It was perfect timing, running into Peter Yarrow a week ago Sunday unexpectedly at the Association of Performing Arts Presenters (APAP). He was meeting and greeting talent buyers strolling the Hilton’s vast exhibition halls, where he was stationed at the BiCoastal Productions agency booth to assist in the promotion of Lonesome Traveler: The Concert, the acclaimed 2015 off_Broadway musical now being packaged as a concert event, that he has endorsed and can be featured in as guest star depending on his availability.
Subtitled “The Roots of American Folk Music,” the show celebrates the likes of Woody Guthrie, Lead Belly, Pete Seeger, The Weavers, Bob Dylan and of course, Peter, Paul and Mary, in the context of folk music from the 1920s to the ’60s and beyond.
I didn’t meet them until much later, but I first saw Peter, Paul and Mary at a church on the University of Wisconsin Campus, where they performed at a Vietnam War Moratorium—but I’m not sure of the dates. According to Wikipedia, The Moratorium to End the War in Vietnam, which was a massive demonstration/teach-in all over the country, took place Oct. 15, 1969, and was followed by a Moratorium March on Washington a month later on Nov. 15.
So it had to be the second Moratorium (the word means “a suspension of activity”), because I do remember that PP&M were leaving that night for D.C. to join the march. It’s terrible I don’t remember the church—maybe St. Paul’s?—but it had to be at the end of State Street, where the UW begins. Peter, though, remembered the church well, not to mention everything surrounding the Moratorium.
The last time I’d seen Peter was a couple years ago or so, doing pretty much the same thing, except at Toy Fair at the Javits Center. Not sure which exhibition booth he was ensconced in this time, because I think there were two toy companies that had “Puff, the Magic Dragon” toy product out, but he was probably at the one with the plush Puff toys. Wherever, he was signing Puff, the Magic Dragon illustrated children’s books, packaged with a CD of Peter singing the PP&M classic and other songs with his daughter Bethany and a cellist—and, of course, posing for pictures with starstruck baby boomer toy business people.
But at the Hilton, I was for once more than just the starstruck baby boomer kid at the Moratorium who didn’t even meet Peter Yarrow, as well as the starstruck baby boomer music journalist who had met him many times since. No, this time I approached him as an equal in that both of us had starred in the 2015 Noah Baumbach movie While We’re Young.
Yes, I exaggerate! Not Peter’s role, for he had a meaty part as a leftist intellectual—hardly a stretch—whereas I was an extra–hardly a stretch–sitting at an Upper West Side coffee shop while Naomi Watts, her back to me, was meeting with Adam Driver, with Ben Stiller, playing Watts’ jealous husband, storming in after.
If you see the movie, you might recognize me by the bald spot on the top of my head—which I didn’t even know was there! Then for a second or so the camera pulls back at the end of the scene to reveal my truly recognizable receded hairline profile. Just don’t blink.
But it was so fun, and certainly arrogant, to address Peter, Paul and Mary’s Peter Yarrow as my co-star! That he didn’t blow me off is testament to something or other, his befuddlement, most likely. But it did lead him into some interesting observations, and an affirmation by both of us of our continued commitment to the ’60s ethos.
“It took a cultural, ethical point-of-view,” he said of While We’re Young, “and when I read the script I realized it was the antithesis of what I try to espouse in the songs I sing–as was the case with Peter, Paul and Mary all those years. And it profoundly preceded the rise of Trump.”
Here he pointed to Driver’s less-than-truthful aspiring film director character, who is “perfectly able to live without finding any sense of responsibility or guilt and can act unethically in terms of respecting the rights and creativity of Ben Stiller’s [documentary filmmaker] character. I thought that that counterpoint made it a very important film—but I didn’t expect it to become such a powerful commentary on what’s happening now in our country.”
He had attended the Irish Repertory Theatre’s revival of the 1947 Burton Lane/E.Y. Harburg musical Finian’s Rainbow the night before, a show centering on themes of immigration, economic greed, racial reconciliation and fighting bigotry.
“At the end I sang ‘We Shall Overcome’ with the cast, and spoke about why the music is so critical: It’s intention is to bring a tear to your eyes and dissolve the distance between us—and let us now unite in the face of a disuniting force.”
A disuniting force.
I told Peter Yarrow I would be marching again come Saturday, the day after the inauguration of the Disuniting Force. And Peter Yarrow of “Puff, the Magic Dragon” hugged me and called me “my Brother.”
Friday night’s (Oct. 21) Cutting Room pairing of Project/Object—The Music of Frank Zappa, featuring Ike Willis and Don Preston with San Diego electronic ensemble Swarmius was a dream bill—but only for two dreamers in the room.
That would be me and Joseplh Martin Waters, the professor of music composition and computer music at San Diego State University—and the acclaimed composer-performer who conceived Swarmius. For the Cutting Room gig Swarmius was made up of conductor/programmer Waters, saxophonists Todd Rewoldt and Michael Couper, pianist Geoffrey Burleson and guests Gene Pritsker (guitar) the artist Mark Kostabi, whose artwork graces the Cutting Room walls, and who also composes and plays piano.
The term “trans-classical” has been created to describe the music of Swarmius, and it does in fact serve up a singular multicultural, multi-genre musical mix-up, heavy on classical, jazz, rock and electronics and performed by the monster musicians the concept requires. His Cutting Room set focused on new material from the forthcoming album Swarmius III—Trans-Classical, and like preceding Swarmius recordings, is surprisingly accessible, with Joe’s conducting (without a baton) while programming from an Apple laptop onstage with his instrumentalists: You can actually follow the development of his complicated compositions easily just by watching the emotional drama and intensity in his hands and face as he conducts, said compositions including, at the Cutting Room, Trans-Classical‘s “instant gratification single” “EeOoEe,” which has just been released digitally ahead of the album.
That’s right, I still call him Joe, because he was just Joe Waters back at James Madison Memorial High School in Madison, Wisconsin, Class of 1970, albeit a musical whiz kid even then, when his band was Spindlebean—a loose aggregate of musicians, and friends (and at least one stoner) who sang along to Joe’s Zappa-like lyrics and melodies. So it was extraordinary indeed to be sitting next to Joe at the Cutting Room, 46 years later, listening to longtime Zappa band veterans vocalist/guitarist Ike Willis and keyboardist Don Preston, now 84, play the music of Frank Zappa.
“The first Zappa album that really caught my attention was Uncle Meat,” said Joe afterward, referring to the 1969 double album. “This I listened to obsessively with my friends while we were experimenting with marijuana and psychedelics in high school, and it became a central playlist of our little community. But my all-time favorite was We’re Only in It for the Money . I found the album cover and the title shocking, and was incredulous that it could be lampooning the gods of popular music–the Beatles–jabbing and belittling their generation-defining album Sgt. Pepper’s Lonely Hearts Club Band, which had already achieved iconic status.”
He continued: “The first time I heard We’re Only in It for the Money I was tripping on acid, and the ‘through-composed’ album structure, where one song seamlessly merged into the next, and where text and composition, social commentary, acoustic instruments and electronics all swirled around together and through each other, was a deep aesthetic revelation.”
Joe recalled attending his first Zappa concert sometime around the release of his classic 1969 Hot Rats album.
“I remember sneaking into a big music festival, climbing over the fence to see the band! I found the music on Hot Rats to be generally intriguing and aesthetically challenging, in places puzzling, and inspirational. I think my favorite work was ‘Peaches en Regalia.’ But otherwise, I had not attended a Zappa concert since seeing the original band sometime in the early ‘70s at a music festival in Milwaukee. It was the second time I had seen them, and the period when they were doing pieces like ‘Don’t Eat the Yellow Snow,’ so it must’ve been somewhere around 1974 [when the song was released as a single]. It was in a big auditorium, and I was seated far away from the stage–and, frankly I didn’t really like that music very much: I found it mildly funny but musically uninteresting compared to the earlier music that I had loved and listened to incessantly. And I didn’t particularly like the virtuosic, modal-based guitar solos that Zappa was putting out in those days. I found them harmonically uninteresting and long winded.”
Indeed, after that Milwaukee Zappa show, Joe’s interest in Zappa waned. “Soon after I was pursuing my own formal music education, which took me far away from popular music for the better part of the next decade.”
My own interest in Frank Zappa, however, only increased around this time, especially since I began writing a couple years later. I’d see him many times after moving to New York in ’82, including his annual Halloween shows at the Beacon Theatre. I even met him a few times, interviewed him on the phone, got to know his late wife Gail a bit, and son Dweezil—for whom I wrote his first Zappa Plays Zappa tour bio. I met his younger brother Ahmet, too, when he and his wife signed children’s books at New York’s BookExpo last year at the Javits Center.
But back to Joe.
“I never lost complete interest in Zappa,” he said, “and especially became reinvested when he achieved recognition by the esteemed French avant-garde classical conductor and composer Pierre Boulez, the brilliant, belligerent, influential and outspoken champion of, and contributor to, the notorious mid-century genre of classical music that came to be known as ‘post-World War II integral serialism.’ This genre involved the application of Arnold Schoenberg’s ‘twelve-tone’ method to every musical parameter. Literally every note in these compositions had a complete and individualized set of performance instructions, which resulted in intense gibberish for both performer and listener. The aesthetic philosophy underlying this music was Schoenberg’s dictum ‘If it’s art it’s not for the people, and if it’s for the people it’s not art,’ which dismisses all of the music beloved the world over, including the Beatles, Gershwin, and Dylan. Dylan’s recent anointment with the Nobel prize in literature is a repudiation of this snobbery, but the fire still rages in the forests of academia.
“Boulez, in the early 1950s, with his sharp tongue eviscerated and destroyed any composer who dared to stray outside integral serialism’s incomprehensible non-melodies, non-harmonies, and non-rhythms, which were the result of overthinking and misunderstanding not only the neurophysiological mechanisms by which organized sound accrues meaning and emotional agency, but also the role and responsibility of the artist in the context of a majority proletarian culture. So his recognition of Zappa represented a turnabout of sorts, though of course Zappa had since childhood always had one foot in the classical avant-garde: On his early albums he had a quote from Edgard Varèse, another French composer from earlier in the 20th century—‘The present day composer refuses to die.’”
Joe himself had been “drenched in classical music of the 20th century, a large body of work which by and large has and had been completely ignored by the listening public as well as the community of professional classical musicians and conductors, but which was promoted exclusively by the composers employed as professors in the academies of music throughout Europe, the U.S. and all western looking music institutions throughout the world. By then I was already struggling to reconcile my populist rock band roots with the ivory tower aesthetic vested on me by music school. I listened to The Yellow Shark [Zappa’s 1993 avant-garde classical album with the German Ensemble Modern, his last album release prior to his death that year, for which Boulez was among those thanked in the liner notes] a few times and put it aside, planning to revisit it later–but still haven’t gotten back to it 23 years after.
“So all this was my mind set when I sat down after our set at the Cutting Room, to listen to Project/Object, fronted by the great vocalist/guitarist Ike Willis, who joined Zappa in 1978, and Don Preston, who played with Zappa from 1966 to 1974–the years during which I was a rapt teenage fan. In short, I didn’t know what to expect. And what I discovered, to my delight, was a huge range of repertoire that spanned about 20 years as far as I know of the Zappa catalog, all played extremely well by an ensemble of eight musicians, who had been on tour for the past month or so and were super tight, and at the same time, super relaxed.”
Yes, it really was a great show. They did one of my faves from Frank & The Mothers of Invention’s 50-year-old 1966 debut album Freak Out! —“Who Are the Brain Police?”, also “Down at Joe’s Garage” from Joe’s Garage and “Call Any Vegetable” from Just Another Band in L.A., which had my pals Flo & Eddie (Mark Volman and Howard Kaylan) from The Turtles on background vocals.
Special mention goes to Don Preston, who has 20 years on me, somehow. Just so great on “Who Needs the Peace Corps?” from We’re Only In It for the Money, even playing a solo by tapping on his cellphone—a solo so hot his phone erupted into flame. Joe Jackson was in the house and seemed impressed, though I wasn’t, since my Samsung Galaxy Note 7 can do the same thing.
“There was a wonderful warm, friendly vibe that exuded from the band as a whole and from the individual members, who were open and welcoming, supportive and curious about Swarmius,” said Joe, and sure enough, Project/Object’s vocalist/guitarist Andre Cholmondeley gave the band a big plug at the start of their set.
“I also discovered myself liking a lot of the repertoire that I had been so dismissive of in the mid-‘70s, such as Joe’s Garage. I think I was too young to understand the understatement and artistic brilliance underneath the overt sarcasm, humorous allegory and punchy rock grooves. All in all I had a thoroughly enjoyable evening: I found myself grinning ear-to-ear with the pleasure of hearing fine musicians deeply committed to music that came from a singular genius. I have a newly deepened respect for Zappa, and I am looking forward to revisiting, and re-listening to—finally!—Yellow Shark!”
And I’m looking forward to seeing Dweezil’s 50 Years of Frank: Dweezil Zappa Plays Whatever the F @%K He Wants show Sunday night, the night before Halloween, at, where else? The Beacon!
Oscar Brand, one of folk music’s great luminaries, died Sept 30 at 96.
He was “a national treasure,” per folk music authority Stephanie P. Ledgin.
“Oscar Brand has left an enormous number of accomplishments in music, television and beyond that will entertain and educate for many years to come,” says Ledgin, author of Discovering Folk Music. “He was warm, funny, engaging, abundantly generous in his talents. It was truly an honor to have known and worked with him.”
Ledgin’s connection with Brand came during the latter part of a remarkable 70-year career dating back to the 1940s. His Oscar Brand’s Folksong Festival radio show, which aired every Saturday on New York’s WNYC-AM, extended into its 70th year after its launch in December, 1945. On it he introduced the likes of Bob Dylan, Joan Baez, Woody Guthrie, Arlo Guthrie, Lead Belly, Joni Mitchell, Peter, Paul & Mary, Judy Collins, the Kingston Trio, Pete Seeger and The Weavers, all the while refusing payment so as to avoid being censored.
A two-time Peabody Award winner, Brand was a most prolific musician himself, and after his Army service during World War II moved to Greenwich Village and wrote a book How to Play the Guitar Better Than Me. He eventually recorded hundreds of campaign songs, drinking songs, college songs, children’s songs, vaudeville songs, sports car songs, protest songs, military songs, outlaw songs and lascivious ditties, filling over 100 albums. Doris Day charted in 1952 with his “A Guy Is a Guy,” and his “Something to Sing About”—also known as “This Land of Ours”—became the unofficial national anthem of his native Canada.
Additionally, Brand hosted the Canadian TV show Let’s Sing Out (in which he featured such folk music pioneers as Malvina Reynolds, The Womenfolk and The Weavers, and introduced then unknown Canadian singers like Mitchell and Gordon Lightfoot) and collaborated on musicals including The Education of H*Y*M*A*N K*A*P*L*A*N.
Brand participated in the 1965 Selma-to-Montgomery civil rights marches, and was a board member in the ‘60s of the Children’s Television Workshop, for which he helped develop Sesame Street. He joined the Songwriters Hall of Fame (SHOF) board of directors in the early years of the organization and was responsible for creating the first SHOF Museum, then located at One Times Square in 1980.
On behalf of SHOF, president/CEO Linda Moran expressed gratitude for Brand’s “invaluable contributions,” adding, “he will always be remembered fondly by those of us who were fortunate enough to have known him.”
Moran further notes the many years that Brand served as the organization’s curator—and that he remained an active board member up until 2014.
“On a personal level, Oscar was a handsome, charming, witty, brilliant gentleman, and I will always fondly remember him for the support and guidance he gave me in my role as president of the SHOF,” says Moran.
Vocalist/guitarist Fred Hellerman, a founding member of The Weavers who died Sept. 1 at 89, was the last surviving original member of the historic quartet, which formed a vital link between the folk music revival of the 1950s–which emerged out of the labor movement–and the peace-oriented folk revival of the `60s.
“As a founding member of the Weavers, Fred Hellerman’s place in American folk and pop music is secure,” notes music historian John Alexander. “While the other original members–Ronnie Gilbert, Lee Hays, and of course Pete Seeger–are more well-known, Hellerman’s contributions cannot be minimized. It’s a magical blending of all four voices that made songs like ‘Goodnight, Irene,’ ‘On Top of Old Smokey,’ and ‘Kisses Sweeter Than Wine’ come alive and embed themselves in our memories.”
“And let’s not forget that Hellerman produced Arlo Guthrie’s classic Alice’s Restaurant, one of the most defining albums of the ’60s,” adds Alexander.
The Weavers also introduced songs like “If I Had a Hammer,” “Midnight Special,” “The Sloop John B,” “Tzena, Tzena, Tzena” “This Land is Your Land,” “Wimoweh,” “House of the Rising Sun” and “Michael Row the Boat Ashore” into American popular culture. They paved the way for generations of important musicians including the Kingston Trio, Peter, Paul & Mary, Joan Baez and Bob Dylan.
“The music of the Weavers, for which Fred Hellerman was best known, continues to resonate not just within the folk music community, but globally, pertinent to social issues that remain at our core every day,” says Stephanie P. Ledgin, author of Discovering Folk Music. “I was never fortunate to meet Hellerman, but was thrilled to attend the 1980 Carnegie Hall Reunion.”
During the Red Scare of the 1950s, Seeger and Hays were identified as Communist Party members, with Seeger judged guilty of contempt for refusing to testify—though his conviction was later overturned. But The Weavers were no longer allowed to perform on TV or radio, and were dropped by their label. Denied airplay and the ability to record, and with their concerts besieged by right-wing protesters, they were essentially forced to disband in 1952.
The Weavers did reunite for a sold-out concert at Carnegie Hall in 1952, and a recording of the show was released in 1957. The group continued to perform after Seeger, who had established a successful solo career, left in 1958; they split up for good in 1964, though the original foursome got together occasionally through 1980, when their last full performance was the Carnegie Hall concert attended by Ledgin.
“We are very saddened to learn of the passing of influential folk music vocalist, guitarist, and producer Fred Hellerman,” said Recording Academy president/CEO Neil Portnow in a statement. “A 2006 recipient of The Recording Academy Lifetime Achievement Award with the iconic group the Weavers, Fred and his bandmates were best-known for performing timeless versions of American folk standards such as ‘Goodnight, Irene,’ ‘If I Had A Hammer,’ and ‘On Top Of Old Smoky.’ Their musical talents, and commitment to social activism, were a strong influence on the folk music revival of the 1960s. We have lost a true innovator.”
It started innocently enough when Nellie McKay asked me, after we’d seen Scott Bradlee’s Postmodern Jukebox at Radio City, what I thought of Bob Lefsetz, the long-winded music industry newsletter pundit famed—in the comparitvely small but ever growing circle of aging, mostly bitter ex-music industryites, all of whom are equally grumpy—for the newsletter he sends out to his email list once or twice daily.
No, I don’t read him, I said. One, he’s full of shit. Two, he’s a shit writer. Three, he writes the same shit over and over again.
Yes, I know this sounds a lot like I’m talking about myself–and I hastily admitted as much to Nell—especially #3. After all, I told her, I’m sure people go, “Gee. All he ever writes about is Nellie McKay! Doesn’t he like anyone else?” That answer, I conceded with the same haste, was for the most part, no.
We really should start a feud, Nellie suggested. It would be good for both our careers.
No, I told Nellie, my career is unsalvageable. And I definitely don’t want to risk yours. For the most part I don’t care what people think of me, but I don’t want it in my obituary that I took down the career of the most talented music artist of her generation.
[Editor note: Nellie’s career, actually, is fine. She was off the next night to play with her band at Deerhead Inn at Delaware Water Gap in Pennsyvlania, and is readying her most brilliant cabaret piece from two years ago A Girl Named Bill—The Life and Times of Billy Tipton, about the strange case of Billy Tipton, jazz musician and bandleader from the 1930s to the ‘70s, who performed with artists including the Ink Spots and Billy Eckstine, but when he died in 1989, was discovered to be a woman who had passed as a man in both his professional and personal lives, for upcoming repeat performances. But, no, she’s not doing the Super Bowl halftime show.]
Then why does everyone read him, she asked, returning to Lefsetz. That answer, I said, was easy: Everyone reads him because everyone else does.
This led me to Bob Dylan—somewhat ironically in that Nellie does about the best Dylan impression of anyone out there.
Just announced Nobel Prize aside, why does everyone consider Dylan the greatest songwriter ever? I asked rhetorically. Because everyone else does! Don’t get me wrong. I was a huge Dylan fan—as a kid. “Blowin’ the Wind”—especially Peter, Paul and Mary’s hit version—“Only a Pawn in Their Game,” “The Times They are a-Changin’”—these and so many other early Dylan songs woke me up to the 1960s. I knew Bringing It All Back Home, Highway 61 Revisited and Blonde on Blonde inside-out. But after he went Christian—great songs like “Gotta Serve Somebody” and “I Believe in You” and the great Gospel Tour of 1979-’80 that I saw in Madison notwithstanding, I started having second thoughts that carried over into a reexamination of his earlier work: Suddenly the lyrics to formerly beloved songs like “Desolation Row” and “I Want You” seemed like so much surrealistic baloney, to mangle–and I throw it in here gratuitously, much as those lyrics now appeared to be written–a favorite phrase from Edgar G. Ulmer’s 1934 horror film classic The Black Cat, where Bela Lugosi says to nemesis Boris Karloff, in response to a comment that the occult is little more than “supernatural baloney,” “Supernatural? Perhaps. Baloney? Perhaps not.”
It all came to a head in 2007, when I chanced to meet a reporter for ABC News at some showcase, and talk turned to Dylan. She was amazed, if not appalled, when I told her that I considered his post-folk period lyrics largely “gibberish”—and quoted me saying it in a piece around the release of Todd Haynes’ bizarre Dylan biopic I’m Not There (in which Cate Blanchett, in another instance of convincing female male impersonation, turned in the best Dylan portrayal).
Having slaughtered another sacred cow, I wanted to share my favorite lyricists with Nellie, starting with—who else?–Hal David.
I was so lucky to know Hal very well. In fact, he called me up once, a few years before he died, to say that he’d been mulling over writing a memoir and wondered if I’d be interested in helping him. Duh, I replied, then he said he wanted to hold off until everyone else was dead and of course, they all outlived him.
But go to any of his songs—as but one easy example, take “One Less Bell to Answer.” Even just the title is poetry, and when I say poetry, I mean you can take Hal’s lyrics apart form Burt Bacharach’s beautiful music and they stand alone as poems concerning contemporary relationships:
One less bell to answer
One less egg to fry
One less man to pick up after
I should be happy
But all I do is cry.
Indeed, I actually have a book of Hal’s lyrics—and you really don’t need the music.
I’ve also known Kris Kristofferson very well, and wrote liner notes on a two-disc KK compilation. Two famously immortal lyric examples will suffice: “Freedom’s just another word for nothing left to lose” from “Me and Bobby McGee,” and “There’s nothing short a’ dying/That’s half as lonesome as the sound/Of the sleeping city sidewalk/And Sunday morning coming down” (from “Sunday Morning Coming Down”).
I’ve written liner notes on two David Johansen CDs, and need go no further than the opening verse of “Frenchette” in which he pares down everything fake to the real core: “You call that love in French, but it’s just Frenchette/I’ve been to France, so let’s just dance.”
And then there’s Nick Ashford, which is why we’re gathered together here again in the first place. No one was more real than “Ain’t Nothing Like the Real Thing,” “Gimme Somethin Real” Nick Ashford.
This being the sixteenth in my continuing Reflections on Nick Ashford series, obviously I could go on and on about Nick, as human being and here, as songwriter. One of the things I love so much about his songwriting is the way he made poetry out of vernacular: “We got love/Sure ‘nough, that’s enough” fro “You’re All I Need to Get By,” “She wanna live in a high-rise” from “High-Rise”–you get the picture. But even better, the way he cut deep to the core of human beings and humanity—but ever so tenderly. I come now to Ashford & Simpson’s “Reach Out and Touch (Somebody’s Hand),” the enduring hit for Diana Ross, what I love to call the greatest song of all time.
First, it’s not “Reach Out and Touch (Somebody’s Hand)—Or Else!” or “You Must Reach Out and Touch (Somebody’s Hand.” Nick was never judgemental, never demanding: “Reach out and touch somebody’s hand—make this world a better place if you can.” The italics are mine, but the gentle suggestion is Nick’s. It’s “if you can,” not “of course you can!”
Nothing authoritarian, either, as in “I command that you reach out and touch sombody’s hand!” No, Nick never forces an issue: He always kindly leaves kindness up to you.
And then he delivers what I consider one of the most extraordinary anthropomorphisms ever in a song, that is, of course, if I have any idea what anthropomorphism means.
Or would I be talking to a stone
If I asked you
To share a problem that’s not your own?
Again, he’s not saying, “You are a stone,” or even insinuating it, just rhetorically asking.
And “to share a problem that’s not your own”! Ruminate on that for a moment, maybe even two.
I’m really at a loss for words now. How seemingly simple yet so enormously poetic in anthropomorphizing a stone in bringing us around to see our failings in caring about others—this from the most creatively caring songwriter maybe ever.
Sorry if it took so long to get here. So many roads, sometimes circuitously, lead to Nick.
[Editor’s note: Bob Lefsetz and Bob Dylan deserve an apology. Nothing said was inaccurate, but any negativity towards another is inappropriate and uncallec for in anything relating to Nick Ashford.]
I’m very happy that Danny Says, a documentary on the life and times of Danny Fields that’s been in production for the last couple years, is finally coming out via Magnolia Pictures on Sept. 30. Based on attending an early screening, I can say it’s very good.
But it’s also missing my four hours of interviews-two of me, two of Seymour Stein that I did, though at least Seymour does get a few onscreen seconds. As the director has the tapes, I don’t know what I said verbatim. But I did say a few important things about Danny that no one else said-neither Seymour nor the stellar likes of Iggy Pop, Judy Collins, Jonathan Richman and Alice Cooper–so I’ll try to recapture them here the best I can.
I definitely recall my main point about Danny Fields, since it’s one I often use when I speak about him–which is often–and that is, there’s no telling what music of the last 50 years–from the mid-1960s on to this day–would be like without him. I mean, this guy had a hand in nearly every key music development post-Beatles–and even had a hand in The Beatles, too.
Indeed, Danny “is an expert arbiter of culture–music being his main focus,” Timothy Young, curator of modern books and manuscripts at Yale’s Beinecke Rare Book and Manuscript Library, told me a couple years ago when I wrote about the library’s acquisition of truckloads of Danny’s papers–along with his vast collection of interviews and photographs, audio and video tapes, films and memorabilia.
“But we have to keep in mind that he has been writing all of his life. His articles for 16 Magazine deserve a close reading for how they promoted and shaped youth culture in the 1960s and 1970s. His several books detailing the lives of his friends–Linda McCartney, [Andy Warhol’s Bad star] Cyrinda Foxe–were the result of an amazing amount of research. His role in creating, promoting, and managing the public personas of The Ramones–one of the most influential rock groups of the 20th century–is a case study in how music culture operates.”
Yes, Danny discovered and managed The Ramones, for which he remains best-known to most people, probably. But long before that the Phi Beta Kappa Harvard law school dropout was deeply embedded in Andy Warhol’s Silver Factory scene in New York (he wrote the liner notes for the Velvet Underground’s Live At Max’s Kansas City and lived with Warhol superstar Edie Sedgwick) prior to becoming publicity director at Elektra Records, where he worked with acts like The Doors, Nico and Judy Collins and managed The Stooges and MC5. He also worked with artists including Cream, Lou Reed and Rufus Wainwright, and if you ever get the chance to stroll through his West Village apartment hallway you’ll see a wall lined with his photos of a young Bob Dylan, Janis Joplin, Divine and many of the aforementioned.
And as Young noted, Danny played a not insignificant role in Beatles history—aside from being a close friend of Linda McCartney. He’s the one who published John Lennon’s infamous “We’re more popular than Jesus” quote (in the August, 1966 issue of Datebook).
Danny Says, of course, takes its name from the Ramones song on the band’s landmark Phil Spector-produced End of the Century album. But Danny is a true Renaissance man, with interests far beyond pop music.
“It’s odd to go from Shakespeare folios and 18th Century prayer books to posters of Dee Dee Ramone!” he told me, and now I’ll tell you what I’m sure I said in my interview: Danny can go from Shakespeare folios and 18th Century prayer books to posters of Dee Dee Ramone–and just about anything cultural, historical and intellectual you can think of. He and I actually go to the opera together, which is great for me on two counts: Not only do I get to spend quality time with him, but he actually knows opera and can explain to me what we’re seeing.
Of course, my close friendship with Danny Fields isn’t based on opera, but even though I wrote the first book on The Ramones (Ramones—An American Band) and thanked him in it and interviewed him at length, it isn’t based on The Ramones or punk rock, either—though I obviously knew his name from both.
No, when I first met Danny Fields—and I was so thrilled to meet him, knowing full well who he was—it was in, of all places, Nashville. To be precise, it was at a Warner Bros. Records party at some country club during what was then called CMA Week, in reference to the week of performing rights society banquets and other celebrations culminating with the Country Music Association Awards. Must have been 1984, because I was full-time at Cash Box magazine as retail editor, in New York only a year or two and hadn’t managed to break in as a freelancer anywhere—until that fateful night.
Two things stand out, over 30 years later. First, Conway Twitty was there! Second, so was Danny Fields! But what on earth was Danny doing at a country music event in Nashville?
What I didn’t know was that Danny, who was no longer managing The Ramones, was now editing a country music magazine called Country Rhythms—having famously edited 16 Magazine–and was starting up a magazine to capitalize on the new MTV craze, Rock Video. I was an avid MTV viewer at the time, but was ambivalent about the quality of rock videos–though extremely opinionated. So when Danny said he was starting up a magazine called Rock Video, I practically begged him to let me write for it, specifically, review rock videos.
He asked how I got to the party and I told him I drove there in a rental car. He said if I gave him a ride back to his hotel—and got him back safely—I could write for him and Rock Video.
Thank you, Avis.
I’m pretty sure I was the first writer to review rock videos. And Danny let me contribute to Country Rhythms, too, country music being, ironically, what brought us together in the first place.
So not only do I not know what popular music would be like without Danny Fields, I don’t know what my career writing about it would be like. And I’m absolutely sure I’m not the only writer who would say that, let alone musician, let alone Yale library curator.
“He teaches me something every time we meet,” said Young, “and I’m glad to have his papers here at Beinecke with those of Gertrude Stein, Thornton Wilder, Robert Giard, Richard Neville, Ezra Pound and other talents who reshaped the way we see, read, and hear the world.”
I’m not the spiritual type, though I spent a lot of time with Nick Ashford. The only other person who had that kind of spiritual depth that I knew was John Trudell. As The Indian Country Today Media Network website reported, the “noted activist, poet and Native thinker” on December 8, 2015 left Turtle Island [a name given to North America in some Native American myths] to join the spirit world. The influential Native philosopher touched many throughout Indian country and beyond.”
I didn’t know John well, like I knew Nick. I did speak with him for a Billboard story in 2002 when Bone Days came out, which is when I would have seen him the first time, at The Bottom Line. I saw him some years later at Joe’s Pub, but he was part of a group gig, if I recall. I spoke with him briefly, then, and he couldn’t have been nicer. I don’t know if he remembered me from the Bottom Line show, but he was alone, and knew a lot of other people in the audience and there wasn’t much one-on-one hang time for me.
The Bottom Line gig, though, was way different. He was there with his group Bad Dog–featuring Mark Shark on guitar, and fellow Native American Quiltman, who sang and chanted within the tradition in providing a musical and spiritual context for John’s spoken word poetry.
I guess I have an inherent reverence for Native Americans, at least the myth and legend of the Native American as gleaned rightly and wrongly as a kid from John Wayne and John Ford and Tonto and Saturday morning TV cowboys and Indians, and later The Outlaw Josey Wales and Bury My Heart at Wounded Knee, the American Indian Movement (John was its national chairman), AIM member Leonard Peltier and Thunderheart.
John starred in Thunderheart, largely playing himself, I’m sure.
I understand he wrote the “Freedom Speech” in the pivotal scene where he’s captured and beaten by FBI agents on the South Dakota Sioux reservation where the movie, loosely based on the Wounded Knee incident of 1973, is set.
Some 200 Oglala Lakota and AIM followers had occupied Wounded Knee, S.D., on the Pine Ridge Indian Reservation–site of the 1890 massacre by the U.S Cavalry of over 300 men, women and children being relocated to the reservation. The occupiers sought the removal of an allegedly corrupt and abusive tribal president, and protested the U.S. government’s failure to live up to treaty obligations.
During a 71-day standoff, a Cherokee and an Oglala Lakota were shot to death, and a civil rights activist disappeared and was presumed to have been murdered. In Thunderheart, John’s character Jimmy Looks Twice, an Indian activist who is suspected of murder, was also inspired by Indian activist Leonard Peltier, who remains famously imprisoned for life following a controversial trial and conviction of murdering two FBI agents at Pine Ridge in 1975–after being acquitted of the attempted murder of a Milwaukee cop.
Peltier’s story, incidentally, was the subject of a 1992 documentary, Incident at Oglala, directed by Thunderheart director Michael Apted and including an interview with John, who was himself the subject of the 2005 documentary Trudell.
In Thunderheart (also 1992), Jimmy Looks Twice tells sympathetic FBI agent Ray Levoi, himself part Indian (well-played by Val Kilmer), “Sometimes they have to kill us. They have to kill us, because they can’t break our spirit. We choose the right to be who we are. We know the difference between the reality of freedom and the illusion of freedom. There is a way to live with the earth and a way not to live with the earth. We choose the way of earth. It’s about power, Ray.”
The lines–and John’s portrayal–deeply affected me, as did the rest of his history. According to the Los Angeles Times obit, he had a 17,000-page FBI dossier: “He’s extremely eloquent,” one FBI memo read, “therefore extremely dangerous.”
In 1979, while John was demonstrating in Washington, D.C., his pregnant wife, three children and mother-in-law perished in a fire at her parents’ home on Nevada’s Duck Valley Indian Reservation–hours after John burned an American flag at the FBI building. The cause of the fire was never determined, but John and others suspected the government.
“One world ended abruptly and completely and could not be resurrected or re-put together,” he later told the Times. It was then that he began to write, and his poetry was promoted by the likes of Kilmer, Bob Dylan, Robert Redford (who compared him to the Dalai Lama), Jackson Browne and Bonnie Raitt. The Times said that he considered poetry to be first among the arts, and quoted him thusly: “When one lives in a society where people can no longer rely on the institutions to tell them the truth, the truth must come from culture and art.”
Brown produced John’s 1992 remake of his acclaimed 1986 album AKA Graffitti Man with late Kiowa guitarist/songwriter Jesse Ed Davis, having previously help him record the 1983 album Tribal Voice with Quiltman.
“I started with Quiltman to put spoken word with the oldest musical form–Native American music–and he was willing to go for it, though we had no experience,” John told me when I interviewed him. “Then I wanted to put it with the newest musical form–electric guitar–and I met Jesse Ed Davis and he was the only one who knew what I was talking about.”
After Davis died in 1988, “Mark [Shark] picked up his guitar, so to speak, and carried on. Then Quiltman came in [again] and it was quite an evolution, adjusting traditional Native American songs to where he just makes his own harmonies to go with contemporary songs.”
Naturally, I had jumped at the chance to speak with him when the opportunity arose with Bone Days. As I wrote in Billboard, his intensely delivered recitations, backed by Shark’s ethereal guitars, were given heightened otherworldly power by Quiltman’s chants, giving the album its own extraordinary power.
“Because the whole point,” he told me, “is to take from our native culture and from contemporary culture without using one artform to mimic the other so that our native identity remains the native identity, the contemporary identity remains the contemporary identity, and the mixing of these two musical identities creates a third musical identity.”
Then he laughed.
“In my mind, at least, that’s how it plays,” he said. “But I don’t know about the rest of the world.”
When I walked into the dressing room before the Bottom Line show, though, it wasn’t like Joe’s Pub.
Unlike our phone conversation, John was stone sober in demeanor, intimidating behind his sunglasses.
I don’t recall much of what was said. I’m sure I introduced myself as the guy from Billboard who interviewed him, which he would have remembered. I’m sure I mentioned Thunderheart during the phoner, and if I hadn’t brought up his small role in Steven Seagall’s 1994 Alaskan environmental action film On Daedly Ground, I did then. And we most certainly talked Native American and White American politics.
I presume it was a pipe, for I distinctly remember the words “peace pipe” being uttered, but I can’t imagine by me. But someone proffered a pipe or joint and everything loosened up and by the time I went to my seat I was in proper mind to experience live the poetic visions of which John spoke, that he related with his music. By the way, in 2012, John and Willie Nelson co-founded Hempstead Project Heart, which calls for the legal cultivation of hemp for clothing, biofuel and food.
About the only other contact I had with John was indirect, through another modern day saint, Kris Kristofferson. Kris wrote “Johnny Lobo” about John, about “a warrior fighting for his people and his soul” who like John had served during Vietnam (John was in the Navy, on a destroyer off Vietnam):
Loaded down with lessons that he carried
Home from Viet Nam to Wounded Knee
Johnny Lobo burned a flag he knew had been dishonored
Paid the price for thinking he was free
Someone set his house on fire, burned it to the ground
With his wife and children locked inside
Later when the bitter tears were falling to the ashes
Something good in Johnny Lobo died.
But something good in John Trudell also lived. And even though I never spent a lot of time with him, I remained so moved by him that I was stunned and broken by his death. And I was hardly alone.
I called his longtime assistant Faye Brown a few days after, and she still could barely talk. John’s family released this statement: “We know all the people who love John want to know about plans and how to pay their respects. John left clear instructions for his passage and for what he wanted to happen after he crossed over. He did not want a funeral or any kind of single gathering. He also did not want his family to write a standard style obituary or ‘toot his horn.’ He didn’t want to tell people how to remember him. His wishes are for people to celebrate life and love, pray and remember him in their own ways in their own communities.”
“With love for all,” the family closed.
His close friend Kevin Marsh, who held him in his arms lovingly as he “passed through to the other side,” related John’s final moments.
“John was extremely ill,” wrote Marsh. “Cancer is the worst, plain and simple. But he was good with what was happening to him, the transitioning from this world to the next.”
He continued: “John was at peace, such a total, calming peace befitting a warrior of his caliber. It was stunning is what it was. The sparkle in his eyes never left him–it never went away ever. No glazing over like most folks when they leave. Not John. The sparkle never left his eyes.”
After his eldest daughter came in and said, “Hey, Trudell! How ya doing?,” John looked up and said, “I’m good.” And that was it.
And then Marsh added, “We do not stop because John is not on this earth because we still are and the work is not even close to complete. The next generation of Trudell’s are primed to take up where their father left off. All the non-profits that would always table at John’s gigs still need a place to go to get the word out and plans are in the works to keep the work very very much alive and moving forward–together.”
He concluded: “And remember, ‘John’s good.’ He said so.”
Here’s John’s “Stone People,” from his last album, “Wazi’s Dream”:
Death is a ghost where there is no death
Death is a death where life forgets to live.
“Larry courted me with a Louvin Brothers mix tape,” said Teresa Williams last week at the beginning of her showcase set at Rockwood Music Hall with husband Larry Campbell. “Talk about romance!”
That was some 25 years ago—which helps explain both the funny marital banter (“Twenty-three percent of my time is spent waiting on her,” said Larry Campbell. “My father said when I got married to be on time for it to work,” said Williams. “It didn’t sink in,” said Campbell.) and the couple’s perfect duet singing.
As for the Louvins, if not a brothers vocal blend, the pair’s second-nature harmonizing came easy on “You’re Running Wild,” the Brothers’ 1956 Top 10 country hit, that is on Larry Campbell & Teresa Williams, their debut album coming out June 23 on Red House Records. As for Williams, she epitomizes the Americana genre as a singer, able to hold a note forever while subtly modifying its tone or just belt it out and let it go.
And as for Campbell, well, his pedigree precedes him, as everyone at Rockwood well knew.
“I spent a lot of years on the road with Bob Dylan,” he said matter of factly but not without understood weight. “In many ways that deserves a round of applause.”
Clearly, he was happier with the ensuing seven years of working closely with another noteworthy Dylan accompanist, The Band’s Levon Helm: “We’d talk about our experiences [with Dylan] for hours. It was very interesting.”
Very understated. So was his solo acoustic guitar play on Irish composer/harpist Turlough O’Carolan’s “Blind Mary,” which he included on his 2005 solo acoustic guitar album Rooftops, which will be reissued shortly. Campbell prefaced it by noting how he learned it during the nights when he locked himself in the tour bus bathroom after Dylan gigs, then practiced for hours while working off leftover energy from the shows.
It was only fitting that Campbell and Williams included Johnny Cash’s “Big River,” since they make the same kind of beautiful music together that Cash did with his wife June Carter Cash.
Here’s a performance of a classic blues included in Larry Campbell & Teresa Williams:
There’s nothing like seeing anything with Danny Fields, but especially something that he was intimately involved in—which doesn’t much narrow it down.
Case in point: Judy Collins. Danny was so much a part of her career when he was working at Elektra in the 1960s and she was a roster artist that she’s in the forthcoming Danny documentary Danny Says. When I found out on Dec 30 from her concert opener Ari Hest—in the Fab Faux’s dressing room at City Winery following the band’s dead-on performance of Danny’s favorite Beatles’ album Rubber Soul in its entirety—I brought him with me to see her Jan. 2 at City Winery.
Due to hot saki and two electronic pot hits, I’m afraid I took worse notes than usual. Hence, this account will likely be especially incoherent and meandering. About all I can say with certainty is that Judy Collins remains a national treasure, along with Linda Ronstadt one of our two broadest interpreters of popular song. That said, I can also say that she opened with “Open the Door,” one of her most beautiful original songs and sentiments (“I’d like to be as good a friend to you as you are to me”).
We sat at a table with a couple in town from Chicago. The wife had first seen Judy in 1969. Judy, meanwhile, looked out at Varick Street from the City Winery stage facing it, and recalled coming to New York herself from Denver and playing Gerdes Folk City in 1961—and wondered if anyone in the audiience was even alive then, besides, that is, me and Danny.
“Everybody was there–Joan [Baez] and Mimi [Farina, Baez’s sister]. Even Cisco Houston, who had only a couple months to live. Peter, Paul and Mary, before they were Peter, Paul and Mary. And a guy at the bar who was so pathetic, singing old Woody Guthrie songs—and not the best ones. I thought he was sad, that he didn’t have any repertoire. That was Bob Dylan. And I thought it was wonderful that they all came to see me and then I found out that my opener was a 13 year old named Arlo.”
Judy sang something that had to have been so beautiful, because the Chicago wife was weeping openly afterwards and saying something to Danny. I really wanted to let her know who Danny is—or at least direct her to this fab piece I wrote a few months ago!—but I knew Danny would modestly shrug it off.
Judy was now noting that Marcia, her grade school friend from Denver whom she’d known for 63 years, was in the audience, that they’d been in a group in the ‘50s called The Little Reds, assuring the audience that in those days, “[Little Reds] meant nothing political.” She mentioned meeting up with Leonard Cohen’s singer-songwriter son Adam while touring Australia. “You’d be proud of me for not telling him I put him through school,” she said, and indeed, Leonard Cohen was one of many budding or otherwise then unknown songwriters she championed throughout her career.
Me? I was unusually jumpy, maybe because of the weed, maybe because Danny had explained to the Chicagoans that we hadn’t paid for the seat at our table that we let the wife have because we were VIPs. Whatever, something went to my head, and when it became clear that the waitress had forgotten my second whiskey, I pointedly, perhaps arrogantly, gestured at her from across the room. She rushed over with it and apologized. I waved her off and downed it like the VIP Danny said we were.
Judy was talking about her early music influences—the old folk song ballad “Barbara Allen,” via Jo Stafford (me and Danny nodded at each other and made referece to Stafford’s hit “Shrimp Boats”), and of course, The Highwaymen’s “Gypsy Rover.”
I’ve heard her sing “Gypsy Rover” many times. But I also got to hear The Highwaymen sing it, a few years ago when the four then-surviving members of the original quintet regrouped and performed at the annual Association of Performing Arts Presenters conference at the Hilton.
I couldn’t believe it when I saw the listing and read the blurb. I didn’t think it was possible that The Highwaymen—the early ‘60s folk group who arguably recorded the definitive baby boomer versions of “Michael (Row the Boat Ashore)” (which actually topped the pop charts in 1960), “Big Rock Candy Mountain,” “Cotton Fields” and “The Gypsy Rover”—were still together, let alone still alive. Yet there they were, doing 20-minute sets for talent buyers in little showcase rooms at the hotel.
I was blown away. I was eight when “Michael” came out, and here I was speaking with lead singer Steve Fisher, who had formed the group with four other Wesleyan freshmen in 1958. I told him how I always loved to hear Judy Collins sing it in concert, and he said that they’d never met her, but were about to open a show for her and that they were so excited about it they didn’t know what to say. I also told him how I often found myself (and still do) singing the plaintive “Ah-dee-do, ah-dee-do-dah-day/Ah-dee-do, ah-dee-day-dee” chorus on the street, even in the shower at the gym (not recommended). He laughed.
Sadly, Dave died in 2010, and was followed in 2011 by Bob Burnett and Gil Robbins (Tim Robbins’ father, who had joined the group in 1962). That leaves only Steve Trott and Steve Butts of the original five, Chan Daniels having died in 1975. I relate all this here because meeting them and hearing them was like meeting Odetta, many of whose songs they also popularized. And when Judy sang the “Gypsy Rover” chorus a cappella at City Winery, I chimed in with everyone else, this time without embarrassment.
And then it was back to Bob Dylan. She joked about hearing the forthcoming Dylan Shadows in the Night album of Sinatra songs, which she’s apparently not too impressed with. But acknowledging that “he changed our lives forever,” she said, before leading the SRO crowd in “Tambourine Man” (which she recorded after being present when he wrote it): “He can sing Rogers and Hammerstein if he wants. He can do anything he wants.”
Yeah, well he can’t do Sondheim. Judy can and did: three Sondheims ending with “Send in the Clowns” (the other two are lost to incapacitation). And she could have done any number of other writers—Webb, Weill and Robin Williamson, to start with “W.”
Not to mention Ari Hest! He came up to sing his excellent song “The Fire Plays,” with Judy accompanying him beautifully–after a gushing intro thanking him for joining her on a trip to perform at some castle in Ireland (like anyone wouldn’t? Shit, I’d have carried her guitar!).
Just remembered! She kicked off her shoes for an encore at the piano after starting it and then discovering she could get “a better grip on the pedal” without them. Otherwise her longtime piano/vocal accompanist Russell Walden was wonderful as ever. They did a stunning version of Billy Ed Wheeler’s “Coal Tattoo” and it made me wish she’d do a whole album with Richard Thompson
Danny was thrilled that she encored with “In My Life” from Rubber Soul (also the titletrack of her 1966 breakthrough album) and then she finished traditionally with “Amazing Grace.” Now I had tears in my eyes, which, when closed, melted the decades back to that night at Gerdes in 1961.
No, Jane. I didn’t mean, when I said it was like seeing you for the first time—30-plus years ago—that you aren’t any different now. What I meant is that your new band show is as spellbinding as the first one in terms of presentation—and music, of course.
At least, I think that’s what I meant, now that I think about it: That incredible show at The Bottom Line, when you came out with a band and the two female backup singers, and the three of you had those microphones that you wear around your head so you can move around. To this day it was one of the most memorable shows I ever saw.
Anyway, I told this to Jane Siberry in the Green Room after her hour-long show at the East Side apartment of prominent, if not notorious, New York criminal defense attorney Gerald Shargel. Said Green Room was really an office/study lined with incredible photos of Che Guevara, Bob Dylan and Joan Baez, Joan and Martin Luther King, and the like. Also framed on one end of the room was the famous Milton Glaser psychedelic poster that was included in the 1967 Bob Dylan’s Greatest Hits album, which I used to have tacked up in my bedroom, you know, the one with the multi-colored hair on the black silhouette.
Framed on the other end were the somewhat famous—if you’re a New Yorker–New York Post front pages of secretly taped John Gotti quotes railing against his defense attorneys, of which Gerry—and I hope it’s okay to call him Gerry, since we’re all Friends of Jane–was one. Presumably, Gerry never turned the Teflon Don on to Jane.
But Gerry had previously turned on a number of his friends to Jane and other highest quality music acts by holding these “salon” concerts at his home. This was Jane’s second appearance, and she remembered one of the 25 listeners in the living room from her first one a couple years ago, and that legendary New York columnist Jimmy Breslin had been there as well.
She came out with longtime collaborator/bandleader/pianist/composer Peter Kiesewalter, cellist Kevin Fox, and backup singers Ali Hughes—who met Jane in her native Australia when Jane did a salon there—and Rebecca Jenkins, like everyone else, a Canadian—whom I saw with Jane that first time at the Bottom Line.
There! That’s what I meant about how it was like seeing you for the first time! Even though all the music was different—but just as great!
Gerry introduced Jane by noting that her biggest album, When I Was a Boy, which includes her most famous song “Calling All Angels,” was one of his Desert Island Discs. I told him later that I’m thanked on that album next to John Lennon. I also told him that I always say how when you think of John Lennon, of course, you immediately think of Jim Bessman, but in all honesty, I’ve never said that to May Pang.
Jane started by saying how her job was to make us all forget, the best we could, what we were thinking about for 60 minutes. She began with “All we like sheep have gone astray” from Handel’s Messiah, this salon being a preview of her upcoming Holiday Hoes and Hosers tour—though Jane explained that it’s really simply about garden tools. She also pointed out that in Handel’s case, the entire Messiah was written two weeks prior to its first performance in a pub—with people likely calling out for beer by the time they got to the “Hallelujah Chorus.”
“That’s the way I like things to be—real,” she said, and real it was in Gerry’s living room, where Christmas came early. Other seasonal songs included “In the Bleak Midwinter,” which she released on her 2003 album Shushan the Palace (Hymns of Earth), and a personal favorite, “Hockey,” from 1989’s Bound by the Beauty, in which Jenkins jingled a tambourine, and Hughes hit a block to the lyric “You skate as fast as you can ’til you hit the snowbank–that’s how you stop.”
“People from Canada and cold climates really fly into it,” Jane said of the song. I’m from Wisconsin.
She also sang When I Was a Boy’s ethereal “Love is Everything,” so beautiful with Kiesewalter’s piano backing, and a few songs from her upcoming album Consider the Lilies, a single-CD summary of her three-album trilogy Dragon Dreams (2008), With What Shall I Keep Warm? (2009) and Meshach Dreams Back (2011), mixing music and spoken word in songs like “When We Are Queen” and “Then We Heard a Shout.”
“It’s about questioning how we keep ourselves warm–if we let go of everything,” she explained, noting that the title derives from the Gospel of Matthew’s instruction in regard to material provisions.
“Is there anyone who is Jewish who’s offended by ‘Savior’ songs?” she asked Gerry, who assured her no, to which she added, “They offend me, and I’m a Christian!” But she loves the “beautiful old Christmas songs, with beautiful melodies and images of donkeys and stars” that have long since been banned from public schools because of religious content.
“I wrote a song that I hoped was neutral that kids could learn—that’s been done by choruses,” she said, leading into and closing with her very beautiful and “neutral” “Are You Burning, Little Candle?,” from Child: Music for the Holidays (1997).
She encored, of course, with “Calling All Angels,” after relating that when she recorded it with k.d. lang in separate vocal booths, both realized at the same time that they needed to come out and sing together next to each other, despite the producer’s preference to keep them apart and stanch any audio bleeding.
“There’s so much more you can get when you’re singing and playing music in close proximity,” she said.
“Calling All Angels” over, I suddenly remembered what it was I was thinking about 60 minutes earlier.
Just like the first time, Jane.
Trust me: Don’t miss any of her Holiday Hoes and Hosers shows.