Rhiannon Giddens--Wow Concert

On Saturday night at the intimate Kentucky Country Day theater, Rhiannon Giddens and her excellent back-up musicians wowed a sold-out crowd.

Giddens performed a number of songs before a wildly enthusiastic audience. I'll mention just a few of the highlights.

Rhiannon Giddens sang "Waterboy", one of her well-known songs. It's an old song, previously made popular by folksinger Odetta, where the singer is calling the waterboy to come out of hiding or she will tell on him to his pa.

In Rhiannon's performance of the song, if I were the "waterboy" I would've come out quick, fearing the singer far more than anything any pa could do.

She also covered Patsy Cline's "She’s Got You". Giddens has a voice to rival Patsy Cline. But her delivery was quite different.

Sitting in the fourth row, I felt the intensity of the anger in the song towards the woman who had taken her man. Giddens was not just the voice of a wronged or sad woman. Hers was the voice of an angry, possibly homicidal woman. If I were the guilty party, I would have made haste to exit the auditorium and relinquish all claims to the man in question. That was how powerful her rendition of the song was.

Giddens also sang songs based on research into true stories of African slaves. One song, "At the Purchaser’s Option", was heart wrenching. It told the story of a young slave woman, the mother of a nine-month-old, who was listed for sale with her baby available too, "at the purchaser’s option.”

Leading into the song, Rhiannon explained that as a mother she could imagine the heartbreak of being separated from her children. The audience felt that heartbreak on a visceral level.

The most moving song for me was based on the fable that some African slaves had the ability to fly but while some still could fly others had forgotten that trait after they had been brought to this country in chains.

Rhiannon told of a mother and daughter. The mother had carried from her mother the story of the ability to fly. She told her daughter that when the daughter felt the tingling in her arms she would know she had the ability. At some point the daughter began to feel that tingling in her arms and she and her mother flew away from slavery and into paradise.

I'm about as white-bread Caucasian as they come and by training and experience, a lawyer who deals in facts. So far as I know I have no African-American ancestors. So far as I know I also am not particularly susceptible to suggestions. But as Giddens sang, I literally began to feel both my arms tingle. The feeling spread up through the back of my scalp. I've never felt anything like this before. As Rhiannon sang, I began to wonder if I too had the ability to fly.

After the concert, we briefly stopped by the merchandise table to have a couple of CDs signed by Rhiannon. I told her it was a transcendental concert and her singing gave me goosebumps.

I used the word “goosebumps” for lack of a better word at the time. But it is not sufficient to describe what I felt at this concert. 

With a power that may be older than education, careers, and racial divisions, Giddens’ songs, storytelling and truly amazing voice transports her audience into another world. Rhiannon Giddens has a voice and a delivery that is a once-in-a- generation. If you have the opportunity to see her in person do so. 

Good Times Like Nowhere Else Music Festival

We hadn’t been to an outdoor music festival in a long time. In fact the last time was for World Whale Day on Maui. 

So when we headed out Saturday morning for the Nowhere Else Music Festival in Ohio, I wondered if we were too old for this type of event, particularly with the uncertain weather of late May in the Midwest. Would it be too hot, too sunny, stormy, too cool or too buggy after dark? Would I find anything to eat since I have a gluten allergy? Hard to know. So we went prepared for anything and everything.

 I packed enough food for a village and a variety of drinks into a wheeled cooler, several sensible footwear choices, hats, jackets, sunscreen, insect repellant, towels and umbrellas, chairs, and a picnic blanket. We left the love beads and other hippie paraphernalia at home. In truth we have long since lost any  festival paraphernalia, unless you count our camping chairs.

We ended up arriving at the Nowhere Else festival later than we’d intended. A little plumbing emergency at our new home that resulted in some plunging of the toilet and two baskets of wet towels to deal with before our departure seriously delayed our heading out. But it was a nice day, a little overcast and the first real summer heat was upon us. Maybe we should have packed a portable fan?

When we arrived the party was in full swing. Volunteers directed us to park amongst the hundreds of other cars in the grassy fields. Someone had vacated a space just past the VIP parking section. We walked the short distance to the large tent and found two empty chairs with a great view of the stage. 

Larry Groce, of Mountain Stage was performing with his wife. They are both talented musicians and were performing Lyle Lovett’s “If I Had a Boat” to the audience’s obvious delight. We thoroughly enjoyed that song and the rest of the set of bluegrass favorites. Groce, in his bib overalls, and with a folksy style and humor, also served as host throughout much of the day.

Next up were Lily and Madeline. The two lovely sisters have very sweet and harmonious voices and their set was delightful. If I had a wish it would only be that their set had been a bit longer and had interspersed some of their covers of energetically-paced songs from their album.

The next performer, Joe Henry, brought his own distinctive singing and songwriting which soon filled the tent. Joe Henry spoke a little about the magic that has occurred at his recording studio in the basement of the old Garfield house in California. One particularly memorable story concerned trying to keep some of the magic that surrounded the singer, songwriter (as well as Renaissance man) Kris Kristofferson who Henry credited with writing songs about  very specific topics but that then have universal elements. 

Into Joe Henry’s set he was joined by his son and standout saxophone player, Levon Henry. 

Again I wished that this set list had been longer. And had included the song about Willie Mays (“The greatest center-fielder of all time; Stooped by the burden of endless dreams” ) and America spirit (“His and yours and mine.” ), “Our Song”. I hope Joe Henry sang “Our Song” the second day of the festival. So many of the lyrics speak to the angry political season we are enduring:

This was my country
This frightful and this angry land
But it's my right if the worst of it might
Still somehow make me a better man

Later, Karin Berquist and Linford Detweiler, the Over the Rhine hosts of the festival and creators of this music venue, paid particular tribute to Joe Henry, highlighting his contributions in producing two of their beautiful albums, as well as thanking him for introducing them to a number of the musicians performing at the festival. As they noted, Henry has produced music for many musicians, including some in the line-up.

For some reason, Willie Mays was still sitting in my mind, and I could only think how the next group, “Birds of Chicago” certainly fit the bill as all-star musicians. Allison Russell’s full-bodied singing blends beautifully with the outstanding playing in a host of rollicking songs that brought the audience out of their chairs and to their collective feet. Something very unique in the chemistry of this band that made the audience call out for more.

The sky was darkening with an approaching thunderstorm as the next performer, Lucy Wainwright Roche, took the stage. She has a stand-out voice and performed several songs, interspersing a casual telling of her travels as a musician, as introduction to “Deliver Me to the Next Best Western”. 

The ensuing  sudden thunderstorm caused Lucy only the slightest of pauses as the crowd under the tent made way for those who had been outside to find shelter under the big tent. The thought occurred to me, if only the politicians, political parties and this country could be as accommodating as the attendees of this music festival. Made me think of Over the Rhine’s song, “If a Song Could Be President”.

Lucy used the interruption to tell a humorous story about performing in Lithuania to an unreceptive crowd, only to discover that at the mere mention of basketball she was suddenly a hit. So she told of how she had performed a sing-along there of Bruce Springsteen’s “Hungry Heart”, substituting “basketball” for the title phrase. Lucy then led the Nowhere crowd in a stirring rendition of that song with the original lyrics. I will confess by this point, as the storm had passed, I headed to the portable toilets but could still participate in the sing along. This was no reluctant crowd.

One might think this line up, particularly “Birds of Chicago” are a hard act to follow. And they would be for ordinary performers. But as the sun set on the Nowhere Else Farm,  Over the Rhine and the Band of Sweethearts closed the day with the unmistakably beautiful vocals of Karin Berquist and their compelling sound and original songwriting to end a magical day. 

A little story-telling and goofiness, in particular, Karin’s encounter of a star-struck June bug, brought the day to a close that no one was quite ready to have end. But there was a promise of another festival day, starting with art, nature hikes and song-writing workshops to be followed by another afternoon and evening of music. 

Ah, if only we had planned to stay both days of the festival--maybe most of my wishes would have been fulfilled.

  

Review of “The Dude” on Maui

Last night “The Dude”, a/k/a Jeff Bridges performed at the Kaanapali Sheraton Maui Resort & Spa as part of the Maui Celebrity Series.

There’s a big temptation to just say: The Dude abided with the audience. And then quote some Big Lebowski lines, say he performed a few songs and hang loose. After all, he performed on Maui where hang loose is the island motto—and it was The Dude. But I’m going to resist that impulse and tell you about Bridges’ performance. Because it is worth recounting.

Bridges did not wear a bathrobe or an Hawaiian aloha shirt. Instead, he started out wearing a woman’s straw hat that he said he’d bought in the Sheraton’s gift shop, with loose pants and shirt and boat shoes. Sporting a full, white and neatly-trimmed beard, and collar-length gray hair he was relaxed but not quite Dude-like.  He sang, played guitar and keyboard, answered questions from the audience, and even danced in the aisles to get loosened up. His performance was great.

Bridges, who has a nice voice and good musical skills, was well supported on guitar and vocals by Chris Pelonis, a member of Bridges' musical group, The Abiders. One too-smart audience member yelled out maybe the group should be called “The Old Timers”. Bridges took that  comment in good spirit as he did other audience participation. He said maybe he should change their name. Very Dude-like.

Bridges sang a number of songs (including “Going Where I Shouldn’t Go”, “Hold On To You”, rocked out “I Use To Be Somebody”,  and crooned “No Place For the Weary Kind”) from “Crazy Heart”, the movie. He performed songs by T Bone Burnett, John Goodwin, who Bridges confided he has known since they both were in fourth grade. The set list also included a Tom Waits song (“Never Let Go of Your Hand”), a Creedence Clearwater Revival song (“Looking Out My Back Door”) and ended the encore with a Bob Dylan song (“The Man in Me”). The audience seemed to appreciate the Dude’s musical taste.

Bridges pleased the audience with several stories, and also good-naturedly answered questions from the audience. He said he probably was smoking Lucky Strikes in “The Last Picture Show” with Cybil Shepherd. He also said he’s smoked loco weed but  was not smoking pot in “The Big Lebowski.” The audience took that with a grain of—you know. But he also said he’s now given up those substances. 

The audience was treated to a couple of Bridges’ ocean-related stories. One, just from this trip to Maui where he went whale watching and was “whale-mugged”, that is, when whales surround a boat. The whales are protected and the boat has to stay put and wait for the whales to move off. Another story dated to a dive with his famous father, Lloyd Bridges. Jeff said he’d dived off the side of the boat, a bit of show off in his water-entry. His father, well known for the TV series. “Sea Hunt”, was experiencing some queasiness from an inner ear issue next entered the water but signaled Jeff to go to the surface. Jeff refused only to discover his dad, the man famous for diving, had been signaling  to surface because  he was “puking” in the water.

Maybe the Dude should be in politics. In addition to good music and a little humor, Bridges brought a level of intelligence, civility and compassion to the evening. Bridges talked about the charity he’s supported for decades: Ending Childhood Hunger. He also said he supports causes that deal with climate change. Bridges said that like a lot of people he’s been intimidated by the enormity of climate change. He said he now realizes that maybe one person can make a difference. He told a story about "Bucky" Buckminster Fuller , who compared an individual to the trimtab, a tiny rudder that turns the bigger rudder on a big ship. Bridges said he was inspired by Bucky’s epitaph “Call me trimtab”.

Jeff Bridges is a lot more than just the actor who played “The Dude” in “The Big Lebowski”. In the hearts of a lot of people he will always be The Dude first. But he's also a great musican, a humanitarian and an Oscar-winning actor who has made numerous roles memorable or even haunting. Think the most evil character he has played, Barney Cousins, a very scary (still-gives me the creeps) killer in “The Vanishing”.  

Jeff Bridges, on the other hand, apparently has not an evil bone in his body. Instead he seems to be following the advice he says his mother, and his wife now give him when he heads off for an acting job, “Have fun and don’t take it so seriously.” Yes, very Dude-like.

The David Wax Museum: A New Sound

WFPK’s (91.9) first Winter Wednesday of the season opened at the Clifton Center with two very different musical groups and sounds.

Daniel Martin Moore’s excellent voice on the mostly low-key, laid-back songs was largely drowned out by the too-heavy percussion of the first set. Like the title of Moore’s album, “How It Fades”, my eyelids and I were fast fading.  In fairness, the audience seemed to appreciate Moore and his back-up band more than I did so maybe my reaction had something to do with the sound at our second-row seats. But my expectations were particularly low for the next group about whom I knew nothing.

Then the David Wax Museum burst onto the stage and their sound knocked the sleep out of my eyes. I had gone to the concert a blank slate. I came away wowed.

They brought a variety of instruments, riotous appearances and a sound totally unexpected. Wax, with earthy vocals, played guitar and a small, guitar-shaped instrument that looked a little like a ukulele. He also channeled Jerry Lee Lewis on keyboard. On “Guesthouse”, also the name of their latest album, Wax seemed to channel Paul Simon’s vocals and rhythms.

Slezak played everything from accordion to keyboard, fiddle, bells, and a donkey jaw. She also has a fine voice. Together they and their band which included an upright base, percussion and what appeared to be a mandolin, performed a range of music with strong Hispanic roots, gospel and dance music. Will Oldham contributed one strong guest song. By the time the set was ending the audience was on its feet dancing and calling for more.

After the concert, a little research revealed that David Wax, and Sue Slezak  combined Mexican-American and American and Irish folk music to produce a mind-bending genre of Mexo-Americana music.

The apparel choices of the band demand mention. Wax wore two toned-pants—the front aqua and the back black--with a wide, off-white belt and a short sleeve shirt with epaulet-type treatments. Slezak graced black jeggings and a floral, tropical-print bustier. And guitarist Charles Rivera wore what could have passed for a mechanic’s jumpsuit in royal blue with matching headband. By comparison, the other musicians’ clothing was not memorable.

The husband-wife team of Wax and Slezak credited not only WFPK, the Clifton Center, and the band’s on-site support team, but also an aunt and uncle back at their hotel who were caring for the couple’s two-year old son. Our thanks also to all, including that aunt and uncle for making this first Winter Wednesday concert most memorable.

This morning we enjoyed hearing “Guesthouse”, the album, with breakfast. The David Wax Museum’s web site shows an extensive touring schedule. If they are playing at a venue near you do yourself a favor and see them. If not, listen to at least one of their albums. You won’t fade away.

A Keltricity Christmas is Coming to Town

It is with profound hesitation that I write and publish this post. We each have our favorite secrets. This is one of mine.

Keltricity is a treasure, a local musical group that regularly plays Celtic and related music, here in Louisville and other locations. 

Do you ever get that feeling of déjà vu? That’s what I have when I hear Keltricity play. There is a familiarity in the music--as if I know the sounds in my bones. Not so much in this lifetime, as I don’t trace my ancestry to Celtic roots. But then who really knows? Or perhaps, to quote another musician, Bob Dylan, “T’was in another lifetime…”

Henry Austin (guitar and vocals), Laurel Fuson (accordion), Joe Burch (mandolin) and Jannell Canerday (fiddle and vocals) blend a unique sound in their performances of  traditional Irish and Scottish music, songs from Cape Breton and French Canada, along with Cajun and newer Celtic music.  

You can hear the roots of bluegrass and country in a lot of the songs Keltricity performs, from the sweet and sad, “High on the Mountains”, the melancholy “Oh, the Dreadful Wind and Rain”, the romantic “Galway Girl”, to the lively Contra Dance tunes and Irish polkas. The last category I didn’t know existed until I found myself toe-tapping along.

Keltricity can be heard generally on at least one Friday night a month at The Bard’s Town, where you can listen, drink and enjoy better-than-average pub food. It’s great entertainment and a lovely evening. And would be a bargain at twice the $5 suggested cover or whatever contribution you feel inspired when the hat is passed between sets. 

Keltricity also plays at Contra Dances and recently performed at the Grand Ball for the Jane Austen Festival at The Galt House in Louisville. This year, as in past ones, they also were one of the bands at the Louisville Irish Festival at Bellarmine University.

As wonderful as this musical group is at any of these venues, something magical happens when they perform their very old-fashioned Christmas concert. This year it will be at the Thomas Jefferson Unitarian Church across from Holiday Manor.

Here are some of Keltricity’s upcoming dates:

Cincinnati Contra Dancers, November 14

The Bard’s Town, November 20

Yule Y’All in Cincinnati, December 5, and

Yule Y’All in Louisville, December 12.

You can get more information online at http://www.keltricity.com/.

I wouldn’t have posted this blog if I minded your knowing about Keltricity and how good they are. But, please, don’t buy up all the tickets before I get mine.

Gauthier and Gilkyson: A Treat Not a Trick

There must be some meaning in which songs are still with you several days after a concert. On Halloween evening we heard Mary Gauthier (Pronounced: GO SHAY) and Eliza Gilkyson at the theater at Kentucky Country Day School.  The wonderful acoustics of the theater, the easy informality of the two singers and songwriters, as well as the comfortable surroundings gave us a feeling we were listening to two old friends singing in their living room to a group of friends.

Several days later I can still hear Gauthier’s warm voice in my head, no iPod necessary, singing “Mercy Now”. And Gilkyson’s there too, particularly singing the haunting song, “Greenfields”, written by her father, Terry Gilkyson. 

That song was made more poignant by her description of her conversation with her father about the song. She explained she had been putting together an album with music that had an environmental meaning. She told her father she thought “Greenfields” was the perfect metaphor for man’s callous relationship to Mother Earth. Her father’s response was: stop looking for hidden meaning. Instead, Terry Gilkyson said “Greenfields” was about Eliza’s mother who had been the love of his life but then left him. So much for hidden meanings.

Mary Gauthier and Eliza Gilkyson, engaging in gentle patter about songs and songwriting, and for the most part taking turns, sang lots of other memorable songs. Highlights included Gauthier on “Last of the Hobo Kings” and her particularly impeccable timing on “I Drink”.

Despite both women talking about how much easier it is to write a song about a break-up than about a happy romance, Gilkyson sang several happy songs, including “Roses at the End of the Day” and “Beauty Way”. She also performed a memorable song, “Jedediah 1777” so named for her eighth-generation ancestor, crediting a treasure trove of his letters written at Valley Forge during the Revolutionary War as the basis for most of the lyrics.  

Gauthier and Gilkyson closed with “Touchstone”, asking the audience to join in as they converted Pete Seeger’s last name into a verb. On an encore, they “Seeger’ed" the audience once again into singing along on Bob Dylan’s “You Ain’t Goin’ Nowhere.”

I’m still riding high from the concert. Hope you are too from whatever songs are swirling in your head.