia Biber's cello playing took on a stronger focus.

Julia Biber at Club Passim, April 2, 2009

I'll admit, the first time I played the entire Classics CD it didn't grab me. I was hearing the contrast from the boldness of The Gospel Truth, and overlooking the subtle beauty of the string arrangements. But after two or three spins, I was hooked. And hearing America's Lonely People, Marvin Gaye's Mercy Mercy Me, Cat Stevens' The Wind, and Simon & Garfunkel's Hazy Shade of Winter performed live in this duet setting only solidified my feelings. All of these songs sound new again. And still so relevant.

Oh, mercy mercy me
Oh, things ain't what they used to be
No, no
Where did all the blue sky go?
Poison is the wind that blows
From the north, east, south, and sea
Oh, mercy mercy me
Oh, things ain't what they used to be
No, no

In a break after Julia's cello solo (a piece composed by German composer Paul Hindemith), Susan and Julia had the audience in stitches with their hilarious send up of classical musicians. Julia played the perfect visual impersonation of Susan's verbal descriptions of the body movements of modern cellists — the flying hair, the swooning, the angry faces. This was followed by an on-the-spot modern (discordant) improvisation called Marshmallow Peeps, a theme solicited from the audience.

Yes, it was all a big fun poke at modern classical music, but Susan noticed a women in one or the front tables who must have had some telling look on her face. Susan asked her if she was a musician, and the audience member said she was. Susan said, "Oh no, you're not a classical musician, are you?", to which we learned that yes, she was a classical pianist. Not missing a beat, Susan invited her to come up and play for us, and Susan led the audience in cheering until our audience heroine complied. The moment of truth arrived, and audience member Amy blew us away with a fine version of Chopin's Minute Waltz:

Audience member, Amy, performing the Minute Waltz

We gave Amy a thunderous applause!

Oh! One other twist to the night. Monday is Susan's birthday, so road manager Jane brought a birthday cake up to the stage at the start of the encore, and the audience sang Happy Birthday to Susan:

Susan Werner with birthday cake, Club Passim, April 2, 2009

I'll close with this seven minute compilation from one of Susan's performances at Club Passim in 2007. This is an excellent glimpse of exactly what a Susan Werner concert is like:

Susan Werner, with Trina Hamlin & Julia Biber
Club Passim, Cambridge, MA
Thursday, April 2, 2009
 
That's How It Happens
(Why Is Your) Heaven So Small
Our Father (The New, Revised Edition)
Sunday Mornings
Did Trouble Me
Probably Not
Give Me Chicago
I Can't Be New
Time Between Trains
Movie of My Life
May I Suggest
Lonely People (America)
Mercy Mercy Me (The Ecology) (Marvin Gaye)
The Wind (Cat Stevens, with Bach Suite for Cello #3 in C Major intro)
Solo by Julia Biber on Cello (Paul Hindemith)
Marshmallow Peeps (Werner/Biber improvisation)
Minute Waltz (Frederic Chopin, performed by audience member Amy)
A Hazy Shade of Winter (Simon & Garfunkel, with Vivaldi Four Seasons intro)
 
Encore:
Happy Birthday to Susan (Traditional, sung by the audience)
Turn Turn Turn (Peter Seeger, The Byrds)
Help Somebody

Saturday, March 28, 2009

Concert Report: Richard Shindell @ Tupelo Music Hall

Patti and I were back at Tupelo on Thursday night, March 26, for Richard Shindell's 90-minute set. It's been just over a year since we last saw Richard play, also at Tupelo.

Richard Shindell at Tupelo Music Hall, March 26, 2009

Richard's new album, Not Far Now, is just weeks old, so I was somewhat surprised we only got two songs from it all night long. One was Get Up Clara, a simple and nearly silly tune in which a weary traveler begs his mule to get up and get going. Set in the Roman empire, the song plays on "roaming" and "Roman" for its lyrical twist. The other song from the new album was Balloon Man, a wonderful description of a character from Richard's adopted town of Buenos Aires who sells balloons to children in the city's parks. The sight of the balloon man makes everyone smile, in real life as well as in my mind's eye:

balloon man's a little bit ragged
his glasses are slightly askew
one lens is cracked and shoes never match
he might have a screw loose or two
 
his rig is a marvel of equipoise
Leonardo might've designed
bamboo for the wide horizontal
pine for the vertical rise
 
he's wearing in a flag-bearers harness
he's holding the whole thing aloft
balloons all arrayed, he's a one man parade
if he ran he'd surely take off

Richard's cover of Glen Patscha's (of Ollabelle) Blue Northern Lights was a great and welcome surprise. Richard recently did a small tour with Ollabelle, and he picked this song up during that stint. I also heard at least one audible gasp of happy surprise in the audience when Richard launched into Leonard Cohen's Famous Blue Raincoat.

Richard continued what is for me an unbroken string of messing up the lyrics to Transit for, I think, the third for fourth time in a row. I don't know what it is about that particular song, but Richard seems unable to get through whole thing without a lyrics flub at some point. I sort of love that, though, as it makes him human. He also flubbed the second verse of Fishing, one of my all-time favorite Shindell songs. Fishing is a haunting fictional tale of an INS (Immigration and Naturalization Services) interrogation, and perhaps this is the perfect point for me to include a YouTube video for those of you who are not yet familiar with his music. Watch this:

By far the biggest audience reaction of the night came when he played Are You Happy Now? — isn't it funny how we seem to love bitter breakup songs? This song is set on Halloween night, and our storyteller sits in the dark after his lover has left him. I particularly love the imagery of the second verse:

I smashed your pumpkin on the floor
The candle flickered at my feet
As goblins flew across the room
The children peered into the room
A cowboy shivered on the porch
As Cinderella checked her watch
A hobo waited in the street
An angel whispered, trick-or-treat
But what was I supposed to do
But to sit there in the dark?
I was amazed to think that you
Could take the candy with you too
 
Are you happy now?

Man! Nothing like a good breakup song to make use feel better, eh? The first verse also contains what I consider to be signature Shindell lyric hooks - look at his use of "role" and "roll", as well as color — black, white, gray, and red:

You left your camera on the bed
Where we played roles in black and white
You left a roll of black and white
I set the timer and thought of you
And put the lens up to my head
I took a photograph for you
What comes out gray is really red

I was thrilled to find this version of the song on YouTube:

Richard mostly played his acoustic guitar, but switched to bouzouki for, if my notes are correct, three songs — Robbie Robertson's Acadian Driftwood, and his own A Summer Wind, A Cotton Dress, and Reunion Hill.

Richard Shindell at Tupelo Music Hall, March 26, 2009

Here's one more video from YouTube, this one of Richard performing A Summer Wind, A Cotton Dress so that you can hear what the bouzouki sounds like:

All in all, a fine night of entertainment by one of my favorite songwriters. As usual, the photos above are my own, and you can view the full set on Flickr.

Richard Shindell
Tupelo Music Hall, Londonderry, NH
Thursday, March 26, 2009
 
The Island
Acadian Driftwood (Robbie Robertson)
Blue Northern Lights (Glenn Patscha)
Get Up Clara
Poor Wayfaring Stranger (Traditional)
A Summer Wind, A Cotton Dress
Balloon Man
Sitting on Top of the World (Traditional)
Reunion Hill
Are You Happy Now?
Fishing
So Says the Whippoorwill
Famous Blue Raincoat (Leonard Cohen)
Transit
Last Fare of the Day
There Goes Mavis
Encore: Waist Deep in the Big Muddy (Pete Seeger)

Saturday, March 7, 2009

Concert Report: Ollabelle at Club Passim

 
Ollabelle concert ticket stub

Right off the bat I'm going to say that this was not my favorite Ollabelle concert. That's not to say I didn't have a rocking great time, but more an acknowledgement of the fact that this was three-fifths Ollabelle, not the full quintet. Neither Tony Leone (drums) or Amy Helm (vocals, mandola) were with the band for their Boston stop, and I missed them both. Tony's drums wouldn't have fit on Passim's postage stamp of a stage anyway, and Amy gets a pass as she is home with a new baby. But a significant part of the Ollabelle repertoire can't be performed without those two, including the signature knock-you-back-in-your-seat Before This Time, and The Band-channelling Cane on the Brazos. (Tony regularly plays with the Levon Helm Band, and Amy is Levon's daughter, so channelling The Band comes naturally.)

Ollabelle, for those not paying close attention, is best described as a NYC-formed urban, gospel, roots, harmony band named after roots music pioneer Ola Belle Reed (1916-2002). Besides Tony and Amy, the other three members are Fiona McBain on vocals and guitars, Byron Isaacs on vocals and bass, and Glenn Patscha on vocals and keyboards. Early in their career they were taken under the wing of T-Bone Burnett.

On Thursday night the band was joined by singer-songwriter Martha Scanlan on vocals and guitar, and everybody's favorite Boston-based session guitarist, Duke Levine. You may have never heard of Duke, but his collaboration resume includes Peter Wolf, Otis Rush, Mary Chapin Carpenter, Shawn Colvin, Aimee Mann, Kathy Mattea, Sleepy LaBeef, Ellis Paul, Dar Williams, Lucy Kaplansky, and Susan Werner - just to name a few!

The first set lacked a little energy for my tastes. Starting with the opening song, Fiona's rendering of the traditional gospel Elijah Rock, there just wasn't the pin-you-back-in-your-seat feel. Could this be partially due to Fiona being well along in her pregnancy? (Word has it the baby is due in April.) Could it be getting used to Martha and Duke? Who knows, but I noticed that Elijah Rock didn't quite rock with the force it normally has. They did jam it out nicely, but just a bit softer than I'm used to.

Fiona McBain

My reaction to the first set could also be influenced by the new songs they are trotting out. The band recently rented out a house in upstate New York, turned it into a recording studio, and went on a writing binge (shades of Big Pink!). New songs were sprinkled throughout the night, including Glenn's One More Time, and Fiona's Remember to Forget - both in the first set.

Glenn Patscha

Martha's singing style was also a factor. She was nearly whisper quiet, even on her own songs. I found myself alternatively struggling to hear her lyrics, and wanting the sound man to add more vocals to the house mix. To be fair to Martha, she sings and plays with intense feeling, and simply brought the house down with her lead vocals on Abilene in the second set.

Martha Scanlan

Not to mention that watching the guitar interplay between Martha and the incredible Duke Levine was a highlight throughout the night. You could tell how much Martha was enjoying Duke's playing, with her eyes closed and head bent in his direction, a look of bliss on her face.

Martha Scanlan and Duke Levine

Oh, I'd be remiss if I didn't mention that Byron was playing a stunningly beautiful stand up bass. It was so fitting for the small room and tiny stage.

Byron Isaacs

Although the band is writing more and more songs, we were still treated to a good smattering of traditional songs, one Ola Belle Reed song (I've Endured, sung by Fiona), a Buddy Holly treat (Raining in my Heart, also sung by Fiona), and a simply gorgeous and harmonious rendering of Garcia and Hunter's Ripple (Fiona on lead vocals).

While they may have started slow, Ollabelle found its voice in the second set, and we left very satisfied.

Fiona and Martha

Photo note: I took all the photos you see on this page with my trusty Canon Rebel, and you can see the full photo set on Flickr.

Ollabelle, with Martha Scanlan & Duke Levine
Club Passim, Cambridge, MA
Thursday, March 5, 2009
 
Set 1:
Elijah Rock (Traditional)
One More Time
Gone Today
Remember to Forget
John the Revelator (Traditional)
Seeds of the Pine (Martha Scanlan)
I Don't Even Have to Ask (Martha Scanlan)
Jesus on the Mainline (Traditional)
I've Endured (Ola Belle Reed)
 
Set 2:
Brotherly Love
Raining in My Mind
Blue Northern Lights
The West Was Burning (Martha Scanlan)
Abilene (Composer?)
Move On
Raining in my Heart (Buddy Holly)
Get Back Temptation
Ripple (Robert Hunter/Jerry Garcia)
Encore: ? (I feel like such a slacker for not recognizing the encore!)

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!