Wednesday, June 12, 2013

Various Artists – The Beautiful Old: Turn-of-the-Century Songs

VARIOUS ARTISTS
The Beautiful Old: Turn-of-the-Century Songs
Doubloon Records

Popular music began to change in the 1920s with the advent of radio and phonograph records. Before records, in the 1800s and early-1900s, it was the sale of sheet music that led to hit songs. People bought sheet music so they could play the songs in their living rooms, or parlors. Songs from that era are often referred to as parlor music.

On The Beautiful Old: Turn-of-the-Century Songs, producers Paul Marsteller and Gabriel Rhodes have assembled a lovely compilation of parlor songs from between 1805 and 1918 – including a couple of instrumentals – performed by a stellar collection of singers and musicians. The songs are performed strictly on instruments that could have been used back in the day. Despite the fact that the performers span several generations, several genres of music and come from a couple of continents, there is a seamless quality to the production – thanks, no doubt, to the lovely arrangements and excellent performances.

Among my favorite selections are Richard Thompson and Christine Collister’s perfectly charming version of “The Band Played On,” which opens the CD; Jimmy LaFave’s heartfelt rendering of “Long Time Ago”; and Eric Bibb’s uncharacteristic take on “Just A-Wearyin’ For You,” a song once performed by Paul Robeson, his legendary godfather.

Another favorite is Carrie Elkin’s version of “The Dying Californian.” When Kimmie Rhodes adds her lovely harmony to Carrie’s voice I’m reminded of hearing Kate and Anna McGarrigle sing some of the parlor songs they were raised on.

Kimmie Rhodes – whose West Texas Heaven remains one of my all-time favorite country albums – turns in three great performances as lead vocalist. And, if I have a new discovery thanks to this album, it’s Kimmie’s daughter, Jolie Goodnight, who sings two songs including the folksong, “Silver Dagger.”

I also couldn’t help but smile listening to Dave Davies of the Kinks sing “After the Ball” or be moved by Christine Collister’s touching rendition of “Home Sweet Home.”

Of special note among the instrumentalists are pianist Garth Hudson of The Band and producer and multi-instrumentalist Gabriel Rhodes (Kimmie’s son).

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--Mike Regenstreif

Saturday, June 8, 2013

Russ Kelley – Crazy Shades of Blue



RUSS KELLEY
Crazy Shades of Blue
Ark Road Music Productions 
russkelley.com

While Crazy Shades of Blue may be Russ Kelley’s debut CD as a singer-songwriter, he’s no newcomer. I knew Russ back in the early-1970s and used to listen to him a lot in the bars and coffee houses of Montreal. He’d been a member of Rings and Things, a Montreal folk group of the ‘60s that was just a little before my time, and was working a lot then in a duo with Sue Lothrop, who had also been part of Rings and Things. I remember Russ and Sue for their sweet harmonies and eclectic repertoire.

I lost contact with Russ for many years after he left Montreal and later learned from him that he’d moved to Nova Scotia and was performing there until he suffered a vocal cord injury in the late-1980s that led to surgery and the loss of part of his vocal range.

Russ quit performing after the vocal cord injury and became a cultural bureaucrat. When I reconnected with him about 10 years ago he was living in Ottawa as head of the music section of the Canada Council. He retired from the Canada Council in 2011 and, happily, got serious again about songwriting and performing.

Of course, Russ’ voice is now rougher than I remember from back in the day – it’s a ragged but right kind of voice well-suited suited to the conversational kind of delivery he’s adopted and Russ knows how to use it to communicate the words and emotions behind the songs.

Crazy Shades of Blue is a varied album of mature songs that draw on contemporary folk, blues and jazz influences. One song, “Elaine,” is from back in the days when I used to see Russ play in Montreal, with the rest, I believe, being of recent vintage.

Among my favourite tracks on the album are the folkier songs like “Sometimes It’s So Simple,” which kicks off the CD, “Somewhere Later Down the Road,” which features some nice slide guitar work by Doug Cox, and “In the Middle of the Day,” inspired by a story Russ heard told by comedian Margaret Cho.

Others highlights include the jazzy title track which features Jane Bunnett’s saxophone moving nicely in and around Russ’ singing, and “I Disappear,” an exploration of personal identity after the dissolution of a marriage.

For folks here in Ottawa, Russ launches Crazy Shades of Blue at the National Arts Centre Fourth Stage on Wednesday, June 19, 7:30 pm.

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--Mike Regenstreif

Saturday, June 1, 2013

Amelia Curran at the National Arts Centre



Amelia Curran closed this season’s series of NAC Presents concerts at the National Arts Centre Studio in Ottawa last night with an intimate and charming 90-minute concert that earned her a well-deserved standing ovation.

I first discovered Amelia and her songs in 2008 when Six Shooter Records picked up her fourth album, War Brides, for national release. In picking the album for my list of best folk and roots releases of the year I wrote in the Montreal Gazette, “This quietly stunning album heralds the arrival of Newfoundlander Amelia Curran as one of this country’s finest singer-songwriters.”

Since then I’ve also written about her equally superb albums Hunter, Hunter – which won the Juno for best roots/traditional album by a solo artist – and Spectators, her current album. Although I’ve seen her do a couple of short sets – most recently at the Folk Alliance conference in February – this was my first chance to see her carry a full evening.

And carry it she did. The intimate, 300-seat NAC Studio was a perfect space for her solo performance with its excellent sound and sight lines. Surrounded on three sides by the audience just a few feet away, Amelia quickly established an easy-going, barrier-free rapport with the audience.

Although she included some older songs, the evening’s repertoire leaned heavily on songs from Hunter, Hunter and Spectators. Among the standouts were “The Mistress,” powerfully sung from the perspective of a mistress trying to speak to a lover who won’t answer her call; “Bye Bye Montreal,” a bitter farewell to a lover and to a city; “Wrecking Ball,” a song, seemingly, to oneself moving through life, “Last Call,” a song for the end of an evening and the end of a relationship; “You Won’t Find Me,” in which she referenced the great Newfoundland songwriter Ron Hynes and interjected a hilarious story about singing the song at a folk festival when Ron was on stage beside her; “Face on the News,” a quiet reflection on fragility and struggle; and “The Modern Man,” a song of questions, answers and reflections reminiscent of Leonard Cohen.

Amelia referred to the concert – a headlining appearance at Canada’s National Arts Centre – as a “rite of passage.” Indeed, her appearance there heralds her justifiable recognition as one of this country’s finest artists to emerge over the past decade.

Pictured: Amelia Curran at the Folk Alliance International conference in Toronto, February 24, 2013, 12:47 am. (Photo: Mike Regenstreif)

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--Mike Regenstreif