Archive for the ‘In performance’ Category

Here’s an entertaining, if incomplete, snippet of video from Voodoo Fest, via Brooklyn Vegan. It’s a double version of “SJI” performed by Preservation Hall, with assists from My Morning Jacket members. The clip starts fairly deep into version one, with guest vocals by Jim James, who as noted here previously does a turn on the most recent Preservation Hall record. “James sang it straight, as a bluesy dirge,” writes Alison Fensterstock. “Once he concluded, [My Morning Jacket drummer Patrick] Hallahan grabbed a pair of sticks and joined drummer Joe Lastie for a hot, swung-out version.” That happens at about the two-minute mark on this video. The transition is really fun.

Fensterstock again:

Hall vocalist Clint Maedgen scorched the mic; plenty of cowbell and tambourine gave the number a street-parade, Mardi Gras Indian feel (sort of like Wardell Quezergue’s famous production of the Dixie Cups’ “Iko Iko,” which, legend has it, utilized ashtrays and water glasses for its unforgettably clanky percussion.)

After the song, the band second-lined out and into the crowd, then returned to the stage for a closing version of Leadbelly’s “Goodnight Irene.”
Unfortunately, the clip ends well before the song does — but she’s right, this second version is superhot. And while we don’t get to see the band head into the crowd, there are some very amusing shots of fully Halloweened-out audience members dancing.

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Red Cotton on the Gambit’s blog writes:

Leaving Jazz Fest yesterday, I ran into one of my favorite bands The Baby Boyz playing at Stallings Park. I’ve been watching these proteges of trombonist Glen David Andrews for two years now and I’m increasingly impressed by their talent and stage presence. Well, what are the options really when you come from a musical legacy like the Andrews Family and the Treme 6th Ward? You kinda have to be awesome – or else.

Hat tip to Morris Brum.

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A brief note about a version of “SJI” I would like to have heard, despite the description. This NYT writeup concerns a band called Delta Spirit, performing at Piano’s, in New York.

At Pianos the group briefly featured guest vocals by Gordon Gano, formerly of the Violent Femmes, whose take on warped Americana bears some relevance to the Delta Spirit sound. Mr. Gano seemed stranded on “St. James Infirmary Blues” but fully at home on “Add It Up,” one of his old band’s best-loved tunes.

It’s true that I have a hard time imagining Gordon Gano doing “SJI.” But I guess that’s why I wish could hear it!

Update: Well, thanks to the comment below I am now aware that what seems to be a clip from the very gig reviewed by the NYT is available on YouTube. Here then, below, is Gano doing “SJI.” Or, really, he’s dueting it with Delta Spirit’s singer. (I guess it’s part of their repertoire, another clip of them performing the song is here.) Anyway the reviewer is right, Gano does seem a good deal less than confident, but in fairness it also seems that he’s very much operating on the fly here. He really just sings the “Let her go” section, so mostly what he’s doing is just standing there. At one point, invited with a gesture to chime in again, he leans over to the mic and says, “You know all the words!” Finally he chimes in with some sort of random scream-scats at the very end. I don’t know — I think it’s a little unfair to say he’s “lost.” But you can see what you think, here:

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In a May 20th set at the Village Vanguard, Touissaint plays a bunch of material from Bright Mississippi. The band for the gig includes Don Byron, Christian Scott, Marc Ribot, David Piltch, and Jay Bellerose. “SJI” comes up pretty early — about 12 minues into the nearly hour-and-a-half set. Joe Henry (who produced Bright Mississippi) takes the vocals and does a nice job. Full set list and other details + plus audio link here.

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A writeup from Ohio State publication UWeekly.com praises a collaboration of the Columbus Jazz Orchestra and BalletMet for a performance called “Jazz Moves Take 2,” which the writer says “explores all the different ways that jazz in all its various forms and dance can come together.”

A highlight, apparently, is a piece called “Bourbon Street:”

It begins with a funeral dirge set to “St. James Infirmary” where the company marches along as a soloist emotionally expresses the agony of losing a loved one. The piece then moves on to a full company celebration of life set to the exuberant “Bourbon Street Parade.”

Obviously I know nothing at all about ballet, or dance in general. But it sounds interesting.

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… you might consider checking out the New Orleans Jazz Orchestra, apparently performing five shows at Benaroya Hall, starting January 22 (tonight). NOJO is led by Irvin Mayfield, one of the city’s preeminent modern trumpet stars.

This spirited, swinging, 16-piece band is steeped in the tradition of New Orleans jazz, blues, swing and spirituals, and performs and presents educational programs that draw upon the rich musical and cultural traditions of its home town….

NOJO’s national tour, “New Orleans: Then and Now,” gives concert goers a taste of the city’s unsurpassed musical heritage and history. Every tune invokes the rich cultural traditions and legacies of America’s most unique city, the birthplace of jazz. From “The Elder Negro Speaks”, a song that brings the city to life with a traditional second line celebrating death and rebirth, to “St. James Infirmary”, which harkens back to Louis Armstrong and the early days of jazz, listeners experience the vibrant spirit of New Orleans….

More here.

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More of our ongoing Q&A series with Robert W. Harwood soon, but meanwhile, it so happens that Mr. Harwood sent along a link of interest.

It’s a YouTube video that’s below, but before I get to it, a little context on why I found it particularly intriguing. Way back in April, The New Yorker published an article titled “The Last Verse: Is there any folk music still out there?” It was mostly about two song collectors who have been working together, but are somewhat different. (The article, so far as I can tell, is not on the New Yorker’s site.)

One is Art Rosenbaum, a University of Georgia folklorist who has been making field recordings of folk music since he was about 19 or 20. The is Lance Ledbetter, in his mid 30s, who has a record label in Atlanta called Dust-to-Digital. Together the pair collaborated on a four-disc retrospective of folk material Rosenbaum had recorded over the years, often in people’s homes. (I later bought this; it’s good.)

To a large extent the article is about the question of what, exactly, folk music is. Writer Burkhard Bilger paraphrases Rosenbaum’s criteria. For one thing, “the songs had to be traditional, the music learned from relatives or local musicians.” On the question of the folk performer, Bilger notes that Rosenbaum never recorded the major figures of the folk revival that was going on even as he began his field-recording career: “Folk music, to him, was the art of the anonymous.”

Elsewhere in the article, John Lomax is quoted saying, in 1937, that the sort of field recording he did (along with his son Alan) would soon be rendered either impossible or pointless by the march of progress: “The influence of good roads and the radio combined will soon put an end to both the creation and to the artless singing of American folk songs.”

So. There is obviously a lot to argue about in many of the words here — what “traditional” means, why it is (or isn’t) important that a song be learned from a local musician as opposed to one heard via electronic media, how to define “artless” and why that should matter, and whether a performer needs to be or stay “anonymous” to count as folk.

With those questions hovering in the background, then, let me get back to what Mr. Harwood sent: It seems that a friend’s teenage son, who plays guitar and harmonica, has discovered and been impressed by another harmonica player. The latter lives in France, and reaches whatever audience she has by way of YouTube. In general, she performs by turning on a webcam, putting on a recording by a well-known artist, and playing along, adding her harmonica part to an existing song. Her name is Christelle Berthon, and her YouTube channel has (as I type this) 1,336 subscribers.

But the video below is a bit of a departure from the scenario just described: It’s a duet between Berthon and Vamos Babe, another YouTubing musician, a guitar player whose YouTube channel has (at the moment) 943 subscribers — and a section called “YT Collabs.” These are her YouTube collaborations with other musicians.  In the explanation for this video, uploaded this past May, she wrote: “I discovered Christelle two days ago and was amazed by her talent... We spontaneously decided we would try a collab on the last song I covered and here’s the result.”

I gather Vamos Babe is also in France, but I assume she and Berthon have never met in person. That is, this duet appears to have happened strictly by way of contemporary technology.

Now … where does that put this performance, on the continuum of folk and not-folk?

While “SJI” is a traditional number (and technology aside, it’s being played here on basically traditional instruments — not a Wii device of some kind, or whatever), this would fail the “folk” test on many levels, as set out by the criteria above. I doubt either of these women learned the song from someone “local;” clearly both performers are not anonymous (indeed they have fans who I assume are far-flung). I’m not sure what Lomax meant by “artless,” but my guess is that while these aren’t professional musicians in a recording studio, this would not qualify.

On the other hand, there’s still something pretty folk-ish about it to me. Each performer seems to be in a rather home-ish setting — just a home-ish setting that happens to include an Internet connection and some audio/video equipment that’s not exactly rare these days. And there’s a kind of informal jam-session quality to the collaboration; I don’t mean that to suggest poor musicianship — they sound pretty good to me. I just mean it’s happening absent the trappings of what we think of as a commercial recording. Much about this scenario suggests both musicians are actively seeking a wider audience, possibly by way of commercial recordings. But for the moment they’re operating far outside the context of “the music business” as we (still, for now) know it.

And this matters, I think, because so much of what’s implied in the Lomax/Rosenbaum comments is basically: Various commercial structures are obliterating a more informal “folk” culture (which they were strikving to preserve). Certainly this collaboration is not a product of such structures. In fact it’s comeing from a place that’s almost the opposite of those structures. Maybe that place is a new version of “folk”?

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