Kathy Mattea

Tim O’Brien at Joe’s Pub

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Last night we went to see Tim O’Brien perform at Joe’s Pub.

Before I get to the show, I need to correct one (possible) mis-statement in yesterday’s long post about Kathy Mattea. Near the end of that post, I said the following:

Kathy is playing at the Barns again tonight. Ironically, we’re headed (in a few minutes) back to Joe’s Pub, to see Tim O’Brien. Tim writes amazing songs, a number of them have become big hits for Kathy. So, we’ll continue to think about Kathy, Bill, Eamonn and David as we enjoy Tim tonight! :-)

Most of that is true, but I can’t verify this specific part:

a number of them have become big hits for Kathy.

Kathy spoke about Tim warmly, that she loves to sing harmonies with Tim and his sister Mollie, and she links to his site from hers. That said, I had assumed that because they sang Battle Hymn of Love together (and hit the charts with it) that he wrote it. Google searches seem to contradict that (though I found one site that listed him as the writer of the song).

Lois has been a (theoretical) fan of Tim’s ever since that song came out, but neither of us really knew his music (as a solo artist) at all. We had no idea what to expect last night. There was an opening act before him, but I’ll get to that after I cover Tim.

Tim came on the stage at 7:08pm. Before he stepped out, there were four instruments lined up on the stage (not unlike the photo I posted of Girlyman’s instruments sitting on the same stage three days earlier). There was a guitar, a banjo, a fiddle and a bouzouki (which looked exactly like a 12-string guitar to me). Both Lois and I assumed that he had a band with him.

Nope. Tim played all of the instruments during the course of the show (one at a time, of course). πŸ˜‰

Here are four photos of him, one with each instrument. Sorry, but the quality of at least three of them is pretty bad. Lighting at Joe’s conspires against high quality photos in general, but last night’s came out worse:

Tim O\'Brien on GuitarTim O\'Brien on Bouzouki

Tim O\'Brien on FiddleTim O\'Brien on Banjo

He’s an extremely self-effacing character/performer, but yet is in complete control of the rhythm of the performance. He is extremely funny, without telling many jokes. Here’s one example (of many):

He was about to play a sad song, and mentioned that D-Minor was the saddest key of all, as proven by This Is Spinal Tap. Therefore, he was going to play this song in C-Minor, to make it a little less sad… πŸ˜‰

Lois has never seen the movie This Is Spinal Tap, so she didn’t get the reference, but I laughed my head off (silently, of course). πŸ˜‰

With the exception of a few whimsical songs (which we thoroughly enjoyed!), his lyrics show an incredible depth and intelligence, in helping the rest of us understand the human condition. They vary over a wide array of topics, with recurring themes about love. The love part is one of the reasons that I assumed he wrote Battle Hymn of Love.

He has an excellent voice with a wide range. He is an excellent musician as well, on all four of the aforementioned instruments (I’ve read that he plays the mandolin as well, but he didn’t last night). Of the four instruments, the one that he didn’t come across as strong on was the banjo (one of my favorite instruments), but he’s no slouch on that one either.

Early in the evening, he played something on the guitar that prompted Lois to lean over and ask me what I thought of his talent relative to Bill Cooley. I couldn’t control myself, and I started laughing (thankfully, not loud enough to disturb anyone, at least I hope not!). Seriously, at that point in the concert, Tim’s playing seemed fine to me, but to compare him to Bill was funny.

That said, over the course of the evening, he played a number of songs that stretched his guitar playing considerably, including switching to a variety of styles, and he really nailed them all. I don’t amend my laughter at the comparison at all (Bill’s in a league with very few others), but Tim isn’t just a journeyman guitarist, he’s really excellent!

His fiddle playing is quite strong as well. I find it funny (not in a bad way) to watch a solo artist sing a song and accompany themselves on the fiddle. There’s something simply odd about it. I think it’s my own misconception that to play the fiddle well you have to concentrate so hard that you probably couldn’t also sing at the same time. I’m obviously wrong, at least in Tim’s case. He only played one instrumental during the show, and that was on the fiddle.

There’s no doubt that my other statement in yesterdays blog is definitely true, that he’s an amazing songwriter. He’s also prolific. On his site, there are 14 CDs by him, three more with his sister, quite a number more with bands he likely played in (sorry, no time to research too deeply now). Clearly, he has lots to say, because these aren’t instrumentals. At the show, we bought the latest CD, Chameleon, of which many songs in the show were from.

He left the stage on what seemed a tad on the early side. The crowd was applauding wildly when he came back out for an encore. Instead of doing just one song, he did a four-song encore, which ended up making his total time on the stage reasonable at one hour and 24 minutes.

We really enjoyed the show, and would happily go see Tim again!

Opening for Tim was Caroline Herring. I knew from Joe’s site that she would be opening, and I listened to one clip of her in advance, and knew that we would enjoy her music. It was probably listed correctly and I didn’t pay attention, but she came on the stage at 6:30pm. I was putting a forkful of their fantastic Tuna steak in my mouth, when people started clapping (I was facing slightly away from the stage at the time).

I thought “Hey, they can’t be clapping for me taking yet another mouth-watering taste of this Tuna, can they?” πŸ˜‰

I swung around and saw that Caroline just stepped onto the stage. I’m not happy about still having to eat while the performer is on stage, it’s at best a tad distracting only to the eater, and at worst distracting to others, including the performer! But, I love early shows (normally, we’re just old folk, but last night, we were also working on less than four hours of sleep), so I was quite happy about this surprise.

Caroline is good, and we enjoyed her solo act (she accompanies herself on the guitar). That said, we also didn’t find it to be anything particularly special, and I’m sure we wouldn’t rush out to see her again. If she was opening for someone else that we liked, we would be happy to see her again.

She definitely had some fans there who came to see her. One couple who was sitting one table up from us left after Caroline was done, so they were happy to pay the full freight for Tim O’Brien, just to see Caroline Herring. Good for her!

As I’ve mentioned in the past, Joe’s Pub is our favorite concert venue. When we go just the two of us, we reserve the same table for two every time (and as reported before, only got bumped from that table once, after being told we had it). When we go with four people, we also reserve the same table for four each time, and have never been bumped from that table.

Last night, we had our usual table reserved. We were the third and fourth people through the door and they sent us to a different table. When we asked, we were told that even though they reserve a specific table, it’s not a guarantee. Well, we realize that, but exactly what makes them change it? Anyway, when he saw the disappointment on our face, and perhaps realized that we come pretty darn often, he told the hostess to take us to our table. Whew. It was marginally frustrating to begin with, but kudos to Joe’s for doing the right thing for incredibly loyal customers! πŸ™‚

The food was great (as always). I know from past experience that there are two bartenders at Joe’s. They disagree on the proper ingredients in a Chocolate Martini. There are numerous variations on the theme, and all are correct (to my taste buds!) πŸ˜‰ so they are both right. Still, they’re different. 95% of the time I (without requesting it) get the one who is more right (to my taste), because s/he puts in some Bailey’s Irish Creme to top off the martini. That makes it perfect, instead of just awesome. πŸ˜‰

On Sunday, when we were there for Girlyman, I had the other bartender, because I got a dark chocolate martini. It was great, so I’m not complaining, even though I drew the short straw. Last night, all was right with the world again, since my drink showed up with the Bailey’s, right where it belonged. πŸ™‚

In my post about Canal Room (where we saw the awesome Andy McKee, Antoine Dufour and Craig D’Andrea) I railed about the lack of common courtesy that some people exhibit when they insist on having a loud conversation during a performance. Last night was nowhere near as bad, but two people (I’m pretty sure one was a guy and the other a gal, but they were directly behind me so it was hard to see) insisted on speaking to each other at the top of their lungs (of course, the music was interfering with their conversation), at least five times.

Folks, I just don’t understand this. At Canal Room, I had the impression that they were more on a date than there for the music. Last night stumped me, as the same couple did something else that was slightly less annoying, but annoying nonetheless. On the songs where they didn’t scream at each other (lovingly) πŸ˜‰ they clapped as loud as thunder, at inappropriate times, in the middle of the song. Perhaps they were just catching up with the clapping that they missed during their earlier conversations…

Even otherwise nice people, who are clearly fans, can get caught up in this lunacy! The table to our immediate right was a table for four. There were two couples seated there (boys on one side, girls on the other), and I’m 99% sure they had never met before. The couple immediately to my right (I was practically rubbing shoulders with the woman) were clearly big music fans (possibly Caroline and/or Tim fans specifically). They both clapped enthusiastically after each number, but the woman was a screamer (hey, settle down!).

At some point in the evening, the two couples started chatting a bit. I heard them discussing politics, but none of the individual comments. Now that they bonded, in the middle of one of Tim’s songs, the woman further away from me turned to the woman next to me and started chatting, loudly. Even though the woman next to me was a fan, I guess she didn’t want to be rude to her new friend, so she engaged in a song-long conversation, at quite a loud level. Thankfully, this only happened during one song. I still don’t get it…

We decided half way through the show that we were going to buy the new Chameleon CD. I handed Lois $20 (it cost $15) because she’s more nimble than me, and she was going to sprint to the merch table so we could get out quicker. I’d meet her there, but saunter over.

When the show was over, Lois was gone. The merch table is normally (heretofore always?!?) behind the stage, next to the coat check room. It’s in a fairly large and wide hallway, so even when a lot of fans line up, it’s usually not that hard to maneuver around there. Last night, as I was going through the narrow passageway that connects the show room to that back hallway, I saw Lois walking with and chatting with Tim O’Brien himself, carrying a small suitcase.

This seemed very odd to me. My first thought was that he was running outside to have a smoke before going back to sign CDs. I was wrong. For whatever reason, Joe’s didn’t want, or couldn’t accommodate the merch table in the back (perhaps the needs of the next act precluded having fans in the back). So, they made Tim and Caroline sell their own merch right at the front door. That’s one of the tiniest entrance ways I’ve ever seen, and many people just wanted to leave, so at best, it was confusing.

We also got the sense that they were (subtly or otherwise) trying to rush Tim and Caroline to get it over with, even though it hadn’t even started yet! In any event, it wasn’t a happy situation. Luckily for us, since Lois snagged Tim on the way to the front, she got to buy the first CD from him. I already told you that he’s a smart guy. Here’s one example. He had already removed the shrink-wrap off of all of the CDs, since most people want them signed, and therefore have to take the time to rip off the shrink-wrap anyway. Kudos Tim!

We were home by 8:55pm which was a real blessing given our state of exhaustion. Lois was zonked out 30 minutes later, and I finally called it quits by 10:15pm. Going to see Dave Mason tomorrow night, but tonight we get a break. Yippee! (or not…)

For the next month, I’ll conclude every post with the reminder that there’s still time to try and win a copy of the new Girlyman Live CD. I’m running a contest to win a signed copy all month!

Kathy Mattea at Wolftrap

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Last night we saw Kathy Mattea for the second time on her Coal tour (that’s the name of her new CD). The previous time was at Joe’s Pub on October 24th, 2007 covered in this post. We both thoroughly enjoyed that show, as you can see for yourself if you clicked on that post.

To me personally, the most important nugget in that review was my statement that:

Bill Cooley is possibly the greatest acoustic guitarist I have ever heard!

I’ve been following him closely ever since (and have written about him and his CDs a number of times). Here are two links for Bill Cooley, one being his new MySpace page. When he let me know about his new MySpace page, I blogged about it. During that first visit to his new page, I saw that he was going to be at the Barns at Wolftrap with Kathy on April 1st and 2nd, 2008. We already had tickets to see Girlyman there (which was to be our first time at Wolftrap) on March 26th, 2008.

I told Lois that I would be happy to pass. I think Kathy is wonderful, but the Coal stuff, while extremely interesting and moving (she delivers it with all the emotion due such a project!), is heavy stuff, and hearing it again live wasn’t a priority.

Lois is a long-time fan of Kathy’s, and I would have been thrilled to go there if Lois really wanted to see it again. I shouldn’t have been surprised by Lois’ (unselfish) answer. She said “Bill Cooley is your favorite guitarist, how can you pass up an opportunity to see him?”

OK, that cinched it, we grabbed two tickets, unfortunately, in the balcony, since Kathy is a big name that fills seats quickly. At the time we bought the tickets, we had no idea whether that was going to be nose-bleed territory, or good seats. Also at the time, we were scheduled to be down at Zope for two weeks (the week before during the Girlyman show, and then this week).

If you read this space regularly, you know that got turned upside down with our unplanned trip to back to NYC to see Girlyman again on Sunday March 30th, 2008, covered in this post. That meant running back to VA to see Kathy. We had to drop our young guest off anyway, so it wasn’t a chore.

When we saw Girlyman, we saw that the balcony seats weren’t that far. Lois noticed that they were plastic, while the chairs in the main area are like padded dining room chairs. At least we knew what we’d be in for last night, a week in advance.

OK, finally, the show, followed by tons of background info (trust me, it will be worth reading the background if you like connectedness stories).

Kathy came on the stage just with Bill at 8:03. That was already exciting (for me). πŸ˜‰ She sang a slow ballad without her guitar, with only Bill accompanying her. After that song, the other two members of the band came on stage. Eamonn O’Rourke and David Spicher. Here’s what I wrote about Eamonn in the Joe’s Pub post, and there’s no need to change a word:

Eamonn O’Rourke is an outstanding mandolin player. His fiddle playing is even better. In the past few years, I’ve seen some amazing fiddle work. While I wouldn’t say that Eamonn is the best (like I did for Bill Cooley above), he certainly isn’t far from it. He also sings harmonies with Kathy.

David Spicher plays the upright bass and is new to the band. He was absolutely outstanding! Like Eamonn, he sang harmonies with Kathy (more on that later). Here’s David’s bio from the above link:

David Spicher (bass & vocals) The son of session fiddle king Buddy Spicher, David’s performed with Crystal Gayle, Merle Haggard, Pam Tillis, the Jerry Douglas Band, polka queen Lynn Marie, the Nashville Symphony, and his own Nashville Swing Band.

They can now safely add Kathy Mattea to the above string of stars that David has played with. πŸ™‚

The new Coal CD was released yesterday, so last night was the first chance for anyone to buy it. Kathy talked about the release as a birthing process, so she intended to change things up on this special day from previous nights on the tour. At Joe’s Pub, she intermixed the mostly Coal songs with a smattering of her hits. Last night, she announced that the first set would be the hits part, with Coal coming in one long shot after an intermission.

This was a crowd well familiar with Kathy’s hits. One wonders whether they come there to really discover the Coal stuff, to simply support the new effort, or secretly hoping that Kathy will do enough of the hits to make it great, regardless of how they respond to Coal. The first set didn’t disappoint even for a second. She was great on the hits, and the crowd loved every second of it.

Roughly four songs into the set, she asked if there were any requests. The Barns have phenomenal acoustics, so you could hear the individual requests quite clearly, even in the balcony! People screamed out so many different titles. After a bunch were screamed out, someone yelled out another, and many of the people in our section starting murmuring to each other (not loud enough for Kathy to hear) “Yes, that’s a good one.”

All the while, Lois was trying to get me to yell out Asking Us To Dance. I didn’t do it, and I could tell she was disappointed in me. I don’t recall hearing anyone else yell it out either, so that meant that we could only hope it would be played later in the set, by design, rather than by request.

A minute later Kathy had decided what she was going to play. She turned to the bass player, and said “You’ve never heard this one before, so just fake it in C”. πŸ˜‰

Then she started playing Asking Us To Dance! I have written before that Lois is Always Right (search if you want to read it, it pains me to link to it so many times) πŸ˜‰ but what I am not sure I’ve ever mentioned in public before is that Lois also conjures people and things by simply speaking about them out loud. No, I’m not kidding! Perhaps that’s why we have such an affinity to Wicked! πŸ˜‰

To repeat, the rest of the set was spectacular as well, and the band is scary good, as individuals and as a group. Of course, Bill nails every single guitar riff, the subtle ones, and the scary fast ones as well.

Here’s an admission that I hope will be taken in the spirit it is intended (meaning, this has nothing to do with Kathy’s abilities!). On occasion, without trying or thinking about it, I realize that I’m concentrating on Bill’s playing, and Kathy’s voice becomes the background accompaniment to this extraordinary guitar playing. Again, that’s not to say that Kathy isn’t an amazing headliner, she truly is.

This is possible because Kathy is extremely generous in giving Bill so many opportunities to shine. I am willing to swear on a stack of bibles that she looks over at Bill with the same awe that I do, every time he takes a solo. They’ve been playing together for 18 years, and she’s no slouch on the guitar herself, so if I’m right, it’s a beautiful thing to see that she appreciates him now as much (if not more!) than she did in the beginning.

In addition, Bill arranges much of their music (he arranged the Christmas Tour and worked with Kathy on the Coal album as well). In other words, in addition to being a genius on the guitar, he’s also an amazing musician from a theory point of view as well.

The first set lasted 55 minutes. After a 15 minute intermission, they came out for the Coal set. As Kathy herself jokes, it’s quite depressing. It’s historically important to never forget the stories and times that these songs are about, but that doesn’t make it any more lighthearted. It’s beautiful stuff, extremely evocative, but it’s not something I’d want to listen to constantly.

Ironically, it’s in this set that Eamonn really wailed on some fiddle playing. You have to blink really rapidly to make sure it’s possible to move your fingers and the bow that fast and make such gorgeous sounds at the same time. Wow.

They finished with the same instrumental (the only instrumental of the night) that they did at Joe’s Pub, including Kathy playing on the penny whistle (or piccolo, or tiny flute, who knows?). I am crazy about that song. I could swear it’s something either Nickel Creek or Chris Thile plays too, but I’m not really sure. Simply brilliant.

They left the stage at 10:20pm, which made for two hours of playing (not including the intermission). A very generous show! I’m extremely glad we went. That said, as much as I loved the show (and I did!), it’s the rest of the story, coming up right now (to a browser near you), that really made the evening special!

I said I’d mention the harmonies. They are pleasant (and professional) enough, but very sparse (only during choruses) and both Eamonn and David seem to sing the same notes (meaning, two-part harmony, not three). Bill doesn’t even have a mic, so he doesn’t sing on stage. After seeing Girlyman twice in the last week, the harmonies last night felt gratuitous. Nothing wrong with them, but hard to call them harmonies in comparison…

OK, now is the part of the post that I most enjoy writing, and I hope I don’t lose you along the way.

When I first posted the above-referenced announcement of Bill Cooley’s MySpace page, I got a lovely comment on my blog from a complete stranger, Willa Shaffer. After replying to her comment, I visited her MySpace page. As a result of that, and another page of hers that I visited, we exchanged a few emails directly.

She is a very big Kathy Mattea fan and saw my Bill Cooley news via a Google alert. Since she has been to many Kathy concerts, she knows the band well too, including Bill. She’s a big fan of Bill’s as well! Great! She let me know that she would be at the same show we would be at, and that she had seats in the first row, so coupled with her photo on MySpace, I should be able to find her easily. Cool. After a few more emails, we stopped communicating until a week ago, when we confirmed that we would try and get together.

As an homage to Willa, let me provide a link to another of her favorite artists. She feels similarly about Krista Detor as Lois and I feel about Girlyman. Meaning, not only does she love Krista, but she really works hard to make sure others discover her. Here’s my small attempt to help her on her mission!

We got to the Barns at 7:15 and bought both the Coal CD as well as a John Vezner CD (that’s Kathy’s husband, who is an amazing songwriter, who Lois really loves). There was a sign at the merch table saying that Kathy would be out to sign CDs after the show. It was our intention to get on line and get both CDs signed.

We went in to the Barn (theater) at 7:40 and took our seats in the balcony. It seemed further away from the stage than the view from our fifth row seats made it appear the week before. On the other hand, the plastic seats were surprisingly more comfortable than the padded ones on the floor. We looked for Willa, but she had let me know in advance that she couldn’t make it early, so we decided to wait for the intermission or after the show.

At 7:45pm, both Lois and I noticed that Bill came on the stage to set up his guitars. He was alone on the stage. Lois encouraged me to go down and say hello. We were very far away, and I didn’t know if he’d still be there after I climbed down the stairs and made my way to the stage, but Lois insisted, so I dutifully went. I indeed got to shake his hand. He remembered that I was from NY (which was cool in itself!), and thanked me for coming. We agreed to connect after the show. Here’s a grainy photo that Lois took of that encounter from the balcony:

Hadar and Bill Cooley at the Stage

Yes folks, that’s my honking bald spot. Nothing more to see here, keep moving along…

At intermission, Lois told me to go down and look for Willa. Given my mental image of her (with reasonably light hair color being the key, since we could only see the back of people’s heads!), I declined, since I had no likely suspects. Lois went instead. After standing there for a few minutes, and asking one woman (who declined to accept being called Willa), Lois was about to head back.

At that point, the real Willa stopped her and asked if her name was Lois? Haha. Thank goodness I sent Willa a link with our pictures in it as well, so she recognized Lois from that! From the balcony, Willa’s hair looked jet black. It wasn’t.

Willa mentioned to Lois that there were four empty seats in the row behind them. Lois asked the usherette whether we could move down from the balcony and she said yes. Cool. So, for the second half of the show, we were in the second row, in the exact same seats that we were in three rows further back for Girlyman! While it would have been great to sit in those seats for the entire show, I have to admit that having both perspectives during the same show was quite interesting.

After the show, we got on line and waited to get our CDs signed. I was also waiting for Bill to come out. After a while, Willa joined us and said that Bill almost never comes out, and that I should go back to the stage to catch him while he was packing his guitars. I hesitated, and didn’t go. After a few more minutes, I decided to hit the men’s room before our long drive back to NY.

When I came out, Bill was standing there with Lois and Willa. Willa was so kind to have gone back and asked Bill to come out! Thanks Willa!

We chatted briefly with Bill and Lois took this photo of us together:

Hadar and Bill Cooley

By this time, it was getting late, and we were going to push through all the way back to NY, so reluctantly, we bailed on meeting Kathy. Bill signed our CDs, so it wasn’t a loss. πŸ™‚

Willa informed me later that Kathy got caught up with a group of her former Music Teachers, and ended up coming out much later than she usually does. Great for her, and slightly bad luck for us. We’ll catch her next time!

I noticed as we were leaving that people were surrounding Bill and asking for autographs. He had admitted to me during our chat that he rarely comes out. He should, as Willa told me today that people continued to surround him long after we left. We’re not alone in understanding that this man has more talent in his 10 fingers than most people have in their entire bodies! πŸ™‚

Kathy is playing at the Barns again tonight. Ironically, we’re headed (in a few minutes) back to Joe’s Pub, to see Tim O’Brien. Tim writes amazing songs, a number of them have become big hits for Kathy. So, we’ll continue to think about Kathy, Bill, Eamonn and David as we enjoy Tim tonight! πŸ™‚

We got home (to the house) at 3am. We slept for three hours and 40 minutes, and got up and drove to the city. Now we’re off.

Today, we exchanged a ton of emails with Willa. She’s a hoot, and writes fantastically, and we are so glad to have made a new life-long friend. Have I mentioned how much I love the Internet? If not, let me say I love the Internet! πŸ™‚

Don’t forget, we have a Girlyman Live CD Contest going on. One entry so far, and it’s a very good one! πŸ™‚

Girlyman at Wolftrap

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Last night finally came, thankfully! We’ve been waiting (not so patiently!) since November 4th, 2007 to see Girlyman live again. That’s 143 days, in a row (if you can believe that). Somehow, we survived, but I’m not sure how!

Continuing with the new tradition, I’ll cover the concert first, then circle back and share lots more stuff from the day. That will allow people who only care about their Girlyman Fix to bail out after this part.

This was our first time at the Barns at Wolftrap. It won’t be our last. Not just because the place is simply fantastic, but we just so happen to have tickets for this coming Tuesday night (April 1st, 2008) to see Kathy Mattea (and of course, accompanying her, the amazing Bill Cooley!).

We had four seats in the fifth row, left center stage. Excellent! Opening for Girlyman was a group called We’re About 9. I have quite a bit to say about them, but I’ll save it for the section immediately following Girlyman, before the rest of my shtick, since this post is really about Girlyman.

Girlyman came on stage at exactly 9pm. It’s hard to describe the joy and excitement that was evident in the entire crowd. There might have been a reasonable number of newbies in the audience, but even the vast majority of those have either heard the band before (CD, streaming, etc.) or were there with friends who are die-hard groupies.

In fact, the two people we brought were seeing Girlyman for the first time live, but each have separate copies of Joyful Sign (gifts from us) even though they are a married couple. πŸ˜‰

The band feels the love immediately, and reflects it back. These are not jaded people who take the love for granted, even though they absolutely should expect it at this point! It’s heartwarming.

They open the show with the same song that they opened the Highline Ballroom show with (that was our last time, on November 4th, 2007), On The Air (the first cut on the Little Star CD). Unfortunately, for the first time ever (OK, we’ve only seen them live twice before) πŸ˜‰ they actually take liberty with the song and do it somewhat differently than the CD version.

It was OK, but not as good. Sorry folks, I have to call it like I see it. Many might disagree (perhaps everyone except for me), but while very nice, it wasn’t as good. I was immediately nervous. If this was going to be a night of complete experimentation, I would probably be somewhat disappointed. Not the least of which is that one minute before they came on, I leaned over to my friend and said “Wait until they come out, it’s complete magic!”.

I’ve written about this before, in a different (but somewhat analogous) situation (about the lead performers in Wicked the Musical). I can understand how an artist can be bored doing the same thing every night for years on end. They want to grow, stretch, etc. In the case of Girlyman, for me (I realize this obviously isn’t true for them), it shouldn’t apply. Here’s why:

  • They actually don’t tour as much as other road bands (e.g., The Wailin’ Jennys)
  • They have more material than a single show, so they can mix it up
  • They have quite a lot of new material, so they are experimenting!
  • While they’ve been around a while (7+ years?), it’s hardly an eternity…

So, I say that their fans (a constantly expanding group, especially if I have anything to do about it!), are hardly sick of the current versions.

Whew. Onward. The fear passed quickly, as they only fooled around with one other song, more about that later.

While everything was beautiful, even from the beginning, to my ear, it took a while for their voices to warm up, get stronger, and gel together as wonderfully as we’ve come to expect. That’s not so much of a complaint as a surprising observation. They dazzled last year from the first note at both Joe’s Pub and the Highline, and the acoustics at the Barns were good.

Once they got rolling (not too long into the set), they were spectacular (you better not be surprised!). πŸ™‚

They always have an amazing stage presence, rapport with the crowd, and banter (between them, and separately aimed toward the audience). Last night took it to new heights. Seriously, they were so on, I’m not sure people would have stoned them if they didn’t play a single song! OK, perhaps a slight exaggeration, but not as much as you might think.

When they talk to the crowd, you feel like you’re at a family reunion, sharing laughs and catching up with relatives, people who you deeply care about, and want to hear about, even though you have mostly separate lives the rest of the year!

They had a phenomenal mini-set of fun stuff. Sorry, but I don’t like to ruin these kinds of surprises for those that have tickets to see them on this tour. What’s really cool is that while the songs are fun, they still share all of the musical qualities that we’ve all come to expect from Girlyman, great musicianship, great voices, and impeccable harmonies. If you get that, and get to laugh out loud at the same time, who can complain? πŸ™‚

All three of them were on top of their game yesterday. Ty actually spent a bit more time on the guitar (she’s excellent!) than she has before. The new material is a real hit. They have a new Live CD coming out this week. Unfortunately, it wasn’t ready last night. Thankfully, it will be available when we see them again this coming Sunday, in NYC. Yippee!

Time to pick one last bone with the band. Their politics are reasonably obvious. No problem, we all have our own politics (of some sort or another), whether we make it obvious or not. In the case of Girlyman, its often laudable. For example, I learned more about biodiesel (the good and the bad!) from Nate and Ty’s separate blog posts than I had previously known. I admire their effort and caring to do the right thing!

That said, I’ve written before that I don’t pay for musical entertainment with the expectation to be lectured to on politics (by either side!). Having seen Girlyman twice before, I had no reason to expect that to happen (as it hadn’t happened at Joe’s or Highline). It didn’t really happen last night either (meaning, no lecture, no speech, etc.).

But, during the intro to Through To Sunrise (Lois’ favorite song of theirs!), Ty couldn’t resist saying that she partially wrote the song looking forward to the end of the Bush Presidency. The crowd ate it up, giving her a rousing ovation. That’s all she said, hardly a lecture. Also, hardly necessary.

I’m not writing this in support of Bush, or the Presidency in general. I’m writing this because it’s odd, that a group that writes so deeply and passionately about love and other subjects, should find the need to take open slaps at anyone, including someone who they obviously disagree with politically.

I’d actually go further. I found it to be pandering (to the audience!). It’s a guaranteed laugh and clap getter, in most venues. To me, it’s a cheap laugh, especially given that one way or another, he’s out in less than a year. It’s no longer wishful thinking on the part of his detractors.

Sorry to drone on, but I need to put a fine point on it. Earlier in the show, in a more light-hearted romp on the current crop of candidates, Ty made it clear that she believes in Obama (at least it was clear to me). Until Obama got dragged into the mud relatively recently, his rhetoric lectured us on being united, not divided. No one with a public megaphone needs to take cheap shots at the opposition (though they all do…).

Sorry. It’s off my chest now. Do I love Girlyman (or Ty) any less? Not a single drop. It wasn’t egregious, didn’t show me a dark side I was previously unaware of. It was just unnecessary.

The other disappointing thing about Through To Sunrise is that it was the only other song last night that they heavily experimented with. It too was fine, but not even close to the standard that Lois and I are nuts about. Oh well.

Everything else was perfect! πŸ˜‰ Including a one and a half song encore (with a fun surprise). Girlyman was on stage for 105 minutes. Very nice!

We loved it, in every way, so the amount of words dedicated to the negative stuff shouldn’t be used to judge the overall effect of the evening. Our friends loved it as well!

We really wanted to hang around and finally say hello to the group, but our friends had a very early flight out of Dulles and we wanted to drop them off at their airport hotel as quickly as possible. Hopefully, we’ll rectify this on Sunday at Joe’s Pub.

OK, that’s the end of the Girlyman section, and you can safely stop reading if that’s the only reason you landed here. Next is We’re about 9.

Whenever I buy tickets to see a headliner that I’m in love with, I get a twinge when I see an opening act announced that I’ve never heard of. There are two reasons:

  1. The group might stink (which can affect the crowd too, possibly spilling into the headliner’s vibe)
  2. The headliner might simply play a short set (perhaps much shorter!) especially when the venue has hard time deadlines

When I saw that We’re About 9 was opening for Girlyman, I went to their music page and listened to the songs available there. I liked them instantly, so #1 could be scratched off the list. Just as Girlyman was complementary when opening for the Indigo Girls, We’re About 9 was going to be complementary to Girlyman.

I’ve already reported that Girlyman was on stage for 105 minutes, so #2 turned out to be nothing to worry about this time either.

From their website, We’re About 9 has three members. When we were reading the program waiting for the show to start, we noticed that the full page ad showing the group, only had two people in the picture. The Bio on the next page talked about all three. We remarked that it seemed strange. They never mentioned the third person the entire night, even though only two of them performed last night (Brian Gundersdorf and Katie Graybeal).

It’s hard to describe them succinctly (of course, it’s hard for me to do anything succinctly). πŸ˜‰

They are old-style folk meisters, with very nice harmonies, and excellent musicianship. Brian is very good on the guitar, and Katie is excellent on the bass (and on the one song that she played the guitar). They both have good voices.

I’ve always been a huge fan of Bob Dylan, especially in my youth. Brian reminds me of him in some ways. There is a depth to most of their lyrics that can be insightful and instructive. His voice isn’t gravelly like Dylan, but it has an earthy quality, passion, and driving nature that is still reminiscent of Dylan.

On the other hand, some of their songs are incredibly playful (not that this wasn’t the case for Dylan as well!). But, even the playful songs are rich and complicated in their lyrics. At their heart, they are story tellers, sometimes with a deep message, sometimes a playful one, but almost always with a story.

Many of their lyrics are also sophisticated. By that, I meant that you have to listen very closely to get the meaning, as well as sometimes just to understand the actual words. Some of their songs cram so many words into a stanza of music, that you wonder not only how they can remember all the words, but how they can sing them in synchronized harmony without missing a note, breath or word. It’s extremely impressive!

I could go on, but I’ll end by simply saying that they were a hit with the four of us, and Lois went and bought two of their CDs during the intermission (signed, of course). πŸ™‚ They have more CDs, and after I listened to both today (Engine and Paperdust::Stardust), I am sure I will be buying more of their music (I think they have six CDs out, but I’m not sure).

They are not playing with Girlyman this Sunday at Joe’s, but they are playing in a number of other future dates with them. There was a cool surprise during the We’re About 9 set, but I won’t ruin it, in case they repeat it in future shows.

They were on for 38 minutes. As much as I enjoyed it, it made me a little worried that Girlyman wouldn’t be on for as long as I would want them to be, but it all worked out (as reported above).

OK, if you came just for the music, leave now. The rest is about everything yesterday leading up to the concert. πŸ™‚

We bought last night’s tickets a long time ago. We bought four tickets, in the hopes of bringing our friends from Richmond, but knowing that if they couldn’t make it, we’d have no trouble enticing other people to discover the wonders of Girlyman.

Our Richmond friends committed right away, so we were set. The original plan was that they would drive to Fredericksburg (where we often work) and we’d drive up together to Vienna, VA. A week ago, those plans changed. They needed to fly out early this morning from Dulles to CA. They got to Fredericksburg via car service, and we drove them to the show, and as reported above, dropped them afterwards at an airport hotel.

In between, we had dinner in Vienna. We would have been happy to have sandwiches at the bar at the Barns. They don’t open their doors until an hour before show time (7pm last night), but we were in the neighborhood by 6pm. So, I asked the GPS to highlight nearby restaurants. It generated a large list, but we decided to go simple, and headed for a local TGI Friday’s.

When we arrived, we didn’t see it. We asked a group of people relaxing outside in the gorgeous 75 degree weather where it was. They laughed and said it was long gone. Oh well. Right there was another choice that the GPS had shown, Hunan Lion. We went in there instead.

Fantastic food, fantastic value (prices), fantastic atmosphere, great service, zero complaints! The only thing that made me feel bad (and always does) is that the place was relatively empty. The staff still went out of their way to enhance everyone’s experience by spreading out the guests widely in what is a very large restaurant. We appreciated the comfort and privacy, but it made the place feel even emptier than it really was.

Hunan Lion in Vienna, VA is highly recommended.

When we got to the Barns, at 7:05pm, we had coffee and cookies in the bar. Yummy, and bodes well for the sandwiches, which Lois and I will likely do for dinner this coming Tuesday.

Earlier in the day, someone I worked with for many years at UBS stopped by the office to visit. When he was at UBS, he worked in our London office (he relocated from VA just for the job). His family fell in love with the UK, and when the stint at UBS ended, they moved back to VA for a few years, but really missed the UK. Roughly five years ago, they moved back, and he runs his own software company there.

I hadn’t seen him since he moved, and we had a very leisurely lunch together, and had a great time catching up. Thanks for making the drive down Chris, it was great to see you! πŸ™‚

Tomorrow, we head back to NYC. We’ll be seeing Girlyman again on Sunday night at Joe’s Pub. We head back down on Monday, and have Kathy Mattea back at the Barns on Tuesday. On Wednesday, we’re back at Joe’s Pub to see Tim O’Brien, so we have an insane travel schedule ahead of us, but all for good and fun reasons, so we promise not to complain. πŸ™‚

Bill Cooley Now More Accessible

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I am very happy to announce that Bill Cooley now has a MySpace page. I have raved about Bill ever since seeing him live with Kathy Mattea at Joe’s Pub.

The only problem was that spreading the word about how great this guy is was difficult, because his CDs weren’t as easy to purchase (or listen to online) as some of the other people that I’ve been writing about lately.

Some of that just changed, and hopefully more will as Bill gets closer to delivering his next CD sometime this year.

On the MySpace page (linked above), you can hear four tracks from his existing CDs. They are all beautiful. As opposed to the Candyrat guys (who are all awesome as well), Bill has a much wider range of styles, including playing with other instruments accompanying him rather than just pure guitar (which I also love, but variety is nice too) πŸ˜‰ and Bill is a master of all the styles he plays!

On a personal note, I was really happy to see the MySpace page, because I saw his upcoming concert schedule. On April 1st and 2nd, he’s playing with Kathy Mattea (the Coal tour) at the Barns at Wolftrap.

We’ve never been there before, but people say it’s one of the best places to see a concert. We have tickets to see Girlyman there on March 26th already (we’re experiencing withdrawal as we haven’t seen Girlyman live since November 4th). Given that we’ll already be in VA that week, I just snagged tickets to the April 1st show for Lois and me. Yippee, a chance to see Kathy and Bill live again!

Bill Cooley CDs

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In this post about Kathy Mattea at Joe’s Pub, I mentioned that I thought that Bill Cooley was possibly the best acoustic guitarist I have ever heard. I’m glad I said possibly, because only four days later, I saw California Guitar Trio at BB King, and as my post on that concert attests, all three of them are amazing as well. I haven’t changed my mind on Bill, I’m just glad I allowed for others to be in his league, by adding possibly. πŸ˜‰

So, as I reported, I immediately ordered both of Bill’s CDs. I was lucky enough to have Bill himself respond to my email, and he informed me that his first CD, Unravel’d, was officially out of print. He offered to burn a copy for me, and he also had the original artwork for the CD cover, so I would be getting nearly the same experience as purchasing the original CD. (Yes, folks, I paid for that, so don’t think Bill is or should be giving anything away!).

I ordered two sets of each CD, so that we could give one away as a gift should the urge hit us.

Both CDs just showed up a little while ago, and I was like a kid at Christmas unwrapping them. Having the burned CD is an extra treat, because Bill hand wrote the title of the CD and his name, and on one of the two, it’s more like a signature, so I have a signed copy of his original CD, which I would not have had if I had bought a shrink-wrapped original. Cool!

The range of music on Unravel’d is impressive, and his playing is exceptional throughout. As the styles change, so do the variety of instruments that accompany him, including horns, flutes, harmonica, drums, etc. Bill picks, strums, uses a slide, sometimes all at once (no, I’m not kidding), and it’s simply gorgeous. I’ll be listening to this CD over and over, it’s a real treat!

The newer CD is A Turn In The Road. The first song Butter Fingers is really cool, and is a nice double entendre. Obviously, Bill is anthing but a Butter Fingers in the classical sense of that meaning. Of course, his fingers are as smooth and rich as butter, so that part applies. πŸ˜‰

On the second track, Uno Tuno, there is both a really good electric guitar playing, as well as a superb acoustic one, so I’m not sure if the song is dubbed, and he plays both, or if someone is accompanying him on the electric guitar.

The third track, The Voice Of The Wind is in a more classical guitar style (and you know how much I love that!), accompanied only by violins (or some other strings, cello, etc.). OK, OK, I’ll stop describing each individual song.

Obviously, even though there were seven years between the release of these CDs, Bill didn’t lose his touch. A Turn In The Road is gorgeous as well!

According to Bill, his third CD will be coming out in 2008. I for one, can’t wait!

I checked the Tour Dates section of Bill’s site, and nothing in the near future can really be worked into our schedule. That said, one show in particular really intrigued me, and I’ll mention it here, since I have a number of buddies who live in Minneapolis.

Kathy Mattea (and therefore Bill!) are performing with the Minneapolis Orchestra on December 21st, in a Christmas Concert. Aside from an opportunity to see Bill live, this sounds like a special opportunity to see Kathy perform her magic as well. If you can be in Minneapolis on December 21st, you should lock in your tickets now! πŸ™‚

Anyway, you just have to love it when you look forward to something as much as I was looking forward to getting Bill’s CDs, and not being disappointed when the day finally arrives! πŸ™‚

Bromberg and Angel Band at Paramount Theater

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This past Saturday night, we went to see David Bromberg and Angel Band (David’s wife’s group) perform at the Paramount Theater in Peekskill, NY. If you’ve read my previous posts, you know that David Bromberg is one of my all-time favorite live performers.

In September 2006, I saw him again at BB King in NYC for the first time in over 20 years. That night, we accidentally discovered Angel Band. We had never heard of them, and would have sat through any opening band to hear Bromberg. What a treat it turned out to be that Angel Band was not only his wife’s group, but that David and his band played all of the instruments in support of these three amazing female vocalists.

Ironically, another of my favorite groups (Jazz this time though), Spyro Gyra was playing the same night, just three miles from our house at Tarrytown Music Hall. I didn’t find out about the Spyro Gyra concert until after I had the tickets for the Bromberg concert, so it was too late. Given that we saw Bromberg twice in the past 14 months, I would have gone to see Spyro Gyra had I known about both at the same time.

The Paramount is a gorgeous old theater with very comfortable seats. We were in the ninth row, center orchestra, so we had excellent seats.

We own the one CD that Angel Band has out now, Beautiful Noise, and we like it a lot. They are releasing a new CD early next year, so we were expecting to hear some new material. Sure enough, at least 2/3’s of the show was different than the one we saw at BB King, which was a real treat. They sing so beautifully and powerfully, and the David Bromberg band would enhance any singer’s performance.

The first few songs that they played were awesome. While they took a while to get Nancy Josephson’s (David’s wife) microphone level correct, she was in particularly good voice, and was truly belting out her leads, amazingly. The other two women, Jen Schonwald and Kathleen Weber (their bios are here), are both wonderful as well!

The selection of songs they played in the middle had less oomph (to me), and while I wasn’t bored (at all), I wasn’t as moved or mesmerized either. They finished on a high note though. When they walked off the stage, Lois commented that she couldn’t believe that they didn’t play the song One Voice.

The first time we ever heard that song was Angel Band singing it at BB King in September 2006, and we have listened to it on the Beautiful Noise CD many times. We recently found out that the song was written by one of my new favorite bands, The Wailin’ Jennys, whom I’ve written about twice now, here and here.

Just as Lois was lamenting not hearing it, they came out for an encore, and lo and behold, played One Voice. It was great, but, not as good as the version on the CD, or the one we heard live that first time. I’m not complaining, just ‘splaining. Great, but not awesome.

The one low point in their performance, for me, was the introduction (in the form of a speech) of a new song written by Nancy Josephson. It was the straw that broke the camel’s back for me, and caused me to write a separate blog entry complaining about it. I didn’t want to conflate the great music, with my feelings about the speech, so I separated the two. If you care to hear me rant about my feelings about performers lecturing their audience on politics, feel free to read it here.

After a 15 minute break, the David Bromberg Quartet took the stage. As much as the audience loved Angel Band (us included), it was as obvious at the Paramount as it was a year earlier at BB King, that the overwhelming majority of the crowd came out to see David do his thing. The one real surprise was that they switched bass players between sets (I don’t recall that happening at BB King, though I might just not remember it correctly).

David has a very large body of work to choose from, so you never really know what you’re going to hear when you see him live. At the show, he even said that he doesn’t typically have a set playlist for a given concert, but rather lets the band know in between songs what has tickled his fancy to play next. That’s very cool and likely pretty unusual.

Unfortunately (only for me!), his selection on Saturday bordered on the slightly more boring side to me. He played a few of his very famous songs, and they truly wailed on some of the songs that wouldn’t have been anywhere near as exciting on a CD, but, ultimately, I wasn’t blown away by Bromberg himself.

In fact, while he’s nowhere near over the hill, his fingers don’t quite listen to his mind like they used to. In this post about Kathy Mattea, I wrote about Bill Cooley, and the fact that he was likely the best acoustic guitarist I had ever heard. Right before I made that pronouncement, I described what a genius I thought Bromberg is with a guitar. He still is, just not as consistently perfect as he used to be. He misses notes, or perhaps more accurate, simply doesn’t execute what you can tell he was aiming for. That said, on occasion, he thrills like he used to, and it’s sheer bliss.

Still, Bromberg is one of the most fun (as in entertaining) performers you can imagine. When he plays the guitar, he produces facial expressions (and body contortions) aimed to mimic the style and emotion of what he’s playing on the guitar. It’s awesome. The crowd totally eats it up. It gives his guitar playing a sense of story telling that matches the lyrics of whatever song he’s playing. In other words, even though there are no words, you hear the words as he plays each individual lead.

One last thing about Bromberg’s guitar playing: it’s distinctive. In other words, he’s one of the rare guitarists where you can close your eyes, hear him play, and say “That’s Bromberg”. A few others are Jerry Garcia, Santana, Clapton, etc. They are all playing the same basic instrument, and yet, across hundreds of songs, you can still say instantly which one of them it is.

Playing along with David are the top three people listed on this page, Jeff Wisor, Butch Amiot and Bobby Tangrea. Lois is crazy about Bobby Tangrea as a musician (as am I), and we both love Jeff Wisor as well. Wisor is an amazing fiddler (who also plays the mandolin in a few songs), and Tangrea is an exceptional mandolin and guitar player, who plays the fiddle really well on a few songs as well.

Tangrea is a world-class mandolin player, but he is not nearly as good as Chris Thile (who many people believe is the best in the world), or even Ricky Skaggs (in my opinion), but take nothing away from him, you’ll love every minute if you get to see him. His guitar playing is a little better (to my tastes), but in Saturday’s selection of songs, he spent the vast majority of his time on the mandolin.

The highlight (to both Lois and me) of the Bromberg set was the instrumental number Yankee’s Revenge (from the CD Midnight on the Water). It’s a great song on the CD, but live, man, they just nailed it. In particular, Jeff Wisor was so brilliant on the fiddle and Bromberg made him (and Bobby Tangrea on the mandolin) take double-long solos. Yes, they were that good. The only thing missing was they didn’t use a picolo (or some sort of flute) live, which is done really well on the CD version.

Anyway, they came out for two (or three?) encores, with Angel Band as well, though Angel Band just sang very soft background, and was almost superfluous during the encores.

All-in-all, we had a great time. That said, while I’d see him/them again, I can tell already that I won’t be as anxious to catch him in the future as I was these past three times. That’s partly because of the tiresomeness of the political speeches, partly because his selection of songs can be a little too varied, and because as great as he still can be, he’s not as flawless as he used to be.

So, here comes the obligatory Girlyman mention. To try and pretend that it’s even slightly in context, I’ll simply say that I (as of this moment in time) can’t imagine not being excited to catch Girlyman in a live show! πŸ™‚ I used to feel that way about Bromberg…

In fact, it occurs to me what the problem was (for me only!) with this performance at the Paramount, vs the Girlyman performance at both Highline Ballroom and Joe’s Pub:

At both Girlyman concerts (as with past Bromberg shows), I was so totally immersed in the music, that it was truly a zen-like experience. In Saturday’s show, I was aware of my surroundings, the people around me, etc. It was a great concert, but it wasn’t a magical, mystical journey like a Girlyman show is.

Kathy Mattea at Joes Pub

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Last night, Lois and I saw Kathy Mattea perform at Joe’s Pub. It was a minor odyssey to make it all happen…

Since we regularly frequent Joe’s Pub (as loyal readers already know), I read their regular email newsletter reasonably carefully, to spot performers that we already know, as well as attempt to discover ones we might enjoy.

A few weeks back, while we were at Zope, I noticed that Kathy Mattea was scheduled to be there on October 24th, 2007. This was a very exciting discovery. She is one of Lois’ all-time favorites. Through her, we also discovered Ceili Rain (she did fabulous covers of both Love Travels and That’s All the Lumber You Sent).

I instantly got on the site and tried to order tickets. Unfortunately, they were sold out. Lois called a few hours later when the box office opened, and they said that they best we could hope for was to call the day of the performance, and see if they released any tickets that were being held for the band, etc. Bummer…

Kathy was a certifiable Country music superstar for a very long time. In the past 2+ years, she seemed to disappear (at least somewhat) from the scene. It was mildly surprising to me that she was playing a venue as small as Joe’s Pub, and therefore not surprising that she sold it out in minutes. In her hey day, I imagine she could have easily sold out Radio City Music Hall, like Martina McBride did. It turns out, she is doing a new project to bring back songs of the coal miners, with an album coming out in January, that she’s touring to promote and work on at the moment.

Two weeks ago, I checked the web site again on a whim. There was one ticket available! I immediately offered Lois that I would snag it, and she could go without me. I would have been thrilled for her to see Kathy, even if I had to miss it. She wasn’t interested. But, she immediately called Joe’s Pub, and told them how often we come, etc., and could they possibly see it in their hearts to release one more ticket?

They got a manager on the phone, they looked up my name and saw how often we come, and he told Lois that he would authorize another ticket, but that we would have to stand at the bar, no seats and no dinner. Obviously, we said yes right away, and they took our info over the phone. I checked the web site a minute later, and they were showing as sold out again, so they definitely have their act together systems-wise…

A few days later, Lois called to ask whether it was possible that dinner reservations might open up (as the one ticket did). They said that it wasn’t likely, but that we should call back a few days before the show. She did, and they said that she should call back the day of the show. She did, and they said that they couldn’t release a reservation, but if we showed up really early, they could practically guarantee that we’d be seated for dinner.

We did, and they did, so everyone ended up happy. We had excellent seats, and had an amazing dinner (they always do a good job!). I had a perfect chocolate martini as well. πŸ™‚ We were seated at a table for four, so we ended up chatted with a very nice couple who were seated next to us. They ordered dishes I never tasted there, and both raved about their meals as well. The woman’s steak looked outstanding!

On to the music. Well first, Kathy simply looked amazing. Whatever she was doing while she wasn’t climbing the Country charts, definitely agrees with her physically. πŸ™‚

Kathy’s voice isn’t in the same league as Martina McBride, or even Alison Krauss for that matter (obviously, all in my own opinion, no need to publicly disagree with me on this). That said, she’s still amazing. Her voice is powerful, emotive and moving. Her song selection is outstanding, and she’s a wonderful guitarist. Half of the show was the new coal project, and half were previous hits (which she encouraged the crowd to sign along during the chorus, and they/we happily obliged).

She had a three-member band playing with her. Bill Cooley on acoustic guitar. Dave Roe on the upright bass. Eamonn O’Rourke on the fiddle and mandolin (unfortunately, a quick search doesn’t reveal any web site dedicated to this amazing musician!). All three are amazing enough to deserve their own mentions independent of Kathy.

I am a guitar-loving nut. I like all styles of guitar, from classical through to screaming rock. While classical is probably my favorite, a close second is someone who can do wonders with an acoustic guitar. Among my favorites forever has been David Bromberg. The man is a genius with an acoustic guitar. That said, he isn’t the cleanest guitar player, as on occasion, in his attempts to dazzle (which he achieves so many times), he can even (gasp) miss a note (no, say it ain’t so!).

The above was meant to put the next statement into context:

Bill Cooley is possibly the greatest acoustic guitarist I have ever heard!

There, I’m on the record with a very bold statement (as in bold font at the very least). πŸ˜‰

I’m not sure I can describe exactly why, though I tried to last night when Lois asked me why I felt that way. His fingers are so fast it’s almost unbelievable. He plays in a variety of styles. His leads are so clean and clear. He’s one of the few guitarists where you don’t hear the transitional screeches of the strings as his hands slide up and down the neck. He plays brilliantly both softly (when he’s accompanying Kathy as the solo instrument), and when he has to pound it out with all of the instruments going full bore. He’s been touring with Kathy since 1990. She’s crazy if she ever lets him go. Simply brilliant!

Dave Roe is a top-notch bass player. In addition to normal bass playing, he plays a style that includes slapping the body of the bass with his palm, while strumming the strings with his fingers, creating the sounds that a drum might make (they had no drummer on the stage last night), making for a wonderful sound coming from one instrument. He’s truly gifted, and sings harmonies with Kathy as well.

Eamonn O’Rourke is an outstanding mandolin player. His fiddle playing is even better. In the past few years, I’ve seen some amazing fiddle work. While I wouldn’t say that Eamonn is the best (like I did for Bill Cooley above), he certainly isn’t far from it. He also sings harmonies with Kathy.

The following three photos aren’t very good (at all), but they’ll give you a sense. The first is Kathy Mattea, with Bill Cooley in the background, obscured by her guitar. The second is them again, with Bill’s face finally recognizable. The last is Eamonn O’Rourke and Dave Roe. Fuzzy, yes, but you can at least make them all out (I hope). Click on any of the images to see a larger version:

Kathy Mattea Kathy Mattea and Bill Cooley Eamonn O'Rourke and Dave Roe

Anyway, a truly outstanding band, to complement a truly outstanding performer in Kathy. She has a wonderful stage presence, and connects deeply with the audience.

She came out for an encore and did two songs. The first was her alone, no instruments. Wow. Another song from the coal project, and her vocal power was overwhelming (in the most positive way that statement can be taken!). The second number was completely instrumental, an Irish-style jig. Kathy played both her normal guitar, but also broke out two penny-whistles. Man, she’s very talented, and can play that whistle beautifully. We left on an ultra-high note.

On another topic, management chided me for not mentioning Girlyman in my CDB post on Sunday. They weren’t going to take any punitive action (this time), until Wes commented on the blog, and they realized that they were looking weak in public. So, they are now insisting that I put in a solid mention of Girlyman, or risk losing my blogging privileges.

The above qualifies, for sure, but I’ll just remind you all that we’re only 10 days away from seeing Girlyman live again, on Sunday November 4th, at the Highline Ballroom. If you’re in NYC on November 4th, and you don’t go to see Girlyman live, shame on you! πŸ˜‰

One final Girlyman connection, that is definitely related to the opening theme in this post. The only reason we discovered Girlyman to begin with was because of Joe’s Pub. We had an opening in a blockbuster weekend, and the first place I checked was Joe’s Pub, and through luck (or more likely serendipity, our theme for this week!), Girlyman was playing there that night. πŸ™‚