Another Time, Another Place: Celebrating the music of Inside Llewyn Davis benefit concert 9/29/13 [VIDEOS]

 Another Day, Another Time: Celebrating the music of Inside Llewyn Davis

I was not fortunate enough to attends the Inside Llewyn Davis benefit concert this last Sunday at New York’s Town Hall, but YouTube user Julie P did and was kind enough to share some videos of the performance which I’ve posted below.

The concert is inspired by the upcoming folk pseudo-documentary Inside Llewyn Davis by the incredible Coen brothers (O Brotehr Where Art Thou, No Country For Old Men, True Grit) The evet was produced by the Coens and the film’s Executive Music Producer T Bone Burnett. the roots music who’d=who bill included The Avett Brothers, Joan Baez, Rhiannon Giddens of the Carolina Chocolate Drops, Lake Street Dive, Colin Meloy of The Decemberists, The Milk Carton Kids, Marcus Mumford, Conor Oberst, Punch Brothers, Dave Rawlings Machine, The Secret Sisters, Patti Smith, Gillian Welch and Willie Watson. The artists as well as stars from the film performed songs from the film live, as well as songs from the early 1960s that inspired it.

As more videos are posted I will add them here.

Colin Maloy, Joan Baez, and Gillian Welch
http://www.youtube.com/watch?v=Xy7dNZTNem8&feature=c4-overview&list=UUkM6IBsFkHspnonQLwecdKA

Gillian Welch, Rhiannon Giddens, and Carey Mulligan
http://www.youtube.com/watch?v=K15nU5a6Qek&feature=share&list=UUkM6IBsFkHspnonQLwecdKA

Patti Smith, Avett Brothers, Dave Rawlings + – People Have The Power
http://www.youtube.com/watch?v=VDCLmTq_y2M&feature=c4-overview&list=UUkM6IBsFkHspnonQLwecdKA

Marcus Mumford, Oscar Isaac, and Punch Brothers “Fare Thee Well”
https://www.youtube.com/watch?v=TstKeaP-aHk

Marcus Mumford and Joan Baez – “Corn Whiskey When I’m Dry”
https://www.youtube.com/watch?v=wIsr2bwVrz0&list=UUkM6IBsFkHspnonQLwecdKA

Marcus Mumford – “I Was Young When I Left Home” (Bob Dylan)
https://www.youtube.com/watch?v=gvVBce8hQF8&list=UUkM6IBsFkHspnonQLwecdKA

Elvis Costello, Punch Brothers, Inside Llewyn Davis actor Oscar Isaac, & Adam Driver “Please Mr. Kennedy”
https://www.youtube.com/watch?v=HzU8mz3eqTc&list=UUkM6IBsFkHspnonQLwecdKA

Americana For All

carolina chocolate drops

I’ve been kicking around the ideas to address Giovanni Russonello’s “Why Is a Music Genre Called ‘Americana’ So Overwhelmingly White and Male?” i heard my mom’s advice in m mind,
“just walk away from the stupid.” Part of it was my dad’s voice “Teach ’em a lesson.” i’ve decided to go with dad on this one.

Russonello’s piece frames the recent six-week “Americanarama” tour to argue that the tour’s roster, which included Bob Dylan, Wilco, My Morning Jacket and Ryan Bingham – represents a larger cultural exclusion rampant in the genre.

Setting aside the argument that the “Americanarama” bill does not really represent the contemporary Americana genres, let’s address the premise of “Overwhelmingly White and Male”

Early country, folk and bluegrass have generally appealed to a predominantly anglo audience. Partly because many of the songs are from European source material performed by mostly white people. The trend in these genres have mapped closely to the trends in American society in general and, as opportunities have arisen, woman and people of color have stepped up to represent their unique take on the music.

The difference is that Americana proper (and it’s cousin alt.country) have never been exclusionary.

It’s introduction into popular culture came in the 80’s as MTV gave us the L.A. cow punk band Lone Justice , featuring the gritty soul of Maria McKee, and their “Ways to be Wicked” and “Sheltered videos in rotation with Jason and the Scorchers and The Georgia Satellites on the 24- hour feed.

At the same time kd Lang and Roseanne Cash joined Steve Earle, Dwight Yoakam and Lyle Lovett in shaking up Nashville.

Soon after bands like The Meat Purveyoyers, Freakwater , Neko Case, Gillian Welch, the Cowboy Junkies, Hem, Tarnation – all bands prominently featuring female artists – laid the groundwork for Americana.

An allum of the watershed “O Brother where art thou” roster, Alison Krauss, has the enviable honor of having won the most Grammys by a female artist with twenty-seven (!)

Hardly the good-old boys club that article paints for the genre.

Then there’s this:

“… if an art form is going to name itself after this country, it should probably stop weatherproofing itself against America’s present-day developments. And it hardly seems like enough to say you’re carrying on the legacies of black gospel and blues if the performers and listeners venerating them are almost all white.”

The claim that Americana is “carrying on the legacies of black gospel and blues” is specious. True, some artist incorporate gospel and blues within their style, to say that Americana is carrying on the legacy of those sage musical genres is insulting to these thriving genres and their decades of practitioners.

And the argument that since the genre appeals to a particular segments of the population signifies that genre exclusion of others is ridiculous. Much of music is self-identity. If a segment of society don’t see themselves in the performers and their stories it follows that they wouldn’t be compelled to buy the music or attend the shows. Early hip-hop was a primarily African -American cultural phenomenon which has now transcended. As for as I know on one was accusing hip-hop of excluding anglos.

Just as people of color have taken different roads to Americana, and have contributed to it’s evolution. Los Lobos and Alejandro Escovedo bring a uniquely chicano take to the music. The Carolina Chocolate Drops and newcomer Valarie June have infused the genre with African-American string-band and folk-soul influences receptively.

Russonello places Dylan as the “the father of Americana” (I would argue Gram Parsons or Townes Van Zandt) and then points to the current shining light, Jason Isbell, as not heading the lessons of Dylan and providing anything “new.” The argument could be made that Dylan at the beginning of his career, as Isabell still is, brought nothing that hadn’t already been done by Guthrie and Seeger. Russonello then makes the case that “Music gets its power from a keen, contemporary perspective” and then “it feels facile to let this one strain of yellow-page nostalgia represent it.”

This is just lazy. Though the form, the music and singing styles harken back to a yesteryear , topics are either contemporary, like Isbell, Todd Snider and Steve Earle or dealing with the great human truths – love, hate, death – that transcend any time period.

Though the article does a serviceable job of tracing roots music’s trajectory thorough time, the conclusion shows a bias of the writer. Anything this white and male met be a conspiracy..

Americana does reflect an idealized notion of the the past (as Americans are prone to do,) but to confuse the predilections of subjective taste enjoyed by some as a kind of organized Jim Crow-style musical segregation insults a music and musicians that I celebrate daily. It also, ironically, displays a type of bigotry that all cultural forms must undergo some forced, artificial desegregation toward some imagined moral purity.

Let freedom twang!

Americana Association Music Awards 2012


It was another night when the disciples of roots music congregated within the hallowed walls of the Mother Church of Country Music, and the Ryman Auditorium, to homage to that which ties us together and makes us whole. Music.

The evening got off to a funk – soul start as Buddy Miller and the house band turned up the heat on Lifetime Achievement Award for Instrumentalist recipient Booker T Jones’ Green Onions. Drive-By Truckers front man Patterson Hood presented Jones with award recounting the DBT backing him on the Grammy winning “Potato Hole” and recognizing the legendary musician and producer for his contributions to the Stax Records and Memphis soul music sound.

“It means so much to me to receive this award, and it’s especially good to receive it from Patterson, I am so honored to accept this award in such great company. It really touches me.”

Bonnie Raitt presented the Lifetime Achievement Award for Songwriting and guitarist extraordinaire Richard Thompson. Thompson’s songs have been recorded by The Del McCoury Band, Robert Plant, Los Lobos, Elvis Costello, Blind Boys of Alabama, REM, Linda Ronstadt, Buddy & Julie Miller and Raitt herself.

Thompson, a Brit, said “I know we’ve had our differences, and especially that whole 1776 thing. But we do share a love of the folk music from the old country.” It Then broke into a sizzling version of his Vincent Black Lightning.

Raitt herself received the Lifetime Achievement for Performance, presented to her by by singer/songwriter John Hiatt who’s song “Thing Called Love” was a big hit for her when she covered it on her “Nick of Time” album.  “I am proud to have an umbrella like Americana. Who cares what kind of music it is, if it is great music. Tonight we are putting aside generations and genres to celebrate roots music.”

Peter Cooper and Lee Ann Womack ‘s performance of Song of the Year nominated ” I Love” – Album from the Songs of Fox Hollow children’s album – was rendered even more eventful by a surprise appearance by the 76 year-old icon.

The greatest moment for me was an appearance by the legendary Guy Clark. The tribute This One’s For Him: A Tribute to Guy Clark – produced by Tamara Saviano and Shawn Camp- won album of the Year. The noticeably frail Clark performed a song dedicated to his recently deceased wife Susanna, and “My Favorite Picture of You.”

Jason Isbell and the 400 Unit snagged Song of the Year honors for “Alabama Pines.” Gillian Welch was named Artist of the Year, while The Civil Wars took home Duo/Group honors (and I won another bottle of whiskey from John Paul White!) Alabama Shakes were presented the Emerging Artist award and David Rawlings was named Musician of the Year.

Jim Lauderdale again was the perfect MC for the televised live event which moved at a more clipped pace than past years.

Excellent performances by Justin Townes Earle, Robert Ellis, The Mavericks, the Punch Brothers, Casey Chambers, Shane Nicholson, Hayes Carll, Cary Ann Hurst and the Carolina Chocolate Drops drew from the historic surroundings and often brought the crowd to their feet.

The evening closed with many performers joining by Emmylou Harris to pay tribute to the late Levon Helm, led by his daughter Amy Helm, who in a rousing version of The Band’s “The Weight.”

Doc Watson – (1923 – 2012) – The Music Never Dies

I’m not a religious man but I would like to have a word with god. I’d look up at his cloudy beard and steel-blue eyes and say “Stop.” I’m tired of writing posts sending off out legends. Scruggs, Helm and now Watson.

Men who’s storied careers shines a glaring light of authenticity and richness on the current music industry of glib irony and planned obsolesce.  Where AutoTune and beats take precedence over song-craft and instrumental dexterity.

A vascular disease Arthel Lane (Doc) Watson as an infant left him blind for life. He drank in the musical styles and lore from his family and became prolific on the harmonica. then at 10 he took up the banjo his father had crafted for him. By the time he was in his teens he settled on the guitar, the instrument he helped to revolutionize touring the folk circuit with his flat-picking virtuosity.

I’ve never attended MerlFest, the annual music festival held the last weekend in April in Wilkesboro, North Carolina named in honor of Watson’s only son, Eddy Merle Watson, who died in a farm tractor accident in 1985.

Over it;s 24-year history on the four-day festival’s 14 stages you could have see some of bluegrass, folk and country music’s greats -  Dolly Parton, Willie Nelson, Earl Scruggs, The Kruger Brothers, Emmylou Harris, Jerry Douglas, John Prine, Alison Krauss and Union Station. You would have also caught some of roots and Americana music’s shining stars -Gillian Welch , the Carolina Chocolate Drops, The Avett Brothers, Old Crow Medicine Show, coming up in the ranks. You would have also seen genre-crossers like Robert Plant, Elvis Costello and Linda Ronstadt making the pilgrimage to stretch their boundaries and pay their respects.

The festival always concluded with Doc holding court performing music of the ages with humility, spirituality and grace.

Of the dozens of artist I’ve seen perform at the roots festival Hardly Strictly Bluegrass over the last three years, three artists rose above the rest by emodying the ages and representing a deep musical legacy the other musicians on the bill drew from – Hazel Dickens, Ralph Stanley and Doc Watson.

Thank you Doc for sharing your gift with the world.

http://www.youtube.com/watch?v=kNYHJIr0ur4