Category Archives: Music (re: the Food of Love)

Memorial Day in The Hindsight Zone

In honor of Memorial Day … I’ll reverently spend some good memory time for all those who fought for us.

Then I’m moving on to other people from the past. The one’s you can’t un-remember. Can’t un-see. Can’t un-hear. Forever stuck like an earwig.  DATES that never shoulda even happened.

“You’re trHindsighZoneaveling through another dimension, a dimension not only of sight and sound but of heart and mind. A journey into a wondrous land whose boundaries are that of imagination. That’s the signpost up ahead – your next stop, the Hindsight Zone!” ~with deepest, red-faced apologies to Rod Serling.

I admit it. I could stand and give full-blown testimony in a 12-step group. I’m addicted to the intoxication of love/lust in a big way.  I LOVE love.  And lust just gives me the full-out shivers. Sometimes I have a hard time telling the difference. It regularly gets me into trouble, and it more often backfires. Or used to. I’m more careful now, but I still stick my finger directly into the fire from time to time … because I want to make absolutely certain.

I hope he's not a drummer or bass player.Most of the men I could even imagine spending the rest of my life with are already spending theirs with someone else … or they live in my past, probably for good reason. But I know this. Relationships in the rear view mirror are closer than they appear.

But I’m hopeful. And I still believe in love. And falling in love.

My friends who long ago gave up on love ask me why I still go out on dates. Whatever else happens, its almost always guaranteed to end up as a story. Every time I start telling a BFF (or two, or ten) about “that” date, they roll out laughing.  Even while laughing their asses off, they’re admiring my hopeful optimism as I go on “just one more date.”

Y’all aren’t fooling me, I can still see that smidge of pity peeking around that wall of admiration. And then they say “when are you going to start writing this stuff down?”  Isn’t it enough that these stories have to live forever in my head? Now I’ve got to share?

Names are not changed. You’re guilty and you know it.

Ken (McLean, VA ’95)
Match.com
Him:  I’m buying the first round.
Me thinking:  Who says I’m staying for more than one?
Him: Whatever else we order, it can’t have garlic. Why does everything have to have garlic in it?
Me thinking: Good grief. You remember I’m a culinary school grad, right?
Him: Oh, listen. They’re playing Kenny G. I love this guy.
Me thinking:  Ok, I’m outta here.

Larry (NYC  ’96)
Blind date fix-up
Him:  Spent the first 2o minutes telling me how beautiful I was.
Me thinking:  Hey Larry, I have a mirror and I didn’t just fall off a turnip truck. Your spurious attempts at going home with me grow slimmer by the mouthful. Him:   Spent the next 20 convinced (AND trying to convince me) that I was the same person he’d had anonymous phone sex with last summer. She was Southern. I was Southern. Her name was Dixie. I had a dog named Dixie. Ergo …

John (NYC  ’96)
NY Sports Club.
He would move one stationary bike closer to me each workout. Drinks after work, he asked? We met at a tapas place around Union Square, sat at the bar, had a nice time. Not great, just nice. As we got ready to leave, he slid his arm around me and leaned in close ….
Him:  Well, you’re not the kind of girl I usually date, but I would be interested in gratuitous sex.
Me:  speechless, ’cause what exactly do you say to that?
Gentleman that he was (his definition, not mine), he insisted on walking me to the subway (although I did it every other day on my own) and as we got to the top of the subway stairs, he dared, he really did … dared to ask again.
Him: Well? What about it?
Me:  What about what? (Toying with him was more fun that I anticipated.)
Him:  What about taking me home with you?
I’d had just enough time by now to work myself into a proper little snit of indignation.
Me: Yeah, well, how big is your dick?
Him: About normal, I guess. (He actually had the decency to look surprised at my question.)
Me: Well, then I think gratuitous sex is out of the question.

Moral:  Every once in a lifetime, you do get the chance to say that one thing that normally you’d only think of hours later.

John L. (NYC ’97)
Him:   Of all the places in NYC, I can’t believe you chose Dallas BBQ as a place to meet.
Me:   Well, you told me to pick the place.
Him:   Yeah, but I didn’t think you’d try to kill me with an onion ring loaf.
Me:  We didn’t order an onion ring loaf.
Him:  Oh, that must be the last girl I met in here.
Me:   So you’ve been here before?
Him:  Oh, yeah, everybody loves this place except me. Are we ordering the onion ring loaf?

Chip (NC ’97)
Background:  3rd date.  We’ve been having fun. Out in public. In a small town where you can’t hide. By the 3rd date, at Top of the Hill, it’s seems okay to start asking the obvious, right?
Me:  So have you been married before?
Him:  Oh, I’m married.
Me:  Now?  As in, you’re married now?
Him:  Yeah. But we have an understanding.
Me:  What kind of understanding?
Him:  Well, we both can do what we want as long as we’re discreet.
Me:  Oh, cool. Well, let’s call her, just to be sure.
Him:  Wow, you’re really aggressive.

TrueRomance

Who knew you had to ask marital status when someone asks you out?

It’s standard routine now.

Male. Check.
Age 55-70. Check.
Single. Check.
Really single?  Double check.

 

 

 

Stephen (NC ’98)
Match.com
Me:  um, Stephen, how old are you again?
Him:  Well, if you knew I was only 18 you wouldn’t have met me, right?
Me:  oh, Lord.

Bill (NC ’09)
Reconnection from the ’70’s
Me:  So what’s next for you in life?
Him:  I’ve got it all figured out. We’re going to drive around the country in a motor home with one of those bouncy houses. Just set up at county fairs and stuff. Charge all the kids a dollar. Do you know how much money we could make? Live in the camper.
Me:  Who’s we?
Him:  Well …. you and me.
Me:   Uh-oh.

Now just in case you think I only meet losers … NOT true. I’ve met some great men, some were lovely and lively romantic connections who turned into really solid friendships. But here, where I sit today … coming off of a two year relationship where I’m still tender in places I didn’t know I had, I’ve only gone on one fix-up. Maybe my musings can spare you the humiliation. Maybe not. At the very least it can start a conversation, or abruptly end one. And make for some good stories to tell.
______________________________________________
MusicHeartWhy Does Love Got To Be So Sad (Derek & the Dominos)
Still Got the Blues (Gary Moore)
What’s Love Got To Do With It? (Tina Turner)
Crazy Little Thing Called Love (Queen)
That’s Amore (Dean Martin)
Feels like Home (Bonnie Raitt & Randy Newman)

 

Chapel Hill Boogie/SODU Blues & Heritage Festival

SoDu (South Durham) Blues & Heritage Festival:
Benefit for John Dee Holman
Sat., May 3, 1-6pm – $10 person/$15 Family of 4
Ages 12 and under free
Greenwood Commons
5410 Hwy 55
Durham, NC

JohnDeePapaMojos

 

One chilly Sunday afternoon back in February, I sat across from John Dee Holman in the Boom-Boom Room (translated: the back room) at the Blue Note Grill.  He was there to play a little with Tad Walters. I was there to get a story and hear a bit of him and Tad playing the blues. Joan, his long-time girlfriend, and I had already done our hugs and high-fives.  Not a bad way to spend a winter-just-won’t-go-away afternoon.

I teased Holman by admiring his blue-suede-shoe-blue corduroy trousers and asking if was ready to do some buck-dancing.  He hid a cackle behind his gnarled hand at the very idea of a man his age dancing.  “Might need a drink for that,” he said with a hint of mischief, adding “Get Joan to tell you how she ‘usta run a liquor house.”  Drink or not, the man can tell some stories.

Hillsborough-born, now living in Durham, Holman, long considered a Piedmont blues legend has toured both nationally and internationally. His first, and perhaps best album, Bull City After Dark, produced by the National Council for the Traditional Arts was nominated for a WC Handy award. The record is sadly out of print and no longer available, but new local efforts are underway to try to locate the original masters. Holman was the recipient of a 1994 North Carolina Folk Heritage Award.

Talent. Awards. Recognition. You’d think that would have left Holman set for life.  But circumstance and hard times, that what makes the blues, have left him with major struggles that include losing his house. Even he says “ain’t got no head for bidness,” which is why he’s trusted others, many times misplaced. The Triangle Blues Society in conjunction with Papa Mojo’s Roadhouse, the Hayti Heritage Center, the Blue Note Grill, Music Explorium and the Questell Foundation decided to do something to help their blues brother.

“John Dee can drive a rhythm section into the dirt,” said blues-guitarist Charlley Ward. “We can’t let him down.”

Gary Messenger, President of the Triangle Blues Society agreed. “John Dee Holman represents the wellspring of the NC blues, particularly the Piedmont region which bears the name that graces John Dee’s music. It’s the responsibility of the Triangle Blues Society to take care of the music and when we can, those who make it.”

The inaugural festival, serving as a tribute fundraiser for the legendary Holman, is also an open membership drive for the Triangle Blues Society, (TBS), a volunteer-run, non-profit dedicated to honoring and keeping traditional and contemporary blues alive in the Triangle. Messenger elaborates, “by joining and supporting the TBS, we continue to play it forward and insure though our work and contributions that this indigenous for of music, the Blues, will be here long after we have moved on.”

Join or renew your TBS membership at the event, and you’ll save $5 on the ticket, plus receive gift cards to Papa Mojo’s Roadhouse, the Blue Note Grill, and a Triangle Blues Society T-Shirt.

SODU Poster

Lining up to play one of two stages are John Dee Holman, Tad Walters, Chuck Cotton, Tornado Blues Band, Charlley Ward Band, Joe Bell & the Stinging Blades, Josh Preslar, Eric “E-Train” Manning,  the Beauty Operators, Mel Melton, Jasme Kelly, Sacrificial Poets, Buddy Black, and Emma “Big Mama E” Davis. Last minute entertainment additions are possible.

Family friendly activities include food, music, dancing, arts and crafts, and more. Donations for the Food Bank of Central & Eastern NC are encouraged.

But back to that Sunday afternoon in the boom-boom room.  I asked Holman who he had played with that stood out above all the others.  His answer?  “Taj Majal, and that guy sitting right over yonder” pointing straight at Tad Walters.

It’s all about supporting and protecting our cultural assets, one of which is John Dee Holman, co-author of “Chapel Hill Boogie.”

John Dee Holman @ the Blue Note Grill

 

This will be our year + BI shuffle

ZombiesCatsCradleThe Zombies
Pat Sansone
Fri, April 18, 2014
8pm – $32.00 – $35.00

Cat’s Cradle
Carrboro, NC
http://www.catscradle.com

_________________________________________________
As invasions go, this one didn’t seem either strategic or tactical, but being the mid-sixties, the British invasion left a permanent musical imprint. It was rebellious and cheeky, fueled by the skiffle craze that had already taken over the UK. It burst right through Bobby Vinton, Fabian, Skeeter Davis, and Bobby Darrin, taking a rightful, and righteous (in my humble opinion,) place next to The Beach Boys and Roy Orbison. Pop meet the next generation.

All of a sudden, our white bread ears were listening, dancing, and yes, screaming to The Beatles, Dave Clark Five, The Yardbirds, Peter & Gordon, Animals, Stones, and The Kinks. Factoid Alert: One May day in 1965, the USA’s Top 10 in the Hot 100’s was ruled by the British Commonwealth, with one exception, Gary Lewis & the Playboys.

And they kept on coming ashore. The Who. The Hollies. The Zombies. These mostly blues and guitar-based bands, bringing with them a healthy respect for their own R&B heroes, most of whom lived right here in the U.S. Long, floppy hair and mod clothes horrified our parents. These are the people they warned us about.

The Zombies “She’s Not There” took five months to hit #2 in 1964, followed a year later by “Tell Her No” which only got to #6. Odessey and Oracle (1968), released after the band broke up still enjoys critical acclaim and included “Time of the Season,” often sound-tracked as the definition of the 60’s.

To say I was looking forward to seeing The Zombies at Cat’s Cradle when they played there for the first time in 2012 would be as understated as a little black dress, matched only by my initial-excitement-followed-by-sheer-terror at scoring an interview with original member Rod Argent.

Half expecting their musical, road-weary age to show through the edges of their performance, their energy level and extraordinary talent circled around and surprised me. For weeks after, I chided everyone I know who didn’t go. I was now invested in The Zombies. Again.

In an unrelated email sometime this past January, Cradle owner Frank Heath added a quick PS saying “Zombies will be coming back to Cat’s Cradle in April, by the way.” Yes, I would be interested in talking with Rod again.

So, as not complete strangers this time, Rod Argent and I caught up a few days ago on all that’s happened since they were last here in 2012. And they haven’t just been laying about this last two years.

First big surprise for the band was the call that Eminem wanted to re-sample “Time of the Season” for his 2013 single “Rhyme or Reason,” an angry spew toward his absent father. Second, was the new Chanel perfume ad for Coco Mademoiselle airing on TV starring Kiera Knightly that’s set to “She’s Not There.”

And they’re barely off the boat from a five-day Moody Blues Cruise performing with Roger Daltry (The Who), Carl Palmer (ELP), Starship and Little River Band. Argent claims they were almost too busy aboard the ship to attend all the shows. They’ve been having a ball and doing what they love. And there’s a new album in the works.

“I can’t remember exactly what our set list was,” Argent responded when I asked how this show might be different than two years ago. “Obviously, some of the staples are there. We can’t not do them, you know?”

“Some things from Odessey and Oracle, “Time of the Season,” “She’s Not There,” “Tell Her No,” we have to do those. Also Argent’s song “Hold Your Head Up.” Plus a couple other early Zombies songs “She’s Coming Home” and “I Want You Back Again.” We love doing that one on stage now. Several songs from the Breathe Out album as well.”

I reminded him that when Frank brought me back to meet them that they had offered me a glass of wine, which I politely declined since I was my own designated driver, and in hindsight, I wished I’d taken them up on. I got a speeding ticket on the way home that night as I was blissfully singing “She’s Not There” at the top of my lungs. If I’d stopped, had the wine, that cop would probably have been long gone and I would have had wine with The Zombies.

His response: “Thing is, you should have had that drink then you could have apologized to him saying I don’t normally drive like this, but I’m a bit drunk.”

We both cracked up laughing and agreed not to let THAT happen again.

Special guest opener is Southern rocker and multi-instrumentalist, Pat Sansone, member of Wilco and The Autumn Defense.

Enjoy the interview!

DPM: Hi Rod, good to talk with you again. We’re looking forward to your return to Cat’s Cradle.

RA: You too, Deborah. We’re looking forward to playing there again.

DPM: I thought it might be fun to circle back and see what the last year and a half has been like. You were just beginning a tour in support of Breathe Out/Breath In.

RA: I’m not even sure where to start. The shows have been going great and a lot of cool things have been happening. We’re working on a new album. Eminem used “Time of the Season” in the background of his song “Rhyme or Reason” which is a sound-alike phonetically, but inserted totally the sentiment of the song and I thought that was great actually, to hear that, and throughout the song a lot of our original vocals were coming through and then he recorded a chorus himself with the new words and obviously rapping all over it.

That was very cool. Also there’s something that’s just come on, I don’t know if you’ve heard it or not yet, a big Chanel advert commercial on television with Kiera Knightly … very James Bondy … using “She’s Not There” which is very nice too. Lots of things going on and we’re having a ball playing as always.

DPM: One of my upcoming questions is what have been some of the biggest surprises this last year and a half supporting Breathe Out/Breathe In. Would Eminem resampling “Time of the Season” be a good answer to that question?

RA: Well, that was a pretty big surprise. I’ve got co-writing credits on his tracks, but I had to hear the version and okay it before it went out. He’s very secretive and protective of his tracks, and I can understand that. First of all, we were asked permission, and our publisher said “well, we’ve got to hear it first.” And he said “well, you can’t do that.” We said “How can we give permission if we haven’t heard it?” So he finally sent a link which only remained active for about a day or something where I could hear it. I can quite understand how he wanted to be protective of it. But I heard it and I loved it, absolutely no problem. I loved the fact that it was an inventive creative take on the original piece of material.

DPM: You said you are working on a new album. Can you and Colin actually find time and space to write while you are touring?

RA: Well, I can’t personally write while I’m on the road. I’ve tried and I can’t, but while we were back home, I’ve written a couple of things and there are couple of songs that are in the pipeline as well. So we started the recording of the new album. One track I like very much indeed that we’ve got down, actually both tracks we’ve got down I like very much, so that’s a start [laughing].

DPM: And you are recording in England?

RA: Yes, and that’s going to be hard this year because I’m moving house after 38 years and my studio’s in my house so I don’t know [laughing] how that’s going to work. When I get back I’ve got 38 years of furniture and everything else. It’s a big house, unfortunately, and it’s going to take a hell of a move, so that’s going to be taking up some of my time when I get home. It’s a question of actually finding the time to do the creative work and concentrate on that too.

DPM: What on earth prompted a move after all those years?

RA: Well, basically we wanted to move to a different area. It’s a very big house and it’s just my wife and myself in it now, and I guess we felt that if we were going to move then if we didn’t do it now, we’d never do it?

DPM: Downsize while you can still enjoy it?

RA: Well, it’s downsizing in terms of the property and the house. It’s like a sideways move really. We’re moving to an area we’d like to go to and it’s just a matter of doing that while it’s still possible [laughing]. The house we’ve got at the moment was built in 1815, it’s a very beautiful Georgian house, but strangely enough we wanted a bit more land now even though I want the building to be a bit smaller.

DPM:  2014 started off pretty great for you guys headlining on the Ultimate R&B tour in the UK with The Yardbirds, The Animals and Spencer Davis. Was it just members from those groups or actually the groups? That sounds like an incredible and amazing tour!

RA: Actually just members of those groups, which seems inevitable these days, but everyone’s been really enjoying it for real. Spencer Davis didn’t do it because he hasn’t been well, but instead we had Maggie Bell, who was great and is still singing beautifully. And a guy named Dave Berry, who had some big hits in the UK, though maybe not over here. He had a hit called “The Crying Game” which was beautiful.

DPM: Yeah, yeah, yeah … from the movie.

RA: Remember that? Yeah, yeah. Oh, good, you saw it. He was on the show and it was a lovely show. Great guys, really nice people. The Yardbirds actually had their original guitarist “Top” Topham from right at the beginning of the band with Jim McCarty and they were really great. All the bands were. It was a sold out tour, we were playing some beautiful halls. It was great.

DPM: I personally would love it if you would do one of those tours in the states, for crying out loud!

RA: Yeah, that would be good too. [laughing]

DPM: I’d buy a ticket to that. I was a big fan of all the British groups from the 60’s, but I think I told you that when we talked before.

RA: I think you did, and thank you for that.

DPM: And so now, you’re just off the boat! [laughing}

RA: {laughing] Just off the boat and THAT was great! Obviously we saw the Moody’s because we did the cruise last year as well and the Moody’s were obviously on the bill because it’s their cruise, but this time we had Roger Daltry. I saw his set which was brilliant, doing all the old Who stuff … really, really terrific to see that. I didn’t get to see all the bands because there’s always so much to do all the time and we had shows to do ourselves. But I saw, for the first time, a guy called Randy Hanson, who plays all the Jimi Hendrix catalog and Jim, our bass player, knew him from when he backed up the Kinks years ago. But Randy’s been authorized by the Jimi Hendrix estate to play Jimi’s material. He’s so bloody good. And it was great to see him. Being out there on a beautiful summers day listening to the wonderful Jimi Hendrix stuff was amazing. He’s toured with Mitch Mitchell and Noel Redding of the original Experience.

DPM: I saw them in 1966 when they opened for the Monkees.

RA: You did? Well, there you go! Then you know exactly what I’m talking about. I loved Hanson’s take on Jimi Hendrix, so that was pretty great.

DPM: I know you’re busy and it’s your day off, so anything we’ve missed that’s important?

RA: It’s a pleasure to talk to you again, Deborah. We’re really looking forward to this show. I’ll say the same as I probably said last time, but we have a band that’s the reason that Colin and I are out here. It’s such a kicking band and there’s so much energy on stage. Probably the best band I’ve ever played with, I think. If anyone’s thinking of coming and haven’t seen us, do come along and check us out, because it’s really a great show and a great band.

DPM: I can attest to that. Rod, thank you so much for your time and I look forward seeing you guys soon!
___________________________________________

BritishGuitarBI Shuffle (British Invasion Shuffle)
Well Respected Man – The Kinks
Heart Full of Soul – The Yardbirds
House of the Rising Sun – The Animals
Gimme Some Lovin’ - Spencer Davis Group
This Will Be Our Year – The Zombies

 

Mythmusica Psychosonic Expedition + instrumental shuffle

Mythmusica_Sm

Mythmusica Pyschosonic Expedition
with Jennifer Curtis, violin, and her UNC Violin Studio
Sun. Mar 23, 8 – until – Free
Cat’s Cradle Back Room
Carrboro, NC

BrownSlashBar-white-spaceRemember that really beautiful Sunday a couple of weeks back that was sandwiched between two winter weather events? I was enjoying an afternoon of Bows & Brews at Steel String Brewery in Carrboro. In a light cotton shirt and flip flops. I wasn’t there for the brews. I was there for the bows.  The bows of Jennifer Curtis and friends. They were playing Schubert’s cello quintet. There were five of them, but I couldn’t take my eyes off of Jennifer. Musical totality. A natural and intoxicating extension of whatever she’s playing is dead-ahead commitment to the music from head to toe, inside and out. Her body and mind in constant motion. Her feet leave the floor and almost dance in the air as if the music might walk (or run) away with her, or she with it.

During a break the opportunity to duet with Dex Romweber presented itself. She on her violin, Dex on his classic Silvertone. It was a moment. Unscripted. Satisfying.

Jennifer-Dex
She was still in motion as she talked about Mythmusica Psychosonic Expedition, an inter-disciplinary, multi-instrumental, and multi-cultural mythological/narrative performance based on “The Waste Land,” by T.S. Eliot produced and created by Jennifer and a handful of her UNC violin students.  “Come. Meet my students,” she invited as she pulled me over to introduce me to two of her students, Ledah Finck (composer/violin) and Avery McGuirt (violin/mandolin, loop pedals/vocals).

Ledah, from Boone, was five when she started violin lessons and now can’t imagine doing anything else. “Violin has always been a strong presence in my life, but I’ve wanted it to be my career as well as my hobby since I was 15 or 16.”

Growing up in Charlotte, Avery also started violin early. Currently a chemistry major at UNC, he stays very involved in the music program. “I was steeped in the eclectic musical tastes of my father, and was inspired to take up the violin when I was five. I started out studying classical music,but soon branched out into jazz and bluegrass. Here at UNC, I take lessons with Jennifer, as well as participate in the baroque ensemble and my quartet.”

In learning that Jennifer, who holds degrees from Mills College and Juilliard School, will not be returning to UNC to teach after this semester, I was curious what Ledah and Avery’s one take-away was from studyingwith Jennifer. They were clearly inspired by her.

“In my time studying with Jennifer, I have above all come away with her ever present sense of enjoyment and exploration in music,” said Ledah.  “Playing with her is never a job or work but an exercise in curiosity. She’s helped me integrate my more academic and worldly interests with my music playing-which is really what Mythmusica is about.”

Jennifer has been an amazing voice of artistic humility in an oftentimes very self-important academic culture,” commented Avery. “Her appreciation and use of a huge variety of musical styles and cultures continues to be an inspiration.”

Additional artistic guests who will be performing in the Mythmusica Psychosonic Expedition include Ina Liu (violin/dance/visual arts), Kaira Ba’s Diali Cissokhi and Will Ridenour (koras and percussion), Robbie Link (bass), Chris Johnson (tabla), Skye Mcloed (cajón and bodhrán), and  film makers Prashant Bhargava and Petna Ndaliko. And I wouldn’t be surprised if there were a few more surprises.

JenniferCurtisViolin
Somehow these two lines from “The Waste Land” seem utterly appropriate:

“…A woman drew her long black hair out tight
and fiddled whisper music on those strings …”

-What the Thunder Said, from “The Waste Land” by T.S. Eliot

Click here to read the entire Q&A with Jennifer Curtis, Ledah Finck and Avery McGuirt online.

BrownSlashBar

ViolinNotesThe instrumental shuffle:

Jennifer Curtis & Dex Romweber: Minor Swing
Jennifer Curtis & Ledah Finck:  @ WCPE, the Classical station – performing a short excerpt from Mythmusica Psychosonic Expedition.

King Mackerel and the Blues are Running

KingMackerel1King Mackerel and the Blues are Running
The Coastal Cohorts in Concert
Thursday, Feb. 27 & 28, 8pm
$15/ Free for students
Playmakers Theatre, UNC Chapel Hill
https://memorialhall.unc.edu/

I tried living in the middle of the country. Didn’t work for me. Do you know how long it takes to drive to the coast from Memphis, TN?  Nine long hours. 491 excruciating miles. Today that would equal about 200 songs on your IPod. No amount of Drifters, or The Swinging Medallions, or even Jimmy Buffett can make that drive shorter or the sea closer.  I dreamed endlessly (and likely bored my landlocked friends) of living back in the middle of North Carolina, where in just a little over 2 hours, I could dig my sand-starved toes deep into the foaming surf. And eat seafood to my tummy’s content.

Sunset Beach, NC Photo by: Deborah Pardee Miller, 2004

Sunset Beach, NC 2004
Photo by: Deborah Pardee Miller

Once I moved back to Chapel Hill in 1998, I near ‘bout burnt the road up between here and the beach. My younger sister, Kate, who somehow ended up in Vermont, and I share the need for warm sun, sand, and sea. On one of our long weekend trips to Beaufort, we wandered into the North Carolina Maritime Museum. Thumbing through CD’s, I laughed as I randomly pulled out “King Mackerel and The Blues Are Running” by the Coastal Cohorts (Don Dixon, Bland Simpson & Jim Wann.)  I mused out loud that I had gone to high school with Bland Simpson, though he was a couple years older than me. The CD came home with me.

With an impressive performance history from its first run at Rhythm Alley in Chapel Hill in 1985 through its most recent at the NC Museum of Natural Sciences in Raleigh in 2012, “King Mackerel and the Blues are Running” has been performed at venues up and down the coastline from Virginia to Georgia. And then there are those other venues like the West Bank Theater (NYC) and the Terrace Theatre at the Kennedy Center (Washington, DC).

Bland was old-classmate good enough to spend a few minutes with me talking about the history of the musical, how their fundraising performances have contributed to the environmental health of our coast, and the two upcoming shows at the historic Playmakers Theatre.

“We’re doing two nights; Friday is sold out, Thursday night has seats available,” said Bland. “It was a fun alliance to make to put it into context to the water in our world.  The history of the show is a very stout-hearted, light-hearted evening.”

The CD went to A rotation on first listen.  It’s one of the playlists I put on when I’m about 50 miles from the shore. It lures me on in to the beach like a rising wave, beckoning me to stay a while.  In fact, I’m listening to it now as I write, wishing that print media had a “push play” button so you could listen in.  If you love the North Carolina beaches, and I know you do, you’ll be instantly smelling salt air. You just might shag dance a little (or a lot.) Slurp an oyster (or two or three.)  Peel some shrimp (a couple or a pound). You might even be singing along as if you’d known the songs forever.  Holler if you want company.

Read the rest of the interview HERE.

Listen to some King Mackerel … go on. You know you want to.

 

Old-Time Jam + Pete Seeger + Shufflin’ and Jammin’

BanjoViolinOpen Old-Time Jam
First Wednesday of every month,
7 pm – Free

Nightlight
405 1/2 W Rosemary St
Chapel Hill
919-960-6101
http://www.nightlightclub.com

Let’s start with asking an age-old music question. No, not “when will <insert-name-here-of-your-favorite-band-who-broke-up> get back together?”  You were really going to ask the “what exactly is old-time music and why should I listen?” question, right?  In the encyclopedia that is my imagination, old-time music is what folks listened to before there was radio. It was the nightly after-supper, before-bedtime entertainment.  Typically played on stringed instruments, a fiddle and/or a banjo, it’s a folk genre steeped in tradition, to be sure, but whose tradition?  There are too many to count. Regional styles, from Appalachia to Texas, are as varied as the songs and players themselves.  Whatever you do, don’t confuse it with bluegrass. It’s not the same thing AT ALL!

Just ask the banjo. In old-time, the instrument is open-backed. In bluegrass, there’s a resonator on the back.  And let’s get picky. Old-time picking is clawhammer style. Bluegrass is finger-picking in a three-fingered style. Old-time music was going on before bluegrass and is often fiddle dominant. In bluegrass, vocals more often take the lead. And that’s a way over-simplified answer if I ever gave one.

Old-Time Jam at Nightlight, Chapel Hill, NC.  Photo credit: Emily Hilliard

Old-Time Jam at Nightlight, Chapel Hill, NC.
Photo credit: Emily Hilliard

Emily Hilliard had a fiddle when she came to Chapel Hill from Vermont.  She didn’t have to look much further than her own folklore graduate program at UNC to connect with the cream of the traditional musical crop, Steve Kruger and Joseph Decosimo, two banjo/fiddle players also in search of a venue. Hilliard approached Nightlight to gauge interest in hosting, they said “yes,” and there began the old-time monthly jam.

Old Time Jam @ Nightlight, 2.5.14

Old Time Jam @ Nightlight, 2.5.14

I asked Emily to go back to the very first jam back in Feb. 2010 …  what was that night like?  How many people showed up?

“The first jam in 2010 had a great turn-out,” said Emily, “with a fairly diverse crowd, from older musicians to Nightlight regulars who maybe had never really heard or played old-time before. There was also a pretty good range of skill levels–some seasoned musicians who knew a lot of tunes and could keep things going to folks who maybe played guitar or banjo or fiddle, but weren’t as familiar with the old-time canon of tunes to beginners. There were also a significant group of people who just came to listen and drink a beer and socialize, which I was hoping for–at its core, old-time is a social and community-based musical form, and you can participate by playing, dancing, or just being present, enjoying the tunes.”

Old Time Jam, Nightlight, 2.5.14

Old Time Jam, Nightlight, 2.5.14

“Overall I was excited and encouraged by the response and am glad it’s still happening, particularly in the Triangle, an area that played an important role in the history of American traditional (and independent) music,” she added. “I still maintain many of the musical connections I made there–I always love running into some of the regular jam attendees like Dwight Rogers and Gail Gillespie, Mike Sollins, etc. at fiddler’s conventions in the summertime.”

Hilliard passed the jam on to Zeke Graves and Steve Kruger when she moved to DC in June of 2011, and Steve then handed down his role to James Finnegan. Zeke and James keep the circle unbroken, even as it keeps changing.

Old Time Jam @ Nightlight, 2.5.14

Old Time Jam @ Nightlight, 2.5.14

Read the rest of my conversation with Emily Hilliard, James Finnegan and Zeke Graves for Chapel Hill Magazine’s The WEEKLY online here.
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Since we’re talking music, it just wouldn’t do to bypass a chance to Pete Seeger.  I’ve ready many columns and tributes over the last couple of days, but none more moving than the one by Arlo Guthrie.   When he was a teenage, Seeger first heard Bascom Lamar Lunsford play banjo at the Mountain Dance & Folk Festival held in 1936 near Asheville, NC.  Lunsford taught him the basics and the rest is folk music history.

 Folk music icon Pete Seeger plays the banjo and sings with Arlo Guthrie (back left) at the Woody Guthrie Tribute Concert at Severance Hall in Cleveland, September 1996.  Credit: Neal Preston/Corbis


Folk music icon Pete Seeger plays the banjo and sings with Arlo Guthrie (back left) at the Woody Guthrie Tribute Concert at Severance Hall in Cleveland, September 1996.
Credit: Neal Preston/Corbis

Music on ShuffleShufflin’ and jammin’ the old time way:

Polly Put the Kettle On
Cripple CreekWildwood Flower
Sourwood Mountain
Will the Circle be Unbroken

Amy Ray (solo, sort of) + shufflin’ off near Buffalo

Amy-RayCat’s Cradle Presents:
Amy Ray
with Heather McEntire
Saturday, Jan. 25, 2014, 9:00pm – $15
Motorco
723 Rigsbee Ave
Durham, NC 27701

The two coldest and loneliest winters I ever spent were in Rochester, NY in the early 90’s. I looked for warmth anywhere and everywhere while my summer clothes never saw the light of day. In defiance, I taught myself to ice skate, drive in the snow, stack the perfect fireplace, and made achingly lonely mix tapes for all my friends back home in Tennessee. My job at the University of Rochester came complete with two interns, Melissa and Colleen, both from Buffalo. Their sure-fire tonic for the chill was the Indigo Girls “Southland in the Springtime” (Nomads Indians Saints, 1990). I was 42, they were 20. It blew me away and after I stopped crying, I went out into the frozen north and bought Rites of Passage, Indigo Girls, and Strange Fire.  Melissa Muenzner Dolan (who now lives in Cary and gets to experience true springtime in the South) and I have stayed in touch all these years. Coincidentally, she was on my holiday thank you project for this very reason.  When I told Indigo Girl Amy Ray that story, she double blessed it with a throaty laugh and a “that’s cool, that’s cool!”

Amy Ray has carved out a respectable and meaningful solo career on her own. (And, yes, the Indigo Girls are still together and touring this year.) For her new album Goodnight Tender (Daemon Records) recorded at Echo Mountain Studios in Asheville (due out 1/28/14) she cherry-picked a band that includes some locally familiar players: Phil and Brad Cook (Megafaun), Heather McEntire (Mount Moriah), Terry Lonergan (Hiss Golden Messenger  and MC Taylor), and Justin Vernon (Bon Iver). Then just for measure, and because she could, invited Susan Tedeschi, Kelly Hogan (Neko Case), and Hannah Thomas to add some harmonies. With another handful of musicians from Asheville and Charlotte, the result is rooted in old-time country, while lyrically new all at the same time. And it’s definitely Southern.  I haven’t stopped listening to Goodnight Tender since Thursday. It’s that good. There’s just something about melodic banjo and mournful fiddle that gets me right where I live. Not to mention lyrics like “Give me a moon to keep my fears at bay. Give me a dog that don’t run away. Give me a love that don’t fade. Oh, let me walk in decency.” – “Hunters Prayer”

Cat’s Cradle owner Frank Heath has long been a part of Amy’s life in music.  “I love Amy!” says Frank.  “Glenn Boothe (Local 506) and I were just talking about how we wished all performers were as on top of their shows and careers as Amy.  Even from the first time the Indigo Girls played at the Cradle back in the 80’s, Amy and Emily’s involvement in the preparation for their shows had a huge effect on the promotions and turnouts. And they’ve always played benefits, been involved in helping out younger artists, etc. on and on — more than just about anybody out there.“

Without Frank, I would not have just spent a Wednesday night talking with Amy Ray about playing in Chapel Hill and Durham back in the beginning, her very first song, writing melodies, who she kissed on New Year’s Eve, her new album, and her brand new daughter.

Read the entire Q&A with Amy Ray …

…and then check out this YouTube trailer for Goodnight Tender

musicnotes-long

Writing about Rochester and remembering all those mix tapes sent me on a revisit of what I was listening to back in 1992 … freezing cold … knee deep in snow fall … happy ears :

Out of the Cradle (Lindsay Buckingham)
Automatic for the People (R.E.M.)
Unplugged (Eric Clapton)
Harvest Moon (Neil Young)
Blind Melon (Blind Melon)
Kiko (Los Lobos)
Ingenue (k.d. Lang)
New Miserable Experience (The Gin Blossoms)
The Extremist (Joe Satriani)
#1 Record/Radio City (Big Star)
Rites of Passage (Indigo Girls)
Doo Bop (Miles Davis)
Television (Television)