I had an extremely busy last 3 months. When I came home from the last working day before the Christmas holidays, I found in the mail Anthony Wilson’s new record ‘Songs and Photographs’. It was an album I was looking forward to, ever since it was announced. These are maybe the two art-forms I love most. Both by an artist for whom I have a huge appreciation.
Anthony Wilson is a guitar player deeply invested in L.A.’s Jazz scene. Although he is better known as Diana Krall’s guitarist during her last tours and albums, he also performed with Paul McCartney, Willie Nelson, Leon Russell, Aaron Neville, Joe Henry, … But he deserves even more credit for his own work as a front man.
I really got in to Anthony’s work with his previous album ‘Frogtown’. An album that doesn’t get the amount of spins it deserves I must admit. We are taking care of that in the following months for sure!
Soon I discovered he is also an active photographer. Shooting the things he comes across during his daily life, capturing the beauty of simple things. Life as it is, non-staged, a way of looking at things in ways we didn’t see at first.
He has combined his 2 talents in to a wonderful record ‘Songs and Photographs’.
When I received it, our family life didn’t offer me a chance to hear it immediately. So, the following morning we dropped the kids of at school, and I ended up home alone, and time alone.
I don’t need more to relax than the combination of music and image. It’s the most complete gift…. OK, I’m exaggerating it’s not perfect. There is 1 thing missing and that’s the coffee. But I realize that logistically it would be very difficult to spread this record with a cup of coffee.
No worries, preparing coffee, is something I can handle.
So, there I was, spending some time away from it all, only jazz, images and coffee. The record even has a subtle physical experience. The artwork is not made from shiny smooth carton, but it has a fine raw structure. It’s something to feel for yourself. The subtle differences in color of the sleeve and box, the imprinted lines in the one, but not the other make the entire set a work of art on its own. It all makes sense for what this album has become. Kudos to Nina Holland and Little Steidl for this. It is definitely a reminder that I need to find a way to give records like that also their deserved display in our home.
Musically it is, besides the greatness of the music, an honor to witness the collaboration of these fine musicians. It’s like their minds where connected during recording. This is what you get when you put Anthony Wilson, Gerald Clayton, Joshua Crumbly, Patrick Warren and Jay Bellerose in the same room. And this with producers Joe Harley and Anthony himself steering the ship.
.
This complete work of art has won over my heart, and it will be present over here. (Beverages to be chosen in accordance of the atmosphere going along.)
Rosanne Cash's upcoming album 'She Remembers Everything' is set to be released on November 2nd.
In the wake of the latest tsunami of survivor stories, Cash has had to
contend with the fact that much of what she hoped would change across
her lifetime really hasn't. It’s a reality that is reflected in her
deliberate embrace of women’s narratives on the new album. "There is a
woman’s real life, complex experiences and layered understanding in
these songs," Rosanne says. "I could not have written them 10 years
ago—not even close. Time is shorter, I have more to say."
There will be a limited edition for this release called the 'She Remembers Everything Memory Box'.
This box includespersonal letters of correspondence signed by Rosanne, and exchanged
between her and T-Bone Burnett, Elvis Costello, Sam Phillips, Joe Henry,
Tucker Martine, and John Leventhal while conceptualizing the album.
Besides that, this special edition will also include :
Bird On A Blade illustrated book
8” x 10” printed lithograph featuring an original Dan Rizzie illustration from Bird On A Blade
Exclusive Rosanne Cash with Emmylou Harris and Lucinda Williams Live at SFJAZZ CD recorded at her 2017 Artist In Residency with Emmylou Harris and Lucinda Williams
The difficult part in writing this, is with whom do I start ? There will always be someone’s name to mention first. But there is an entire team who all helped in creating this masterpiece during those 4 days in L.A. You can hear all of them. You might not be able to pin the name to some things, but they are there.
On the other hand, it is very easy writing this, because it all started with someone having the idea of making a record, and asking Joe Henry to steer the ship, and help assemble the crew. That person is Amy Helm.
She made this true beauty, backed up by these great musicians, all of it perfectly mixed and channeled for us to listen. Not only does she have this powerful voice, but it is of a gifted beauty. Something you can enjoy extremely in f.e. ‘Heaven’s holding me’ (co-written with Paul Olsen, Theodore Pecchio and Joe Henry).
All over the album there are other voices to enjoy. Most of the time, people call them backing vocals, but I’m glad they are credited over here as Harmony Vocals. Because they’re not there to back up Amy, but to bring the song up to a higher level. Allison Russell & JT Nero (Birds of Chicago) together with Adam Minkoff (who also plays acoustic guitar) provide that, not to be underestimated, layer.
The album opens with title track ‘This too shall light’ (MC Taylor, John Kaufman). You immediately catch the energy of what comes to you through the speakers. You can't stay passive . It lifts your spirits up. No matter how dark and long it sometimes can be,…. “This too shall light”. Jay Bellerose’s drumming builds it up beyond compare. That’s not drumming, that’s energy! What a great song. I already need to give kudos to Ryan Freeland behind the desk. He ensures the extra greatness of this record. The reverb in this song is just 1 item that displays this. Oh, And who’s idea was it, to end the song in nothing but vocal Harmony ? Brilliant ! This song alone made me happy when I first heard it, and we’re just opening the show.
It continues with 'Odetta' (Joe Henry). Even more than Joe’s original version, this is a worship, a prayer. It's like a street parade that you can't just only watch. You join in. And the further you walk, the more people join you. Rise up ! 'Michigan' (Milk Carton Kids), maybe is the most powerful song on the album.
For me, it is a song about the loss of something strong. Somehow you couldn’t bring closure to it. When my father died years ago, it all went fast. We were expecting that call you don’t want to receive. You have to deal with it, but you can’t.
The more powerful the connection, the more it hurts.
So when she calls don't send her my way When it hurts most it's the right thing
Michigan's in the rearview now Keep your hands where I can see them You took the words right out of my mouth When you knew that I would need them What am I supposed to do now Without you
There where the original displays the sadness, Amy’s version shows you how much it hurts, and after this one, you know how much. What a strong performance !
Allen Toussaint’s ‘Freedom for the stallion’ remains a necessary song in these times. Keep it in mind when you need to choose your leaders. It’s recorded on this album, as if they where standing in a cathedral. Amy Helm’s voice can carry it. The Guitar playing by Doyle Bramhall II is clear in the mix, just like it is in ‘Mandolin Wind’ (Rod Stewart). 'The stones that I throw' (Jaime Robbie Robertson) remembers us, that our choices, everyone’s actions, can help create a better world. After that we get 'Long Daddy Green' (Blossom Dearie, David L. Frishberg), a very atmospheric song about elements from the past that, at the time, seemed a good thing, but turned out otherwise. Slowly you forget them, but never completely. There is always a moment it’s brought back to your memory. It haunts you, just like this song. It is followed by a wonderful 'River of Love' (T Bone Burnett).
So now, we’re only left with friends in ‘Gloryland’. A traditional arranged by Amy Helm and her late father Levon Helm. A true gospel of saying goodbye to this life.
Within 6 months we get to see Lizz Wright perform over here in Belgium.
She visited us with almost the same band as last time in Brussels. (The only change was Martin Kolarides on guitar)
The Musicians played the intro, Lizz walked on stage and gave us a little thing to get used to. What happened to that wonderful long hair of yours? But, like she told us, "If your grandmother says it's much better that way, who are we to disagree?". But let's get on with the important stuff.
The show opened, just like in Brussels with 'Barley', followed by her wonderful rendition of 'Old Man' (Neil Young). After that the concert followed a different path. While last April, the emphasis was on her new songs from Grace, yesterday we received a broader setlist of her songbook. It implied f.e. that we got to hear her perform Joe's 'Stop (Don't tell me)'. It is necessary over here to credit Nicholas D'Amato for that fantastic improvisation on Bass he did in this song. And it is only fair that I continue with the entire band : Bobby Sparks on Piano and Hammond, Brannen Temple on Drums, and off course Martin Kolarides on Guitar. Great together, but they also, all had their solo moments in the show, and received a well deserved aplausse from the audience for it. It fitted wonderfully with Lizz's singing. Every now and then, she took the tambourine, to add some more rhythm. And does she have rhythm ! And does she have a beautiful tambourine. I'm serious here, I'm really jealous of that object. If I'm not mistaken, it displays a wonderful seashell ?
The concert gradually build up to its highlights 'Grace' and 'Seems I'm never tired of loving you'. Stunning performances, but I'll be honest over here, I'm still hoping to hear these songs with a live gospel choir.
After the encore, the houselights went on, and when we were already making our way out, Lizz came back on stage. "I realised I didn't say goodnight to you all" And with that, she sweetly ended the evening and wished us a good night, and a safe trip home.
Slowly, reports are coming in that she will be back in our regions, again after 6 months. Oh, how we are treated over here....
Don't forget that Gospel choir now.
Greetings,
Stefan.
P.S.
If you remember from the last time at her concert I wrote a little bit on Smartphone use. We sat verry close to the stag this time, and the seat next to me was empty. As if the Devil himself was involved, as soon as the houselights went off, a more professional (seeing her equipment) came to sit next to me for half of the show, and shot pictures with a lens long enough to hit my head from where she was sitting. click-click-click next to my ear, followed by checking the display if the picture was useful.
But Joe's work doesn't stop with these things. On top of that, Joe is there to write !
In a radio interview, that is now available as the David Fanning Podcast, Joe explaines that he was invited by Burren College in Ballyvaughan to do a 1,5 month long writing residency.
Follow the link below and listen to Joe talking about it. But keep up, because that showhost can speak mighty fast! (It's also a 20 minutes talk about Joe's influences and work.)
Last week, Joe's 3th album Shuffletown was released on vinyl. Ever since its release in 1990, this is the first time this album is released on Vinyl.
'Why is this one pressed on Vinyl ?', is not the correct question to ask. The question is: 'does it deserve to have such a re-release after 28 ! years?' Joe ,Is it something you need to grab your breath for, for a second ?
Shuffletown, and certainly the making of it, is maybe the most important album for Joe Henry. Produced by T. Bone Burnett, it marked the beginning of a journey that, today, still is on-going.
I'm sure there always would have come a 'Shuffletown', but where would Joe be today, if T Bone, musical genius and mountain was not behind the desk? If he did not step in to Joe's life?
Perhaps it was ment to be ? I mean if your full name is Joseph Henry Burnett, what are the odds your path crosses Joseph Lee Henry...
T Bone presented Joe an other way of recording music. The album was recorded in 3 days, with a band performing the music live. Today, Joe himself is known for using this way of producing. The result of it are all gems for the artists he worked and works for. All those albums are simply amazing.
Today this is a comfortable way of working for Joe, who sometimes has to convince artists of this method, but at the time of Shuffletown it was a new and nervous-making approach¹ for Joe.
But this, to me, is actually a small practical outcome of it all. Joe himself said he learned that, when recording music you're engaging something that's already in play and you're trying to abide it.¹
We are only the medium to get this art out there. It is about the songs in the first place. And these songs deserve an honest chance. And when it comes to this, what is more honest then trying to grasp that moment when the musicians play together, and how they play together ? Trying to reproduce take after take after take is not a good idea when it comes to that. That is why T Bone Burnett wanted 'Shuffletown' to be recorded on an analog 2 track, instead of a multitrack. That way he ensured that no one would be able to "fuck with it" later.¹
The album was released, but it left Joe without a record deal. On the positive side, Joe could start working as a production assistant for T Bone. Joe had found his mentor, and he evolved in the great producer, and musicmaker he is today.
Shuffletown is a beautiful album. Its cover presents you 2 images. A boy holding 2 pigeons next to a boy holding down another kid. White next to brown/orange... I'll let your mind shuffle with it.
But Shuffletown does really exist. It's a community that grew around 'Shuffletown Dragway'. It's actually a bit cynical that the dragway had to dissapear because people living in the community started complaining about the noise of the dragway (that originated the community).
But back to the music. Everyone familiar with T Bone and Joe's work will recognise the clear sound of all the musicians evolved in this record. I personally am most in love with the mandolin and accordion sounds nestling in my ear. But what else can you expect with such great musicians, backing Joe up. David Mansfield (Bob Dylan, Johnny Cash), Cecil McBee(Wayn Shorter, Keith Jarrett), Phil Kelly, Michael Blair(Tom Waits), Charlie Giordano(Bruce Springsteen), Don Cherry(Ornette Coleman, Sonny Rollins) and T Bone Burnett.
Today, it is really nice to hear these songs so fresh on vinyl. It's been a long time since Joe has played them live, but I know his audience sometimes request them. I f.e. remember someone asking 'John Hanging' during a concert. (We didn't get to hear it by the way). It doesn't matter, I'll let Joe choose for what he feels comfortable that evening, because that's the most honest towards the song.
So yes, I do believe this album deserves the re-release on vinyl.
Photographer Laura Aurora spoke out loud, what all of us were (well I was) hoping...
"Had an amazing few days filming behind the scenes with @rhiannongiddens and @fraturrisi who have just recorded an INCREDIBLE album with @joehenrymusic producing, making magic happen."
This is some of the most exciting news concerning Joe's production work for me. Ever since 'Tomorrow is my Turn', it was verry natural for me that one day, Rhiannon would also work with Joe behind the desk. T bone Burnett is Joe's Mentor, and Rhiannon and Joe have worked together on previous occasions (Carolina Chocolat Drops, Wexford Carols, Birds of Chicago,...)
Yesterday, Aretha Franklin passed away. The entire world mourns, and everyone pays their respects.
I generally don't share the amazing words Joe offers in repsect of those that are hard to honour in spoken language. But this one hit me full frontal.
On his Social Media Joe wrote his goodbye. Its words are strong and beautiful, Pure poetry. The lay-out of it, even shares its beauty. This is how you honor a Queen.
RIP Aretha Franklin, and from here on, I'll offer this space to Joe's words.
MARY DON’T YOU WEEP
I shall say up front that to approach this engagement requires first that one sleep on rocks, drink from shoes; become naked and marked with bramble, weep bitter tears:
Aretha Franklin is dead.
She not queen for a season or region but forever and for all, as if by Biblical prophecy; she of the storied mountain and too the train steaming through its most reluctant and unforgiving chapters;
She like no river so much as the Mississippi that has run forward and back and has born upon its shoulders the building blocks of our confused and bloody history and spied from the center of rushes lauded cities in flames ––consumed by our own unrelenting and misshapen desires;
She of all time and none;
She the winter of ’29, the spring of ’33 ––the fall of ’63 wherein churches burned and pilgrims sank before harbor; she not only of Sam’s fierce grace and slide but of Ray’s grim crawl, Georgia to Washington, carrying red dirt in his cuffs and fish sandwiches wrapped in waxed paper;
She not only of Martin but of Malcolm;
She of scrubbed hands and tired feet, the childless and the over-run with children.
She not of industry but of mystical vision: smokestack, sack- cloth and ashes; thunder and chain lightening; she of unmarked graves, and words beyond ringing words; she of
fire and fury and breathless wonder, the gospel according to love and loneliness and bound for no other glory but that of she who has been and
Mavis Staples throws a party for our right to fight at Lincoln Center headlines newyorkmusicdaily about last saturday's show.
Her voice has weathered over the years, but her message
and presence have not. The heir to a seven-decade, politically fearless
soul music legacy is as relevant today as she was in 1962, when she
marched throughout the South with the family patriarch, Pops Staples,
and put her life on the line.
Joe had the privilege to warm the stage for her.
He’s a very serious guy, choosing his words carefully as he addressed the crowd..... Playing acoustic guitar, using both standard and open
tunings, he led his six-piece band through a breezy set of
slow-to-midtempo parlor Americana ballads..... He’s the missing link between Leonard Cohen and Wilco. newyorkmusicdaily wrote about him.
His set included songs like 'Hungry', Sparrow' and 'Lead me on' (Thank you Sarah for this info).
As a surprise guest, Joe welcomed Amy Helm on stage to sing 'Odetta' with him. It's also the latest single for het upcoming album 'This too shall light', produced by Joe.
In a little more than a month 'This too shall light', the new album by Amy Helm will be released. The album features musicians Doyle Bramhall II, Tyler Chester, Jen Condos, and Jay Bellerose, as well as a background vocal section consisting of Allison Russell, JT Nero, and Adam Minkoff.(source)
Amy Helm did an interview with Chronogram and naturally, one of the Subjects was this new album and working with Joe. But the article brings you up to date with her entire career. Make sure to read it !
Apparently Joe almost mixed an album for Levon Henry ! Well how about that.
...Recorded quickly and with a minimum of fuss with Grammy-winning producer
and musician Joe Henry in Los Angeles, it has a looser, palpably
spontaneous feel that fits its artist well. "Making this record felt
liberating," Amy enthuses. "I'd already met Joe and I was a big fan of
the productions he'd done for Bettye LaVette, Allen Toussaint, Susan
Tedeschi, and other people, and I really wanted to work with him—when
Larry Campbell and I were coproducing Dirt Farmer for my dad,
we'd actually talked about having Joe mix it, but that didn't work out.
So I was more than happy to surrender to his direction, and we did the
new album totally live in the studio in four days, without belaboring
anything. My band just threw our shit in the room and started playing,
Joe set the compass from there, and it was amazing. I pulled in some
songs we'd been doing, and he chose some really good ones for us to do,
too."
Besides the reflective title track, which was written by MC Taylor of
Hiss Golden Messenger and Josh Kaufman (Bob Weir, Josh Ritter), This Too Shall Light's
standout cuts include covers of the Milk Carton Kids' "Michigan" and,
interestingly, "The Stones That I Throw (Will Free All Men)," a lost,
gospel-tinged single recorded in 1965 by Levon and the Hawks during the
brief period between their leaving rockabilly singer Ronnie Hawkins and
hooking up with Bob Dylan en route to becoming the Band. "I've always
really loved the whole vibe of that song," Amy says. "It's just a great,
straight-up rock 'n' roll dance tune."(Chronogram)
Not mentioned in this interview is a cover of Joe's Odetta.
Well, did I almost choke in my coffee this morning....
I was reading an interview in Hot Press with Gavin Glass, And there I read : The studio he’s talking about is the rightly-famed Orphan Recordings, where he’s steered a myriad of Irish and international acts. “The Eskies, The Young Folk, The Sprockets, anyone and everyone. My favourite is probably Billy Bragg and Joe Henry. They toured America doingfield recordings, Woody Guthrie and Lead Belly songs,but they couldn’t use it so they re-did the whole thing in one day in Orphan, facing each other over two microphones.
Have we all been fooled ?... I couldn't believe it !
What is it, that we are actually hearing on that album? Real field recordings? or a manipulated studio recording? 3 People can answer that question, and I asked 2 of them : Joe himself and Ryan Freeland.
I can now say, that the words in that interview are (not a little bit) misleading. Joe and Billy did indeed record all those songs again in a studio, but the versions on the 'shine a light' album are all really recorded during the trainride.
In fact, the recording in the studio happened near the end of the U.K. leg of the 'shine a light' tour. That implies that : While Joe and Billy were recording these songs in the studio; the 'shine a light' album was already on sale for months.
So, why make these studiorecordings ?
JH :
It was recorded in case a use presents itself for the songs without the travel noise. If and only if....
Today, there are no specific plans on the horizon for those versions.
Well, now I can close my eyes, finish my coffee, and imagine I'm at a railroad station. Don't you just love that background noise ?
Greetings,
Stefan
Edit August 2nd :
Today, apologies have been made towards the artists, and a promise for necessary changes has been done. As for now, the article is not anymore available to everyone, only to subscribed readers.
A few weeks ago Steve Lippman released his short movie : Life Saving, a Short Film in 4 Chapters with Joe Henry.
Steve Lippman also directed some videoclips, which where used as promotion for 'Thrum'. It looks like this new Short Film has also come out of these sessions.
In this wonderful poetic film, you'll find Joe, together with Levon, playing some songs from 'Thrum' plus a narrative spoken by Joe. All these combined with the wonderful images. I usually seek words to describe what art does to me, but I'm going to limit it this time to explaining that this film blends in perfectly with everything I have already thought about, experienced around, and heard from 'Thrum'.
Steve Lippman accompanies the release of this clip with some musings on the time that has passed since he met Joe. A 'Mosaic of his memory' he calls it. Make sure to read that.
I first met and collaborated with Joe Henry in the autumn of 2003, directing a short experimental film, Tiny Voices, featuring music from his album of the same name and fragments of hard-boiled monologues Joe wrote and spoke....continue reading.
Circling around this clip we discover two things to look forward to : In his musings, Steve Lippman writes : "He(Joe) became part of the creative team of an ambitious project of mine not yet made."
And also : Joe's son, Levon. informs us that "Joe will be more publicly poem-ing in the near future..."(source : Facebook)
Ireland Performances
In the beginning of the month, I already discovered that Joe was performing a show in Ireland. That turned out to be just 1 date out of 5. Info and tickets about these dates you'll find on Joe's official pages.
I remain tempted to cross the waters over there, but it's a period for me that looks like it will not offer any time for such a luxury. But I'll keep that door open.
Apart from these 2 items there is not a lot of news to tell. The only thing that you can discover regarding possible productional projects, is a reply from Ryan Freeland to Joe on FB saying : "I'm all yours in 2 weeks".
Veteran promoter Tom Stapleton sends this message to all patrons of his shows at Leap Castle (above), Co. Offaly, between Birr and Roscrea, Co. Tipperary:
Lucy and myself thank you for support and interest in Leap Castle gigs
and hope you continue to enjoy them. We are taking a break for the
summer and will return with the great Joe Henry 15 Sept. Have a lovely summer.
Enjoy the Holidays,
I'll be back in a few weeks.
Greetings,
Stefan.
Joe has spent his time at Stinston Beach SF, taking again the producer's seat. This time for Rising Appalachia
Led by the collective voice of sisters Leah and Chloe, and joined by
their beloved band – percussionist Biko Casini and bassist/guitarist
David Brown – Rising Appalachia is a melting pot of folk music
simplicity, textured songwriting, and those bloodline harmonies that
only siblings can pull off.
They bring to the stage a collection of sounds,
stories, and songs steeped in tradition and a devotion to world culture.
Intertwining a deep reverence for folk music and a passion for justice, they have made it their life’s work to sing songs that speak to something ancient yet surging with relevance. Whether
playing at Red Rocks or in rail cars, at Italian street fairs or to
Bulgarian herbalists, this fiercely independent band has blazed a unique
and colorful path across the globe. 11 years into their movement,
Rising Appalachia believes that the roots of all these old songs are
vital to our ever evolving soundscape.
Here are some words from Rising Appalachia about this recording :
There is
no one we could have been more thankful for or inspired to work
alongside. He listened to every take with cunning ear, sat through over
70 hours of live tracking, called forth the absolute finest in each of
us, made room for the muses, & just generally held the role of
“mystic” in the BIG seat of “producer” (NOT an easy task to combine
those roles. Nor are we an easy band, full of our own headstrong madness
and prowess!). And PLUS he out-dressed all of us for a whole week We were
cautious, nervous, unsure if we would feel like we “sold out” to an
industry we have, by design, resisted. We courted the process slowly,
and up until the last second we were skeptical about what this person
would actually DO to our rustic, raw, and rebellious sound. We were not an easy sell. Joseph
Lee Henry, a hat tipped off to you & a deep bow. You wrangled
perhaps the most beautiful work out of us up to date & we incredibly
inspired by the process you evoked.
It will be entitled 'This too shall light', and it will be released on September 21st.
The album will feature originals alongside covers of songs by T Bone Burnett, Allen
Toussaint, Blossom Dearie, Rod Stewart and even her late great dad Levon
Helm's old group the Band.
'Recording took four days in L.A. , with no vocal overdubs and two takes or
less on almost every song. To keep things fresh, Henry even went so far
as asking Helm not to get to know the songs too well before the
recording.'
"He (JH) did not want me to get too familiar with them,"
Helm says. "He wanted it to be undiscovered, and he had a very specific
thing he wanted us to emulate – Delaney & Bonnie's album Motel Shot, which is very loose and live. That was our true North."
update 14 June.
Joe + band will be the supporting act for Mavis Staples during Americana Fest NYC on August 11th. This is a free event. Seating is first come, first served, and gates open one hour prior to the performance.
Photograher Kate Joyce is working on a photobook with photo's made during the Big Ears festival 2014-2018.
The book will consist of approximately 90 photographs, a download card
with a selection of audio recordings from performances at Big Ears
between 2014-2018, and essays by Rachel Grimes and Joe Henry.
The photographs were made under the influence of music. The book is a
distinct visual experience that developed out of, and exists precisely
because of, Big Ears.
More
than 200 artists and bands have performed Big Ears between 2014-2018.
During the five years that I traveled to Knoxville for Big Ears, I
photographed some of the people on this list, but not nearly all of
them. Of those I photographed, just a few will be in this book. I heard
many of the performances, many were memorable and a few were life
changing. I photographed during some of these performances, but most of
them were un-photographable (better heard than seen). Sometimes I only
photographed a sound check or rehearsal.
During my time at Big
Ears, I also walked around Knoxville, leaving the theaters and clubs to
make pictures on the streets. As I wandered, my mind remained tethered
to the musical event.(Kate Joyce)
When Joan Baez made her breakthrough, and became one of the important people in music, I wasn’t even born yet. As a matter of fact, by the time I was 10, There was already a 2nd autobiography. Yep, I’m just a 41 year old kiddo. Off course, over the years you learn about her, what she stands for, and how important she is, and so there I sat Monday evening in Brussels BOZAR to see her perform. Unlike the most of the audience, I didn’t have a long history with her Music, or some kind of nostalgia. But if there is 1 thing the evening has proven, it is that you don’t need that history to enjoy her show.
At 77 (you read that correctly) she can sing beautifully, her guitar playing is so clear and she stands on that stage with strength, integrity and grace. A lot of today’s and tomorrow’s popular acts can only humbly bow in respect for that. If you see her perform, you understand why she is the legend, why she is that statue she became.
Joan entered the stage on her own for a few songs in a ‘Woman and guitar’ style. After a few songs she got backed up by, what she called, her Big Band consisting of Dirk Powell on strings and Piano and her son Gabriel on Percussion. She embraced her audience with warmth, and even put herself in a more difficult situation by trying to address the audience regularly in French. She sometimes had to think and search for her words, but it showed us how comfortable she is on stage. Most artists wouldn’t dare to do that, I’m sure. The audience appreciated this big time, and the first time they heard here speak French, it was welcomed with a big applause. It even got better when a music stand was brought on stage, and she asked us to wish her luck. And then she gave us a wonderful version of George Brassens’s 'Chanson pour L’Auvergnat’. A song dedicated to people who help out those who are treated as outcasts.
But it wasn’t over with baffling us in understanding our culture of French Chansons. As a matter of fact, it seems it baffled her as well. Near the end of show, during a 1th (of 3) encores, she started singing ‘Le temps des cerises’, a song dating back to 1866 written by Jean Baptiste Clément. She didn’t say what she was going to sing, she simply asked us to help her out. When she sang the first few words, she literally had to step back 2 steps to take in the overwhelming sound of a sold-out Bozar singing along immediately. It was no surprise to me that something like that would happen. If I want my mother to sing a long with something, I just have to put on this song, and she’ll start singing it from th heart. This is part of our cultural Heritage. The song was inspired by a trip of Clément in Flanders and coming across a house surrounded by cherry trees. It was a controversial song at the time, since it was also interpreted as a metaphor for the ongoing Revolution happening in Paris at the time.
Quand nous chanterons le temps des cerises
Et gai rossignol et merle moqueur
Seront tous en fête
(When we sing of cherry time and the happy nightingale and the mockingbird/mocking blackbird all be celebrating)
Monday evening was an evening full of old songs and new songs from her latest album. We received a wonderful ‘The President sang Amazing Grace’, and an impressive ‘Whistle down the wind’. I say impressive, because since I heard Joan Baez do this, I identify this song completely with her. As if T. Waits wrote it for her, before he even knew it. Those who know me personally, understand this is a big thing for me to say.
From the latest album, the song ‘Another World’ originally from ANOHI, proved how songs still can grow after they have been recorded. In resemblance with the album version, this was a much stronger performance. The soundman put a reverb on the microphone, so you’d litteraly could hear the words disappearing. (Or where that reflections coming from the acoustics of the room ? I was sitting under a balcony.) Anyway, it fits perfectly with this song. “I need another world, this one’s nearly gone" she sings. It’s a song originally about taking care of this earth, because we are destroying it. But when someone sings it at this moment in a life, it easily becomes a song about mortality.
‘Diamonds and Rust’, a song about her relationship with Bob Dylan was performed as a duet with a fantastic strong voice by Grace Stumberg. The lighting was set, so that we could see 2 huge shadows in the back. It was like the song was sung by 2 ghosts from the past. It only strengthened the already strong version of this song. At a moment Joan started laughing out loud, and explained the need to change the lyrics from ‘10 years ago’ to ‘50 years ago’.
The entire show was build up with strong performances of the songs, very early on we received 'Deportee (Planewreck at Los Gatos)' (Guthrie) A song about deported Mexicans, who’s plane never made it to Mexico. They had no names, they where just called Deportees. It got the house quiet, and I must admit, when it was done I kept myself from standing up to applaud for it. It’s a song from 70 years ago, but still so relevant. Especially over here, where we live in a hardened atmosphere against refugees. A couple of days ago a van full of refugees, was shot by the police. A 2 year old child died…..
“They where only refugees”
This is an atmosphere that hangs in the air with a big part of the population around here, and it angers and frightens me. I guess it also did with a lot of others in the audience. Only for that song already I thank you Joan Baez.
'Imagine' from John Lennon, was the first encore and became a sing a long. A few more songs to go and then she came back a last time and signalled us she needed to go to sleep and so did we.
Imagine there's no countries It isn't hard to do Nothing to kill or die for And no religion too Imagine all the people living in peace
There are so man reasons to thank her for this concert. Everyone will have their reason. It is clear now, that no matter if you’re old or young, this is a must see concert. So go out and enjoy her music live while you can. Because this is her :
Fare thee well tour.
Greetings,
Stefan.
Setlist :
There but Fortune / God is God / Farewell, Angelina / Whistle Down the Wind / Silver blade / It’s all over now, Baby Blue / Deportee (Planewreck at Los Gatos) / The things that we are made of / Diamonds & Rust / Me and Bobby McGee / Another World / Chanson pour l’Auvergnat / The President sang Amazing Grace / Joe Hill / Seven Curses / Silver Dagger / The House of the Rising Sun // Imagine / Le Temps des cerises // The Boxer // Swing Low Chariot
