Category: Music

As busy as the past few days have been with the Veracode Hackathon, it hasn’t been the only thing happening. Our town of Lexington puts on a choral festival every year, in which choirs from all the local churches get up and sing a few songs, finishing with a mass sing. This year there were over two hundred singers, making me wish we had some Beethoven instead of Rutter to finish with.

But it was interesting for another reason. Our church choir director has been slowly introducing other musical traditions to the fairly staid United Church of Christ (aka Congregational) choir in which I’ve sung for the last few years. The year before I joined they performed a bluegrass mass. He’s made a specialty of shape-note music with us—only appropriate since New England is the home of a lot of the early shape-note hymns.

And he’s introduced us to the gospel tradition. Not just “classic” gospel but full-on modern gospel, with rhythm section, riffing, repeating as long as the spirit moves you, and everything else. We sang a set at our church’s contemplative evening worship that brought the house down, and we brought one of those songs to the choral festival this past Sunday. I never thought I’d be doing gospel riffs in church, but it’s fun.

Then of course, on Monday during lunch at the office, the Appsec Mountain Ramblers, Veracode’s own bluegrass band, played. Fronted by our CFO on banjo, we had a talented line-up of instrumentalists, so I just had to bring harmony vocals. It’s harder than I thought to sing high harmony, but so rewarding when you get it right.

Inspired by the Reverend Fiesta, here’s the list of all the (non-classical) concerts I’ve gone to, as far as I can remember. I thought I had written down this list once before, but am not finding it, so here we go. Links go to set lists if the Internet has them, or to blog posts by me if not. In many cases I was at these shows with people who I can’t remember; mea culpa. In fact, I’m also sure that I’m forgetting some shows I went to, so this will be a live page.

Sting, Nothing Like the Sun tour, William and Mary Hall, January 29, 1988. My very first show. I remember very little from the performances, just how amazing it was to be there.

10,000 Maniacs (Lone Justice opening), William and Mary Hall, 1989. The “Blind Man’s Buff” tour, I went to this with my sister and with Unchu Ko.

Branford Marsalis, Waterside, Norfolk, August 18, 1989. Honestly, all I remember about this performance is how hot it was, how interesting the jazz was, and how quiet the crowd was.

Paul McCartney, Flowers in the Dirt tour, RFK Stadium, 1990. With my sister and Christina, a long long drive in a non-air-conditioned 1970s Cutlass Supreme. But “Live and Let Die” in that stadium was incredible.

Don Henley, End of the Innocence tour, Virginia Beach, 1990. With my sister and Pam, I think. And I remember Don Henley sitting down at the drums for “Hotel California.”

Wynton Marsalis, Albemarle High School, 1990. Mostly what I remember about this show is mutes: how many Wynton brought, how much he used them. There was very little about his sound with this band that didn’t rely on mutes in some fashion or other.

Sting, The Soul Cages tour, Hampton Coliseum, 1991. On a bus from the University of Virginia. I remember he played a cover of “Purple Haze,” but not much of the rest of the show.

Hall and Oates, Newport News/Williamsburg International Airport, July 4, 1991. A special festival to welcome returning Gulf War I troops.

Paul Simon, Rhythm of the Saints tour, Hersheypark, 1991. A fun show, with my sister, and, I think, my aunt.

UVA Jazzfest, 1992: Max Roach, Jackie McLean Quartet, Jack DeJohnette’s New Directions with Lester Bowie, Mingus Dynasty. Yeah, it was an amazing, amazing weekend.

Tori Amos, Little Earthquakes tour, Old Cabell Hall, University of Virginia, September 7, 1992. I wandered into the hall for Glee Club rehearsal one night and there was a ticket sales desk. I had heard the show was happening but assumed it would be sold out. I got a ticket and went to the show after rehearsal. It was amazing. So intense. There’s more to the story of the show; another time…

The Village People,  Yellow Journal Disco Ball, Memorial Gym, University of Virginia, 1992. There is no documentary evidence of this performance and I had almost forgotten about it, but the experience of watching the aging disco superstars open their set with a cover of “Gimme Some Lovin’,” complete with pelvic thrusts, and then completely slaying the crowd with the rest of their set is something I will never again forget. 

Sting, Summoner’s Tales tour, May 30, 1993, Richmond (Dada opening). With my sister, Christina and Jeremy. In which we sat close enough to the front that we were able to make the band do double takes with our ability to head-bob in 7/4 time.

They Might Be Giants at Trax, Charlottesville, VA, September 24, 1993. The TMBWiki says that Pere Ubu opened for them. I don’t remember that, but I do remember my sister and Derek Ramsey being there with me.

UVA Jazzfest, 1993:Elvin Jones Jazz Machine with Ravi Coltrane, Roy Haynes. There were other bands but I split the tickets with Bernie Fallon and so never got to see Archie Shepp. But Roy Haynes was a great show, and Elvin was amazing.

UVA Jazzfest, 1994: Milt Hinton, Dave Holland, Charlie Haden’s Liberation Music Orchestra.

Tori Amos, Under the Pink tour, Richmond, July 24, 1994. A less intimate and more upbeat show than the OCH one, but that’s to be expected given that the first show was in an 800 person venue. Much of the show was still in the acoustic vibe, though, which made the sudden transitions to full band on songs like “God” and “Cornflake Girl” kind of jarring.

Love Spit Love, free show, Washington DC, 1994. Just Richard Butler and a guitarist, and the crowd was completely quiet except for one hippie dancer, who only danced during the radio single “Am I Wrong.”

Shannon Worrell, summer 1994, Charlottesville. I’m not sure exactly when I saw this show, at an outdoor front porch venue with Matt Vanderzalm, but I’m pretty sure it was after the release of her first album, and I had already seen her play a couple of sets at various Corner venues with Kristin Asbury.

Cracker, Waterside, Norfolk, VA, 1996. Free show; attended with Jon Finn.

Nusrat Fateh Ali Khan, late 1996 (I think?), Washington DC.

Sonic Youth, A Thousand Leaves tour, 9:30 Club, May 6, 1998. With Craig Pfeifer. I was so not ready for how brilliant this show was.

Liz Phair, whitechocolatespaceegg tour, 9:30 Club, October 7, 1998. I remember very little about this show except that Liz seemed like she was in complete control and enjoying the hell out of herself.el

Bob Dylan and Paul Simon, Nissan Pavilion, July 16, 1999. How weird that I remember so little of this show, except for the superb version of “Tangled Up in Blue” that I could have sworn was the opening number but the set list says was 4th. They dueted on “The Sound of Silence.”

Parliament/Funkadelic All Stars, 9:30 Club, November 13, 1999. With Craig Pfeifer. I’m pretty sure it was this show I saw and not one of their two shows at the 9:30 Club in 1998. What an amazing performance, and I couldn’t even stay for the whole thing.

Beck with Beth Orton, Patriot Hall, George Mason University, February 19, 2000. Can I get with you and your sister? I think her name’s Debra. And Beth Orton’s brutally cute penguin joke (“Why do penguins walk softly?”). With Craig Pfeifer.

Twinemen, Mr. Airplane Man, Mark Sandman Tribute, Cambridge, August 2000. An interesting afternoon of local musicians paying tribute to the recently deceased frontman of Morphine, at an outdoor venue near the Middle East club in Central Square.

Spain with Miranda Lee Richards, the Crocodile Club, June 15, 2001. With Arvind and Kim.

Radiohead, Amnesiac tour, The Gorge, Washington, June 23 2001. With Lisa.

Isaac Hayes, Blind Boys of Alabama, Youssou N’Dour, Kathryn Tickell, DJ Peretz, the Neville Brothers, Peter Gabriel, Afro Celt Sound System; WOMAD, August 2001. I wrote extensively about this show back in the day.

Ani DiFranco, Bumbershoot, August 31, 2002. Does being in the same outdoor performance venue as the performance count? I only caught a few songs of this one.

Sonic Youth with Modest Mouse, Bumbershoot, September 1, 2002.

Pernice Brothers with Jose Ayerve, Sparrow, and Warren Zanes, the Tractor, July 11, 2003.

New Pornographers, Bumbershoot, September 1, 2003.

Wilco, Bumbershoot, September 1, 2003.

R.E.M., Bumbershoot, September 1, 2003.

Lou Reed, Moore Theater, June 29, 2003. This is essentially the show that was presented on the Lou Reed: Animal Serenade live album.

Elvis Costello, Benaroya Hall, March 8, 2004. I had completely forgotten about this show.

Sonic Youth, Showbox, July 19, 2004.

PJ Harvey, Avalon, October 9, 2004.

Pixies and Mission of Burma, Tsongas Center, December 2, 2004.

Justin Rosolino, Club Passim, December 13, 2004.

Sonny Rollins, Tanglewood, September 5, 2005, with Lisa.

Neko Case, Willard Theatre, April 5, 2006.

Elvis Costello with Marian McPartland and Diana Krall, Tanglewood Jazz Festival, September 2, 2006, with Lisa. I went to this show and never wrote about it, which is a shame because it’s the last non-classical performance I went to for almost nine years.

Bruce Hornsby, Cary Memorial Hall, October 17, 2015, with Lisa.

The Chieftains, Chevalier Theatre, Medford, March 1, 2017, with Lisa.

Branford Marsalis Quartet with Kurt Elling, Cary Memorial Hall, April 28, 2017, with Lisa.

Pixies, House of Blues, Boston, May 20, 2017. With Cymbals Eat Guitars.

Mavis Staples, Cary Memorial Hall, June 2, 2017, with Lisa.

Cécile McLorin Salvant and Aaron Diehl, Jordan Hall, February 7, 2020, with Lisa.

Genesis, TD Garden, December 16, 2021.

Cowboy Junkies, Cary Memorial Hall, April 14, 2022.

Tears for Fears with Garbage, Leader Bank Pavilion, June 22, 2022, with The Girl.

Branford Marsalis Quartet, Berklee Performance Center, January 28, 2023, with The Girl.

The Cure with The Twilight Sad, Xfinity Center, June 18, 2023, with Joy.

Herbie Hancock, The Cabot (Beverly, MA), June 21, 2023, with Lisa.

Lyle Lovett and Leo Kottke, Cary Memorial Hall, October 19, 2023, with Lisa.

Cécile McLorin Salvant, Sanders Theatre, February 2, 2024, with Lisa.

Alan Cumming, Sanders Theatre, March 15, 2024, with Lisa.

It’s spring today and going to be winter on Sunday as we gear up for another foot of snow via a late-season northeaster. Time for a Random 5!

1. Blue 7 – Sonny Rollins (Smithsonian Collection of Classic Jazz)
2. Ekta Deshlai Kathi Jalao (Light a Match) – Asha Bhosle & Kronos Quartet (Songs from R.D. Burman’s Bollywood)
3. In Christ There Is No East or West – Mavis Staples (You Are Not Alone)
4. Stop This World – Diana Krall (The Girl in the Other Room)
5. Virginia Yell Song (live) – Virginia Glee Club (Songs of Virginia)

Blue 7: This is the second time this track has figured in a Random n post, but since the last time was nine years ago I’ll allow it. Two notes: this was the compilation that I bought, excited to take Scott Deveaux’s History of Jazz class at UVa, and then disappointed that I had to drop the class because it conflicted with a required lab. And Rollins was absolutely  incandescent when I saw him at the Tanglewood Jazz Festival back in the early 00’s. Here’s hoping that I have that level of presence and acuity when I’m his age.

Ekta Deshlai Kathi Jalao: A simply great collaboration with the Kronos Quartet. You can listen to this happily without knowing that a great many of the songs are about marijuana.

In Christ There Is No East or West: Not as transcendental as the Grand Banks version, and not one of the most spectacular fruits of her Jeff Tweedy produced works, but still great. A slow burn that’s buoyed up by the arrangement.

Stop This World: A former coworker of mine who was a local jazz DJ was underimpressed with this album, done in collaboration with Krall’s future husband Elvis Costello, because it saw her leaving the strict jazz repertoire and exploring blues and pop song forms. I love it for the same reason.

Virginia Yell Song (live): The loudest rendition of Linwood Lehman’s UVA football song on record, featuring the Glee Club with the University of Virginia Marching Band in the small confines of Old Cabell Hall. The Club singing in unison so they can be heard over the band gives a small flavor of what it must have sounded like back in the day that students sang at football games.

The Rest Is Noise: For Peter Maxwell Davies. The death of the eminent British composer has me thinking about how hard 2016 has been so far on musicians and artists. First Bowie, of course, and then Glenn Frey, but also Natalie Cole, Paul Kantner, composer Stephen Stucky, George Martin, Maurice White of Earth, Wind, and Fire, Keith Emerson, Vanity. And of course Harper Lee and Alan Rickman, when broadening to other art forms.

What gives? Is 2016 a more fatal year than other years? Well,  probably not, thought it’s easy enough to do the comparison in Wikipedia of notable deaths per year (2016, 2015 and so forth). I think what’s happening for me in particular is that musicians (and artists) who helped shape who I am when I was in my teens (meaning they had produced notable works at most 20 years before that) have now hit a particular point in the actuarial curve. It’s kind of a variant of the pathetic fallacy; the underlying drivers are more likely basic human actuarial trends, substance abuse tendencies in musicians active in the 1960s and 1970s, and the worsening of the American diet over the last 30 years than anything more profound.

And yet. It’s hard to escape the feeling of childhood slipping away. The older I get, the more I’m aware that a chunk of what I think of as “me” is defined in terms of how I relate to things outside myself, and while the death of Peter Maxwell Davies does not negate any of the art he produced, his being gone makes those relationships that much more tenuous.

It’s Random 5 time! And my dogs didn’t let me sleep last night, so I’m on my second cup of coffee (this one red-eyed with a shot of espresso) and this update will be accordingly off kilter. I’m going to try a new format for the 5 this time; let’s see if it sticks.

1. Say Goodbye – Beck (Morning Phase)
2. Comin’ Round the Mountain – Bob Dylan (A Tree with Roots)
3. Lullaby for an Anxious Child – Sting (If On a Winter’s Night…)
4. The Parting Glass – The Pogues (Rum, Sodomy & the Lash)
5. L’enfer – Coralie Clément (Bye Bye Beauté)

Say Goodbye: I don’t resonate with this album as strongly as I did with its predecessor Sea Change. That one felt achingly melancholic and honest. This one feels like “It’s time to make Sea Change II.” But you can’t fault Beck’s craft. The banjo seems an unorthodox choice when it drops into the break but it fits. His harmonies have been getting better over the years, and the stacked chords on the chorus introduce some needed tension into the song. It still feels more like an exercise, though.

Comin’ Round the Mountain: A few years ago, Doom and Gloom from the Tomb posted a link to a download of the granddaddy of all Dylan bootlegs, the “full tapes” from the Basement Tapes sessions. This tossed off fragment of the traditional song isn’t essential but it’s fascinating: with instrumentation that sounds like hammer dulcimer along with bass, acoustic guitar and drums, the vocal fades in and out like a half remembered thought and the second verse fades into inaudible mumbles. We know she’s coming but we don’t know when and we don’t know why. Typical of the Basement Tapes, Dylan lifts the corner of an old traditional children’s song and finds mystery.

Lullaby for an Anxious Child: Originally a 1990s b-side, Sting fleshed out the arrangement for this on his surprisingly good winter/holiday album a few years ago, with strings, harp and harmonium (accordion?) supplementing the acoustic guitar. I’ve been vocally dismissive of later Sting work, but I liked this album, and though I could wish for fewer chimes and a less affected vocal on this track (does every entrance need a little swoop?) it’s still lovely and done with a light touch.

The Parting Glass: I like the Pogues, and Shane McGowan, best when they’re rooted in their craft and their tradition. This straight take is fantastic and wouldn’t have been out of place on a Clancy Brothers album… well, maybe on an album of drunken outtakes.

L’enfer: I was introduced to Coralie Clément’s music via the Nada Surf cover of the title song of this album. The title song, with contributions from that band’s Daniel Lorca, is still the essential track on this album for me, but “L’enfer” is a perfect slice of fuzzed-guitar summertime French pop, with Clément’s breathy vocals sounding like Jane Birkin hanging out with an indie pop band. Fun for Friday.

I started rehearsal last night with the Tanglewood Festival Chorus for an upcoming series of performances of the Kancheli Dixi. Giya Kancheli is new to me; he’s a composer from Georgia who wrote the Dixi, apparently, partly as a memorial to his mentor, conductor Jansug Kakhidze. It’s going to be a fun work, with huge dynamic swings, lots of interestingly intricate writing for the chorus, and some meaty chromaticism. I’m also interested in seeing what the orchestration looks like—the one recording I have has some passages that sound like they might be written for Ondes Martenot…

I’ve written before about traditional ballads and ballad collectors, but I always feel as though I am discovering new things about the way in which songs are written and passed down. The archetypal music developed (not written) by singers in places as diverse as rural England and western North Carolina and continuing into modern day provenance via folk singers like Dylan and Leadbelly, who then inspired a whole generation of rock musicians to embrace the ballads…

I always feel an electric shock when I find an artifact of balladry. In September 2015 I was lucky enough to discover UVa professor Ernest Mead’s copy of UVA professor and Glee Club alum Arthur Kyle Davis’s More Traditional Ballads of Virginia in a local used book store, documenting the work that he and other members of the Virginia Folklore Society did in collecting ballads from Virginia singers. Last week I had a bill for dinner delivered to me in an 1879 book collecting English ballads (albeit a little heavily focused on lords and kings for my tastes). And of course my discovery years ago that I have western North Carolina’s preeminent folklorist, Bascom Lamar Lunsford, as a distant relative was one of my early connections to the tradition.

What’s interesting to me is that the application of this “oral tradition” to other forms of song, like camp meeting songs and minstrel songs, resulted in some of the most enduring songs that we remember today in the context of universities and student songs. It’s one thing to note that the University of Virginia song “Glory to Virginia” is a football song with words set to the tune of “The Battle Hymn of the Republic.” It’s another to note that the “Battle Hymn” itself takes a tune that was previously known as “John Brown’s Body,” featuring words collectively written by the members of the 2nd Infantry Battalion of the Massachusetts militia as a marching tune. But the story doesn’t stop there; the “Tiger” battalion used a tune for their words that had originated as a camp meeting song in the late 18th and early 19th century, “Say, Brothers, Won’t You Meet Us,” with the earliest printed version of the tune appearing from 1806 to 1808 in camp meeting song compilations. And beyond that, credit for the inspiration of the tune is given to an African American wedding song from Georgia, a “Negro folk song,” and a British sea shanty that originated as a Swedish drinking song.

All of which is just to say that authorship is complicated and history is everywhere.