Preview: 39th Ann Arbor Folk Festival / Saturday Night Lineup

PREVIEW MUSIC

Ann Arbor Folk Festival performers clockwise from top left: Joan Baez, Darlingside, Rose Cousins, Joshua Davis, Alan Doyle, The Accidentals, and Cooder – White – Skaggs

Ann Arbor Folk Festival performers clockwise from top left: Joan Baez, Darlingside, Rose Cousins, Joshua Davis, Alan Doyle, The Accidentals, and Cooder – White – Skaggs

About this time of year, buzz begins to build among music lovers inside and outside of A2 as the lineup is announced for the Ann Arbor Folk Festival, and the 39th edition slated for January 29-30, 2016 at the Hill Auditorium is stacking up to be another blessed event. A brilliant stew is being cooked up for appreciative audiences of old and new music, mainstream and off-beat, regional, national, and international artists. Hosted by MCs David Mayfield (Friday) and John McCutcheon (Saturday), the Folk Festival 2016 lineup sets the bar very high.

Saturday, January 30th

Joan Baez

For those who may mistakenly believe that after a 55 year career and 30 albums, Joan Baez has ceased to be relevant, one should only visit her latest original music in a recent album, Day After Tomorrow. You’ll understand that her voice, her words, her music are just as emotionally powerful today as they were in the 60s--yet wiser, richer, more circumspect, and just as damned beautiful as they were in that golden age.

Joan Baez recorded her first solo LP for Vanguard Records in the summer of 1960. Known more as an interpreter of songs than a songwriter, songs she introduced on her earliest albums would find their way into the repertoire of 60s rock stalwarts, like "House Of the Rising Sun" (The Animals), "John Riley" (The Byrds), "Babe, I'm Gonna Leave You" (Led Zeppelin), "What Have They Done To the Rain" (The Searchers), "Jackaroe" (Grateful Dead), and "Long Black Veil" (The Band), to name a few.

At a time in our country's history when it was neither safe nor fashionable, Joan put herself on the line countless times, and her life's work was mirrored in her music. She sang about freedom and Civil Rights everywhere, from the backs of flatbed trucks in Mississippi to the steps of the Lincoln Memorial at the Rev. Dr. Martin Luther King's March on Washington in 1963. That was also the year she helped introduce Bob Dylan to the world, continuing a line of folk royalty beginning with Woody Guthrie, Pete Seeger, and others that dared to challenge that which they knew in their hearts was wrong or flawed.

CooderWhiteSkaggs

Ricky Skaggs has often said he’s “just trying to make a living” doing what he loves to do, which is being one of the best mandolin players in the world and an icon of Bluegrass and Country music. Since he first collected a paycheck as a 7-year-old on Flatt and Scruggs’ TV show in 1961, Ricky has been doing just that...and creating marvelous collaborations with some of the world’s best musicians in and out of the country categories. Singing, songwriting, and playing--not only on mando but fiddle and guitar as well--he helped bring back a sense of tradition and history to the scene beginning in the 1980s. Chet Atkins once said that Ricky Skaggs “singlehandedly saved Country Music”.

As a “musician’s musician”, it’s easier to tell you who Ry Cooder has NOT played with than to tell you whose music he has made immeasurably better. Cooder's trademark slide guitar work has graced the recordings of such artists as Captain Beefheart, Randy Newman, Little Feat, Van Dyke Parks, the Rolling Stones, Taj Mahal, and Gordon Lightfoot. More than a dozen film scores also grace Cooder’s résumé, including Crossroads and Primary Colors.

Sharon White, who happens to be married to Ricky Skaggs, comes from a lineage of bluegrass and country singers since starting her career in the early 70s with her parents’ family band, The Whites. She has since forged a 40+ year career singing with her sister Cheryl as The Whites and reuniting with her parents Buck and Pat in bluegrass and gospel collaborations.

And now, Ricky Skaggs joins with Sharon and Ry to deliver a revelatory program of blues, gospel, and bluegrass music. They will be joined by Joachim Cooder (son of Ry) on drums, and Mark Fain on bass. I caught this supergroup in Nashville in September at the AmericanaFest, and you can tell, beyond any stage smiles, that they are having an absolute blast playing together.

Joshua Davis

I first heard Josh Davis playing with one of Michigan’s favorite roots bands, Steppin’ In It, in 2008, and since then I’ve been waiting for them to blow up. They haven’t, but front man Joshua Davis caught a break on The Voice and found himself in the TV series’ finals last spring. Since then, Joshua’s infectious smile and genuine voice have earned him a wide following and a place on Saturday’s Folk Fest slate.

Davis has released three critically acclaimed solo albums, five albums with Steppin' In It, and a record of jazz standards with Shout Sister Shout. His most recent album, A Miracle of Birds, is inspired by his travels in the Palestinian West Bank with non-profit organization On the Ground. About the album, Revue magazine says, "His heartfelt documentation of 'people as people' offers up compassionate songs of hope, darkness, and perseverance."

A pair of the most expressive (and twinkly) eyes you’ve ever seen will draw you into Joshua, and you will realize why America came to love him on The Voice. His musicality, songwriting, and passion will convince you that he’s no media heartthrob of the moment.

Alan Doyle & The Beautiful Gypsies

Alan Doyle last took the stage at the Ann Arbor Folk Fest in 2000 as the lead singer and co-founder of Great Big Sea, one of Newfoundland’s most renowned musical exports. GBS made its latest return to Ann Arbor to a packed house of rabid, lyric-screaming fans at the Michigan Theater in 2013. He released a first solo album, Boy on Bridge, in 2012, and has followed up in 2015 with his latest, So Let’s Go.

With musical roots in his native land’s lyrics, melodies, and rhythms, Doyle mixes traditional Newfoundland music with a fresh pop sensibility, and presents a variety of lyrical and musical platforms in his latest work, from the whiskey-scented shanty sounds of "1,2,3,4" to the urbanized Canuck country pop of "Sins of Saturday Night". Doyle and his talented supporting band Beautiful Gypsies are sure to keep the Folk Fest faithful chanting, rocking...even standing (OMG), conjuring musical images of a Barenaked Ladies / Enter The Haggis mashup.

Darlingside

After six years of playing together and a decade-plus of knowing each other, the collaborative process for Darlingside has evolved side by side with their friendships. “We’ve become intimate with each other’s childhoods, families, fears, goals, insecurities, and body odors,” says violinist/mandolinist Auyon Mukharji. The four Connecticut-based musicians and singers opened for Patty Griffin at the Power Center on October 10, and my buddy Stan had tickets waiting for us. We were cautioned by friends familiar with Darlingside to be sure to be seated for the opening act. That was a challenge, considering that we had to double-time it on foot from the Big House after the Northwestern game to make the curtain in time.

The quiet yet powerful vocals of the group are what first capture you. It’s clear that these guys have been singing together--tightly and sweetly--for about a decade to expertly blend complex harmonies as they do. Birds Say is their second album effort, or third if you count their 2010 EP, and forms the backbone of their live set. Their vocal and instrumental mastery is at evidence on every track, from the haunting "White Horses" to the perplexing "Harrison Ford" (the latter about a meeting/fantasy with a man who looks like their personal hero, Harrison Ford).

We will definitely warm to Darlingside at the 2016 Folk Fest...and Patty Griffin will soon need to find a new opener.

Rose Cousins

Rose Cousins is another Canadian import to the festival, originally from Prince Edward Island and now living in Halifax. This singer-songwriter has captured nearly every significant honor and award that her native country has to offer for her craft, and, here in America, her latest recorded work, We Have Made A Spark, was named to NPR’s Top 10 Americana & Folk Albums of 2012.

Rose will be sure to bring a quieter, more contemplative tone to the Folk Fest...she is often a solitary figure at a gently played piano. Or, she’ll surprise you with a lilting, curiously waltz-tempo version of Tina Turner’s 80s classic "What’s Love Got To Do With It". First reaction: huh? On second thought: a new appreciation for that pop song.

The Accidentals

Seldom have I been as excited--nor heard as much buzz--as I have for these two brilliant young women. The Accidentals are Katie Larson and Savannah Buist, supported by percussionist Michael Dause. Katie and Savannah are little more than a year out of high school--albeit the prestigious Interlochen Arts Academy. They play no less than 12 instruments between them during a typical live set. Their lyrics are wiser than their years. And together, these Traverse City natives may be one of the acts most likely to succeed in a big way in the next few years.

Of all the artists I have written about for the Folk Fest, I have the hardest time describing the kind of music they play. I’m not even going to try. Just consider The Accidentals to be at a very special nexus of genres and generations that makes them much, much more than the sum of their very musical parts.

The Ann Arbor Folk Fest is well known for bringing lesser-known Michigan-based acts into the national spotlight. Thing is, The Accidentals may not need the help. They’re touring out west right now, and when they’re through, the Hill won’t be able to hold all their new fans.

For samples of what you'll hear at Hill, check out this Spotify mix of the latest releases from all the Ann Arbor Folk Festival artists.


Don Alles is a marketing consultant, house concert host, and musical wannabee living in and loving his recently adopted home, Ann Arbor.


The Ann Arbor Folk Festival comes to Hill Auditorium January 29 & 30. Tickets go on sale for the general public starting December 1 and can be purchased online, by phone at 734-763-TKTS, or in person at the Michigan Union Ticket Office and The Ark box office.

Preview: 39th Ann Arbor Folk Festival / Friday Night Lineup

PREVIEW MUSIC

Ann Arbor Folk Festival performers clockwise from top left: The Oh Hellos, City and Colour, Ben Daniels, Yo La Tengo, Penny and Sparrow, Nora Jane Struthers, with Richard Thompson in the center of it all.

Ann Arbor Folk Festival performers clockwise from top left: The Oh Hellos, City and Colour, Ben Daniels, Yo La Tengo, Penny and Sparrow, Nora Jane Struthers, with Richard Thompson in the center of it all.

About this time of year, buzz begins to build among music lovers inside and outside of A2 as the lineup is announced for the Ann Arbor Folk Festival, and the 39th edition slated for January 29-30, 2016 at the Hill Auditorium is stacking up to be another blessed event. A brilliant stew is being cooked up for appreciative audiences of old and new music, mainstream and off-beat, regional, national, and international artists. Hosted by MCs David Mayfield (Friday) and John McCutcheon (Saturday), the Folk Festival 2016 lineup sets the bar very high.

Friday, January 29th

City and Colour

"There's a line that I'm trying to find, between the water and the open sky," sings Canadian Dallas Green on "Friends", the penultimate track off of his fifth release as City and Colour, If I Should Go Before You. For someone like Green, it's hard to imagine that there's much left to search for – he's traversed the globe on tour, released numerous albums (one most recently as You+Me with Alecia Moore, aka P!nk) and collected scores of accolades. Though Green is a musician, he doesn't make a show of things: that's the songs' job.

The name having been derived from Dallas Green’s first and last name, he began recording as City and Colour in 2005, with Sometimes, followed by 2008’s Bring Me Your Love and 2011’s Little Hell, and has experienced huge success both on the charts and the road.

Richard Thompson

Throughout a career spanning six decades, Richard Thompson has drawn accolades such as this from the Los Angeles Times, “the finest singer-songwriter after Dylan and the best electric guitarist since Hendrix. He was named by Rolling Stone Magazine as one of the Top 20 Guitarists of All Time.

Having co-founded the groundbreaking group Fairport Convention as a teenager in the 60’s, Richard Thompson and his mates virtually invented British Folk Rock. A wide range of musicians have recorded Thompson’s songs including Robert Plant, Elvis Costello, REM, Del McCoury, Bonnie Raitt, Patty Lovelace, Los Lobos, Tom Jones, David Byrne, Don Henley, Robert Earl Keen, and many others.

And I had never heard of him, until 2012. Thus began a journey of discovery as I soaked in as much of Richard’s musical and songwriting genius as I could, on a series of music festival cruises called Cayamo where he has often headlined, to an intimate performance at The Ark in 2014. He’s one of those artists that’s worth your time digging into his back catalog to find all the gold and precious gems there. Whether Thompson displays his formidable electric skills on "Sally B", or fingerpicks his iconic and acoustic "52 Vincent Black Lightning", you will be transfixed. I hope he does both.

Yo La Tengo

Yo La Tengo (Spanish for the outfielder’s cry of “I’ve Got It!”) originally formed in 1984, and today features a lineup that has played together since 1992. Their staying power is testament to a strong cult following and they have been called the “quintessential critics’ band”. YLT features Ira Kaplan (guitars, piano, vocals), Kaplan’s wife Georgia Hubley (drums, piano, vocals), and James McNew (bass, vocals). In 2015, original guitarist Dave Schramm rejoined the band and appears on their fourteenth album, Stuff Like That There.

Though they most often play original material, Yo La Tengo is known best for its encyclopedic repertoire of cover songs both in live performance and on record. Their latest album features Hank Williams’ "I’m So Lonesome I Could Cry", among others.

The Oh Hellos

It is sometimes extraordinary, that which can be musically wrought through the mingling of sibling DNA (think Everly Brothers). The Oh Hellos are a 21st century case in point. They began in a cluttered bedroom, where Maggie and Tyler Heath (born and raised in southern Texas) recorded their self-titled EP in 2011. In the fall of 2012, the sibling duo released their debut full-length record Through the Deep, Dark Valley, an album full of regret and redemption, which they wrote, recorded, produced, mixed, and mastered themselves.

Their second full-length album, Dear Wormwood, is a collection of songs that tells the story of a protagonist trapped in an abusive relationship, by way of letters written to the antagonist. It was recorded, piece by piece, in the house where Maggie and Tyler live in San Marcos, TX, and much like The Oh Hellos' live performance, the album presents two alternating faces: at times delicate, intimate, affectionate; and at others, soaring and towering and joyfully explosive.

Their influences range from Fleet Foxes and Sufjan Stevens to The Middle East and the Muppets, bending and blending styles and genres into a unique mixture of eclectic folk rock. The rhythms, the chording, the vocals--they are unique, varied, compelling, and worthy of a prestigious AAFF invitation.

Nora Jane Struthers

I’ve been listening to this woman for the last hour and I haven’t heard an inauthentic song yet. Nora Jane Struthers comes to Ann Arbor hot off a triumphant 2015 tour, including a prominent showcase at the September 2015 AmericanaFest in Nashville, and she could very well become a prime example of what can save Country Music from itself.

Her 2015 album, Wake, is a powerful statement of her own rock-n-roll awakening. Backed by her band The Party Line, Struthers mixes pedal steel with robust guitar riffs and her own fearless voice, and evokes the realization that she can, as she says, "reconcile my love of both bluegrass and Pearl Jam". Her amalgamation of sounds is supported in the studio and on the road by Josh Vana on guitar; Joe Overton on banjo, fiddle, and pedal steel; Brian Duncan Miller on bass; and Drew Lawhorn on drums.

“I try to put myself out there and be vulnerable and trust that what people give me back is loving. I hope that people listen to these songs and are given some courage to take a risk, be vulnerable and brave, allow themselves to embrace imperfection. And I hope that that has a positive influence on the way that they are able to lead their lives and interact with people that they love.”

Penny and Sparrow

I went to the Penny & Sparrow website and Facebook page to try to learn more about them. This was all that was there: “Penny and Sparrow are Andy Baxter and Kyle Jahnke, from the heart of Texas. Previously roommates, the duo makes music influenced by The Swell Season, Bon Iver, Mumford and Sons, and others. They also love musicals.”

That was it. No glowing reviews, no trumped-up biography announcing them as musical messiahs. Just that two-sentence blurb, a picture and...the music. Left to my own devices, I cued up a song of theirs called "Jeffery Allen", the first track from their latest album, Struggle Pretty. Oddly, it was a 1-minute instrumental introduction to the next track, "Serial Doubter" (yet another reason to listen to an album in whole as it was originally tracked). Words came to mind: haunting, driving, brilliant composition, rhythm, and harmonics.

Penny and Sparrow opened just a few weeks ago at The Ark for Drew Holcomb and the Neighbors, and I missed them both. It won’t happen again. Catch them at the A2FF January 29th.

Ben Daniels Band

When Chelsea’s own Ben Daniels decided he was going to be a musician, it was more than a career choice. A natural poet, this young songwriter went to school on Bob Dylan, Robert Johnson, and Jack White, among others. His lyrics speak directly to a younger generation that hears, sees, and thinks about the very things he’s writing. From their opening song to the finale of their set, the Ben Daniels Band cuts through with their originality, musicianship, and a sound that spans Americana, Blues, Jazz, and Rock.

With George Merkel on guitar, Tommy Reifel on bass, Wesley Fritzemeier on drums/mandolin, and Amanda Merte on percussion/vocals, BDB’s live show never fails to take over the venue. With five CDs in the can, including their latest, Roll, the Ben Daniels Band has grown to be a formidable group that sounds pleasantly familiar, yet unforgettably unique.

Oh yeah… and he’s Jeff Daniels’ son. You know, that famous actor/neighbor of ours? Not that Ben and the band need the familial connection to be a legitimate force on the alt-folk scene. If you’ve not taken advantage of the numerous previous opportunities to see BDB in and around Ann Arbor, grab this one.


Don Alles is a marketing consultant, house concert host, and musical wannabee living in and loving his recently adopted home, Ann Arbor.


The Ann Arbor Folk Festival comes to Hill Auditorium January 29 & 30. Tickets go on sale for the general public starting December 1 and can be purchased online, by phone at 734-763-TKTS, or in person at the Michigan Union Ticket Office and The Ark box office.

Vulfpeck on the Late Show!

MUSIC

Vulfpeck on The Late Show

Vulfpeck on The Late Show

Did you catch the Ann Arbor funk band takeover on The Late Show with Stephen Colbert last Friday? Vulfpeck, a self-described "half-Jewish post-geographic rhythm section formed in Southeast Michigan," appeared alongside Colbert's regular house band Jon Batiste & Stay Human.

Check out the band's performance of "1612" of their 2014 album with Antwaun Stanley's killer vocals:


Sara Wedell is a Production Librarian at AADL and fell asleep too early but watched it later on YouTube.

Review: Jonathan Richman at the Blind Pig

REVIEW MUSIC

Jonathan Richman makes the secretaries feel better at the Blind Pig

Jonathan Richman makes the secretaries feel better at the Blind Pig (CC-by-NC)

Jonathan Richman, accompanied by his long-time drummer Tommy Larkins, gave fans an intimate and fun performance this past Sunday, November 15, at the Blind Pig. Richman, who created the well-known band The Modern Lovers in 1970, has been touring on his own for decades, often accompanied by Larkins. Their extensive time together has made them the perfect duo: on occasion, Richman will lean over and suggest a vague beat to Larkins, who always seems to know exactly what he means and adjusts his drumming without expression.

As is traditional for Richman’s style, he rarely played a complete song at his Blind Pig show. Instead, he played snippets of songs, interspersed with direct conversation with the audience and wild dancing around the stage, typically with a maraca in each hand. Heavily influenced by other cultures, Richman sang songs in Italian, Spanish, and Arabic as well as in English, generously pausing throughout each one to translate for those of us who hadn’t the faintest idea what he was singing about. He encouraged fans to dance and clap, especially during upbeat songs like “I Was Dancing in the Lesbian Bar” and “Keith Richards.” Every so often, Richman paused and said, “Let’s see what Tommy is up to on the drums,” stepping back to grab his maracas and take a dance break while Larkins—still expressionless, of course—regaled us with a nifty drum solo.

One of my favorite moments of the evening came in the middle of Richman’s song “When We Refuse to Suffer.” He paused and stepped forward on stage to chat with the audience about driving through the United States with Larkins on prior legs of the tour (a funny image in and of itself, when you imagine Richman talking a mile a minute and gesticulating wildly while Larkins sits unmoving and silent in the passenger seat). At a gas station in Texas, Richman was struck by a magic marker sign taped to the wall that read, “Each person we see is fighting a battle that we know nothing about.” The gas station clerk told him simply, “Yeah… my boss wrote that.” Even though Richman chuckled when he told us this, he reminded the audience to keep the sentiment in mind as we went about our days.

Richman was about to end the evening, but then hurried back on stage saying he “had one more idea to try.” He struck up a song I’d never heard before, which, frankly, may have actually been made up on the spot. As Richman played guitar and sang “This love thing…” he had the audience respond back “…let me do it right!” This continued for three or four minutes, with Richman grinning happily. He then gathered up his maracas and guitar and gave the audience a quick wave as he and Larkins hopped off the stage.

Their tour continues in California, Oregon, and Washington in December.


Elizabeth Pearce is a Library Technician at the Ann Arbor District Library who drives a Dodge Veg-O-Matic.

Review: Arlo Guthrie: The Alice's Restaurant 50th Anniversary Tour

REVIEW MUSIC

Arlo Guthrie brought the whole family along to the Michigan Theater

Arlo Guthrie brought the whole family along to the Michigan Theater

He flew us into Los “Angeleez”, then to the City of New Orleans, on to Stockbridge Massachusetts (where the Massacree occurred) and then to Woodstock. It was family night for Arlo and the Guthries, and the capacity crowd at the Michigan Theater loved every minute of music and stories.

I snagged a last-minute single ticket among the few left from everyone’s favorite online ticket marketer (who shall, like Voldemort, remain nameless), and headed up to balcony right for a seat at the rail with perfect sight lines to the stage. What a spectacular and rich venue the Michigan is. I secretly hoped that the mighty Barton organ would provide a processional as we were seated – it did not.

The evening began with Sarah Lee Guthrie who joined her dad’s tour a few weeks ago as an opener. Growing up in her father’s musical world (as Arlo did with his dad Woody) Sarah appeared on Arlo’s work as both a toddler and an adolescent, and has today established a solid singer-songwriter-storyteller reputation of her own since she began recording in 2001. She channeled her dad’s stories on stage, and her grand-dad’s lyrics and music to provide a delightful introduction to a Guthrie generational anthology that was told through the rest of the evening.

The three generations have all written songs especially for children, and Sarah has made a specialty of it in recent years. She delighted the crowd with a spirited sing-along "Go Waggaloo" from Woody’s catalog. She played lovely standards in her own style such as Tim Hardin’s "If I Were A Carpenter", followed with one of her grandfather’s most loved songs "I’ve Got to Know" and finished her portion of the evening with her own "Circle of Souls".

To be clear, Sarah can hold her own, on her own, in any roots, folk, or Americana venue. There’s no need for her to borrow from that legacy to make her performance powerful. She is proud to sing her heritage on stage, and you can see that same family pride in the face of Arlo’s son Abe as he leads the band with keyboard and provides supporting vocals. The rest of the band that supported Sarah and Arlo features drummer Terry Hall, guitarist and vocalist Bobby Sweet, and guitarist Darren Todd.

As Sarah left the stage, the ornately vaulted Michigan Theater did not brighten as it would for intermission. A large screen flickered to life at the rear of the stage as we heard the first chords of "The Motorcycle Song" accompanied by a stop-motion animated short created almost 40 years ago entitled No, No, Pickle. What a delightful way to bring out a vital and still funny-as-hell songwriter, Arlo Guthrie.

Displaying youthful energy and a slightly raw throat strained by touring – Arlo Guthrie hammered out a classics-studded evening of music and stories that kept the capacity crowd laughing and singing along all evening. He first measured the crowd’s age: “For those of you who heard about this concert and asked, ‘isn’t he dead?’… well, I’m workin’ on it.”

While prefacing a story about Woodstock, he quipped, “Well, I remember getting there…” and then told the story of his history-making appearance in front of “more people than I knew I would ever see again in my entire life” while in a significantly altered state of consciousness. It was just what we wanted to hear from an icon of the era, and he kept all generations in the audience enthralled with story and song.

Arlo Guthrie Set List – November 9, 2015 – Michigan Theater

1. The Motorcycle Song
2. Chilling of the Evening
3. St. James Infirmary (Joe Primrose)
4. Ballad of Me and My Goose
5. Pig Meat Blues (Leadbelly)
6. Coming Into Los Angeles

Intermission

7. Alice's Restaurant Massacree
8. I Hear You Sing Again (Janis Ian)
9. City of New Orleans (Steve Goodman)
10. Highway in the Wind
11. This Land Is Your Land (Woody Guthrie)
12. My Peace (Woody Guthrie)

The crowd lit up for the most memorable tunes, including a rousing back-to-the-60s rendition of Coming into Los Angeles to close the first set. The story of the infamous “massacree” – the namesake of Guthrie’s 50th Anniversary Tour – top-lined the second set, and you could tell the audience had not gotten tired of the telling. Somehow, Arlo told the story as though for the first time – so that those listening for the first time would not be short-changed. “If I’d known the song would be so popular, I wouldn’t have made it so long.”

According to Arlo, Steve Goodman gave him a song he had just written, "City of New Orleans", to hand off to Johnny Cash. Arlo recounted that Johnny was concerned that one more train song might pigeon-hole him…to Arlo’s eternal benefit. The words to Arlo’s greatest ballad were on almost everyone’s lips in the audience. Mr. Guthrie also presented himself as an accomplished musician throughout the evening, brandishing a number of acoustic and electric guitars and a keyboard. Most enticing was the blue-to-black Rainsong 12-string acoustic as it jangled its carbon-fiber sound across the theater as if on its own dedicated speakers.

Arlo rolled up the evening with more of his own stuff like "Highway in the Wind", a lesser-known but no-less-special cut from his 1967 breakout album, Alice’s Restaurant. He included a sweet cover of Woody & Janis Ian’s "I Hear You Sing Again" as if he was singing of his own family, and then explained that he lost his wife of 43 years, Jackie, to cancer in 2012. Arlo may still be grieving, but remains wistfully positive on stage. He spoke of their meeting in 1968, and how Jackie knew she would marry Arlo the moment she saw him. You can see the result of their love on the stage with Arlo in Sarah and Abe.

The whole family took the stage for the Guthrie past patriarch’s masterpiece "This Land Is our Land", and Arlo spoke of the song: "as though in the multitudes of re-singing by so many millions of people, the song has now acquired its own spirit and weight in the universe. He bade us goodbye by passing his peace to us – My Peace – from he and his family to the audience".

Arlo and his family are an extraordinary example of the age-old practice of passing on passion and skills from one generation to another. They don’t just want to sing their father’s – and his father’s – songs. It’s not just good folk music or good money or good politics. They must sing them. It’s a family thing.

Many, many thanks to The Ark and to the Michigan Theater for bringing the Guthrie family back to Ann Arbor.

A very similar audio version of this great live event is available on Spotify. Check it out.


Don Alles is a marketing consultant, house concert host, and musical wannabee living in and loving his recently adopted home, Ann Arbor.

Preview: Theo Katzman at the Blind Pig

PREVIEW MUSIC

Theo Katzman returns to Ann Arbor November 11

Theo Katzman returns to Ann Arbor November 11 / Photo by Ryan Stanton

Having built a hometown following with My Dear Disco, and then as a solo artist, Theo Katzmann’s name is a familiar one around Ann Arbor. Although Brooklyn has been his more recent home base, he's swinging through A2 this week.

Katzman and his Vulfpeck took a creative approach to streaming/Spotify last year, and just dropped a new record last month. He also contributed his production and songwriting chops to Michelle Chamuel's 2015 pop album Face the Fire.

This time around, however, his Blind Pig date is billed as a solo affair — with a few of the 'peck backing him up.


Mariah Cherem is a Production Librarian at the Ann Arbor District Library.


Theo Katzman plays the Blind Pig, tonight November 11, supported by Anna Ash and The Stellars. Doors at 7 pm. Purchase tickets online or in person through The Blind Pig.

Matt Jones' River Street Anthology featured in Concentrate

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Matt Jones at the keyboard
Matt Jones at the keyboard / Photo by Doug Coombe

Check out the piece the folks over at Concentrate Media did on Ypsilanti musician Matt Jones and his River Street Anthology project. The project has been underway since March and is Jones' attempt to record as many Michigan musicians as he can.

From the article:

"I'm obsessed with history. I'm obsessed with preservation," he says. "It's so important that things like this never die out. All of us songwriters and bands, we can't just—poof—disappear. I need to keep everybody on the books."

Good luck to Matt on this noble endeavor! We hear you on the preservation thing, man, and it's really great to see folks taking it on.

Preview: Arlo Guthrie: The Alice's Restaurant 50th Anniversary Tour

MUSIC

Arlo Guthrie brings his red VW Microbus to town this Monday at the Michigan Theater

Arlo Guthrie brings his red VW Microbus to town this Monday at the Michigan Theater

The son of pioneering folk icon Woody Guthrie, Arlo Guthrie grew up with a unique perspective on a genre he would later adopt as his own. Surrounded by folk and “beat” greats, he was forged in a smelter of arts and artists like Bob Dylan, Joan Baez, Allen Ginsberg, Bill Monroe, and Doc Watson.

And then came Alice’s Restaurant. This presumably true – albeit festooned with literary license – story of a garbage dump run gone horribly wrong, pushed Arlo Guthrie to the front of the folk and rock stages in an era of general angst and wrenching generational change. The musical and spoken story, released in 1967 about the fateful day in 1965, along with the “the twenty-seven 8-by-10 colored glossy pictures with circles and arrows and a paragraph on the back of each one”, became a cult classic, earning him a spot at Woodstock and a place in the hearts of counter-culture music lovers around the world.

50 years later, Arlo Guthrie will re-tell his story – perhaps with a few new verses thrown in – this Monday night at The Michigan Theater, at the latest stop of The Alice’s Restaurant 50th Anniversary Tour. Those of us desiring to re-live our hazy youths will want to see this brilliant and funny performer once again, and those of us who just want a great evening of songs and storytelling will want to see Arlo for his enduring humor and musicality.


Don Alles is a marketing consultant, house concert host, and musical wannabee living in and loving his recently adopted home, Ann Arbor.


Arlo Guthrie brings Alice's Restaurant to the Michigan Theater on Monday, November 9, at 7:30 pm . Tickets are available through Ticketmaster online or by phone at 800-845-3000.

Review: Tubas on Film

REVIEW FILM & VIDEO MUSIC

Octubafest brought film and horns together for Celluloid Tubas

Octubafest brought film and horns together for Celluloid Tubas

There's so much going on in town every weekend, it's easy to overlook the multiple waves of consistently astounding student recitals coming out of the UM Music School. But to do so risks missing some extremely rare opportunities to hear top-notch musicians tackle enormously exciting and engaging work, such as last weekend's simply jaw-dropping Celluloid Tubas performance, put on by the University of Michigan's Euphonium and Tuba Ensemble (UMETE), led by visiting conductor and arranger E. Todd Fiegel.

Fiegel and UM Tuba & Euphonium Professor Fritz Kaenzig met as students and have remained friends ever since; Fiegel arrangements and appearances have been periodic features of Octubafest concerts over the years. Fiegel is a lifelong fan of film and film scores, and has brought his challenging and faithful arrangements of famous film themes to brass ensembles across the country through his Celluloid Tubas and Celluloid Brass series. The program for last Sunday's recital at the Stamps Auditorium on North Campus featured eight of Fiegel's arrangements of famous film themes for Professor Kaenzig's ridiculously talented Tuba & Euphonium students, accompanied by a team of five percussionists, each set of pieces played in sync with video.

It's not unheard of for a live ensemble to play along with a video; in fact there are several touring arrangements of video game or film music, such as the Legend of Zelda tour (that comes as close as that town to the south in 2016), and most of these shows use a digital click track in earphones, or a special video feed for the conductor, to show exactly when each beat must happen for the music to stay in sync with the video. The Celluloid Tubas Show utilized no sync tools at all; Feigel simply watched the video on the screen along with the audience, and conducted the ensemble to keep the music matched up with the action. This was an extremely impressive feat, demonstrating Feigel's deep knowledge of the scenes and the scores, and while not every beat was precisely perfect, the musicianship on display by the conductor and the ensemble was simply staggering.

Starting off with a suite of themes from Bruce Boughton's score for Silverado (1985), the richness and warmth of a Tuba & Euphonium ensemble was immediately on display, very well suited to the panorama-evoking score from the film and the Coplandesque open harmonies that are shorthand for cowboy movies. Beef, it's what's for dinner. Feigel carefully set the stage for each section, explaining what was going on with the plot and how the score amplified and reflected the emotions, while lovingly protecting the audience from spoilers, such as that Kevin Kline would not die in the climactic gunfight against Brian Dennehy.

The next piece was a very famous sequence from 1955's The 7th Voyage of Sinbad: the epic Skeleton Fight, scored by Bernard Herrmann, who went on to score most of Hitchcock's best films, including, as Feigel noted, the music-less score of The Birds. The ensemble did an amazing job with a very difficult piece, and my post-millennial 13 year-old son was also astounded by the quality of Ray Harryhausen's entirely hand-animated special effects. Even all these years later, that post-production Skeleton is convincing in a way of which Jar Jar Binks can only dream.

The first half of the concert featured what Feigel described as "Two vocal soloists at the top of their game," in an arrangement he calls It Ain't Over 'til the Fat Instrument Plays. My son and I had this one pegged for What's Opera, Doc? from the moment we got the program in hand, and we were delighted to be right, with the original vocal performances carefully separated from the original music and accompanied by the power of an ensemble of which Wagner could barely have imagined. Also, it was only 5 minutes long, which Wagner certainly could not have imagined.

The second half began with one of the most famous fusions of animation and music ever produced, Paul Dukas' The Sorcerer's Apprentice. Arranging this woodwind-heavy piece for a low brass ensemble truly showed off Feigel's chops as an arranger, as well as the ranges of the performers, but the truly impressive feat was the timing of the very specific, spread out beats at moments in the short, such as when the splintered broomsticks come back to life, or the final potch Mickey receives at the end of the short. Every single pulse of the music is evident in Disney's animation, and the ensemble nailed them all.

Of course, you can't do a program of Movie Music without something by John Williams, and Fiegel brought three outstanding picks from Williams' catalog. Send in the Clones is the score of the final scene of the otherwise execrable Attack of the Clones, where the famous Imperial March is heard for the first time, a piece extremely well suited to the naturally sinister Euphonium. Then, after a beautiful but undeniably maudlin excerpt from Saving Private Ryan, the ensemble launched into Fiegel's vrOOM vrOOM Scherzo, an arrangement of William's Scherzo for Motorcycle and Orchestra that scores Henry Jones Jr. and Senior's escape from the Nazis. One of the best bits of Indiana Jones music, this piece catches every bump and jostle of the scene with the Last Crusade's Nazi Theme underscoring throughout.

But the most impressive achievement of the evening, and the closing number, was Eine Kleine Tubamusik für Roadrunner und Coyote, a very faithful conversion of Carl Stalling and Milt Franklyn's score for the Roadrunner Cartoon Zoom and Bored. The scoring of a Roadrunner cartoon is so distinctive, from the alternating fury and depression of Wile E. Coyote's efforts, to the signature xylophone blinks of confusion, that despite the unusual instrumentation, the score fit right in, from the Beyooooop to the That's All Folks. But you don't have to take my word for it, here's a video of a performance of the arrangement from a previous Celluloid Tubas show at Umich in 2005:

It was a delightful evening of film, commentary, rich tones, and lots of spit. UMETE is one of the most impressive ensembles on campus, and with arrangers like Todd Feigel pushing their boundaries, it's worth taking the time to see what Tubas and Euphoniums can do, without a full band holding them back.


Eli Neiburger is Deputy Director of the Ann Arbor District Library and was one of the worst Sousaphone players in the Michigan Marching Band.


You can stay on top of what the University of Michigan Tuba & Euphonium Studio is up to on their facebook page .

Preview: The Avett Brothers

PREVIEW MUSIC

The Avett Brothers bring their banjos to Hill Auditorium November 6th

The Avett Brothers bring their banjos to Hill Auditorium November 6th

Southern band The Avett Brothers will play Hill Auditorium on November 6th. I stumbled into The Avett Brothers purely by accident: I bought their album Emotionalism solely based on the cover art, which was printed with silver ink (what can I say? I have simple, glittery tastes). Luckily for me, I actually liked the music in addition to the sparkle. The Avett Brothers play folk rock with a bluegrass twist, which translates to plenty of banjos AND indie rock lyrics.

Between the band’s experience (they’ve been playing together since 2000) and the fantastic Hill Auditorium acoustics, this show is sure to be wonderful.


Evelyn Hollenshead is a Youth Librarian at the Ann Arbor District Library.


The Avett Brothers play Hill Auditorium this Friday, November 6, at 7 pm. Purchase tickets online or in person at the Michigan Union Ticket Office.