Jazz Aspen Snowmass: Ten Years Later

I’ve had a lot of festival experiences in my time. One of the most interesting experiences I’ve ever had was in 2007 at the Jazz Aspen Snowmass festival in Colorado. I’ve never seen a more up-tight bunch of people try to have fun. I mean no disrespect – I love Colorado and Coloradans, but some people – wherever they’re from – take themselves way too seriously. We’re more of the easy-going type. My husband and I had just spent eight hours floating down a river on a tube. My biggest concern was not dropping my shoes off the side. After some food, some refreshment, and a few campfire songs, we retired to the back of the van for a few hours of rest before hitting the road.

We arrived in Aspen, Colorado early morning and found a quaint little joint that was overrun with festival-goers. After a delicious meal and a mimosa, we had nothing else to do, so we headed to the festival grounds. Upon arriving, a thin man in his 60s directed us into a lot with only a few other cars. It would eventually fill up, but we couldn’t believe our luck – we were parked right in front of the gate.

We freshened up in the van like a couple of hillbillies. Still rough and ragged from the river, we made our way in with the usual provisions: blanket, sunscreen, water bottle, extra socks, that sort of thing. We found a place to park our blanket, took a load off, and took in our surroundings. Every group of 2-4 people had a large (full to queen-sized) blanket. Larger groups, of course, had several blankets put together. All of the blankets were very politely spaced, so as to have plenty of room to walk through them, because of course you don’t want someone to walk on your blanket. That you’re sitting on. On the ground.

The point is, all of these blankets are taking up an enormous amount of space. Where we might normally have fit 5,000 people, there were not even 500. In spite of my disgust at their lack of space management, I accepted my fate and settled in. We’d come for Gov’t Mule and Derek Trucks & Susan Tedeschi with the Soul Stew Revival tour. We’d missed The Allman Brothers Band the day before, but when the river calls… We weren’t sitting there more than twenty minutes when a very well-dressed woman with nice hair and heels comes up to us and begins accusing us of stealing her blanket. Didn’t ask, just laid in.

I very politely told her we had walked directly in with our stuff, had just set this blanket down, and had been nowhere near anywhere she had been. She kept on. I don’t remember what she said, but it wasn’t pretty. She called us names, she threatened us, and all I could think to do was meet her on her level. So, I got a little angry. I explained that just last month, my baby had been laying on this very blanket at a festival in Minnesota.

“So, good luck to you, but you’ve got the wrong blanket.”

She huffed off.

We looked at each other in disbelief. I’ve been called a hippie before, but I’ve never been accused of stealing someone’s blanket at a festival. Once we’d collected ourselves, we laid back to inspect the festival program. This was unlike any document I’d seen outside of the symphony. I’ve gotten booklets at festivals before… They contain important information like the line-up, what you cannot bring into the concert grounds, and sometimes even have bios of the artists/bands. Usually, they’re in a small, square booklet; this one was in a large, rectangle booklet that I swear looked just like a symphony program.

I have no memory of who we saw perform first that day. What I do remember, however, is the Voice. The Voice confirmed that indeed we were at the symphony. There was one stage, so when the first band was done, there was a break in the action while the roadies reset the stage for the next group. During that time, of course, people got up, used the port-a-potties, bought a beer or an over-priced gyro. When that break was over, the big booming Voice was there to bring us all back in.

“The concert is about to begin. Please return to your seats.”

“Are you kidding me?”

I was in shock. I have never been to a festival before or since with the Voice. Most don’t attempt to control thousands of people. I suppose it’s nice to know the show is about to begin if you’ve been out and about, but I swear, most adults have a handle on time management. And I’m pretty sure it said how long the breaks were in that fancy program. Of course, I did the only logical thing and waited until the Voice did its thing again and then got up to pee and get a beer. I felt like such a rebel.

The two bands I followed the rules for were, of course, the ones we’d come for: Gov’t Mule and Derek & Susan. I know we saw several bands that day, but this was 2007, and I don’t remember much. I do remember seeing The Mule and thinking they gave a typical, safe festival show. I don’t blame them given the up-tight audience. Of course, everyone looooooved Derek and Susan. That was an incredible experience. We take it for granted now, but back then, I’d seen Tedeschi live, and I’d seen Trucks live, but The Tedeschi Trucks Band was not yet a thing. The run wasn’t very long, so it had been worth it to leave our friends on the river and drive all night to Colorado. We were not disappointed. They did a perfect combination of her songs, his songs, and covers. I remember looking around at one point: mountains all around me, everyone euphoric, a perfect summer day, and the best soundtrack on the planet.

Those are the moments I live for, those are the moments I put up with all the B.S. for. Life is hard and extremely short. Sure, I collect my fair share of stuff, but I prefer to spend money on experiences. I try to live modestly and work hard so I can go to live music. It’s like a drug. It’s church. It makes my body tingle and takes away my thoughts, allowing me to just feel. I felt a lot that day.

When the day ended and there was no more fun to be had, we headed out to the van. I looked like our friend Russ (that’s what we decided to call him) had parked us in a VIP lot. With much rejoicing at our easy departure, we drove, through darkness, into the mountains. I honestly don’t remember where we went after that. I don’t remember driving to a hotel, though I’m sure we stayed somewhere nearby. I do remember reflecting on the day; laughing at some points, grinning fiercely at others, and remembering the beautiful scenery. I may not recall everything from that experience, but based on what I’ve still got, Jazz Aspen Snowmass was a lovely festival, and we would definitely do it again. 

Bet on Tinsley Ellis's Winning Hand

Tinsley Ellis is one of the greatest blues rockers of all time. The man has a catalogue that would make most musicians’ heads spin. With sixteen albums released over thirty years, he shows no sign of stopping. How many songs live inside Tinsley Ellis? The world may never know. However, it will enjoy another great collection in 2018, released on Alligator Records. Winning Hand is classic Tinsley without sounding tired or worn out – which is incredible given the depth of work we’ve already seen from him.

The album opens with a rocker, immediately showing off Ellis’s skill at songwriting: interesting guitar licks, clever lyrics, and engaging solos. While the album holds together with a classic Tinsley sound, it’s also graced with instruments not heard live. Kevin McKindree on piano and organ adds a richness and depth to each song that rounds the edges of Ellis’s powerful sound. “Don’t Turn Off the Light” is a beautiful mid-tempo ballad that employs strings to give the song an obvious B.B. King feel. As one of Ellis’s heroes, it’s not surprising to hear King’s influence on Winning Hand. Ellis gave another King a nod with his Freddie-inspired take on Leon Russell’s “Dixie Lullaby,” the only cover on the album.

Ellis also uses his fiery guitar on a couple gut-wrenching ballads. “Gamblin’ Man” is a super soulful slow burner with a passionate guitar solo and organ perfection. This will be the one to see live; Tinsley will no-doubt tear your face off with his skill and butter-like tone. Ellis actually closes the album with a delightfully distorted slow burner, the guitar reminiscent of Trower’s “Bridge of Sighs.” If “Gamblin’ Man” doesn’t move you, “Saving Grace” will. That’s why we keep coming back. 

It’s all about the guitar. Open the liner notes, and it’s not just a picture of the five beautiful guitars used on this album, but the track listing inside includes the guitar used, as though they’re a member of the band. And in a way, they are. Part of what makes Winning Hand so musically interesting is Tinsley’s choice of guitar and the tone he pulls from his instrument like a fine-spun thread of the softest cotton. The rest is a diverse collection of styles, tempos, and lyrical themes that prove Mr. Ellis is indeed holding a winning hand. 

Images from tinsleyellis.com

The New Every Kind of Blue: An Introduction

I wake up in the morning with a song in my head, and later in the day, I’m singing instructions to my kids. If you say something that makes me think of a song lyric, I will sing it. Driving in the car, if I’m not singing along, I’m contemplating what the songwriter was thinking when they wrote a particular line, chose a specific chord, or how it reminds me of another song – and what is that song anyway? While delightful and entertaining, I have never tried to unpack any of these thoughts, and until now, I’ve never shared any of it.

That is what Every Kind of Blue is. It’s all the stuff in my head: thoughts on music, musicians, songwriting, live shows and festivals, albums, and more. What’s up with depressing songs with happy melodies? Why are there so many train songs? What is Leonard Cohen talking about anyway? I hope the observations, ideas, and analyses presented in my blog, podcast, and whatever else is next will be interesting, insightful, touching, humorous, and may even change the way you think about something.

EKB took flight on Thursday, December 29, 2011 on a local radio station. For five years, I hosted a three-hour (mostly) blues show, with an occasional blog post, and as much social media as I could muster. While comfortable and easy, radio is very limiting, and I am excited to launch EKB into the 21st century. My blog, Laura’s Liner Notes, will be active weekly, as well as the corresponding podcast (coming soon!). I am also looking forward to creating a weekly Spotify playlist that relates to the current topic. [Pop over to Spotify, follow ekb_laura, and enjoy some of my favorite songs this week!]

I grew up on a farm in central Nebraska. As the only child of a farmer, I spent a lot of time in a truck. I endured hours every day driving those dusty gravel roads, back and forth between farms. Corn and soybeans mostly, though grandma raised chickens, and we always put up sweet corn in the summer. It was hard work and long days, but aside from the valuable Midwestern work ethic I earned, I treasure the music most of all.        

Classic Rock. Always the classic rock station. The Rolling Stones, The Allmans and The Doobies, Little Feat, Eric Clapton, Pink Floyd, and Chicago are just a few that stand out. I began singing along with Bob Seger when I was four and never stopped. Of course, much of what these bands were doing was blues. I learned Muddy Waters, John Lee Hooker, Albert Cummings, and Bonnie Raitt. I went through six months in high school listening to nothing but Elmore James. All of these people (and so many more) have been with me my whole life. Without all those miles of bumpy country roads, I wouldn’t be the person I am today.

In my family, music was a participation sport. My parents had played or still played an instrument, but more importantly – at least for my up-bringing – was the fact that they were always singing. They sang around the house, they sang doing yardwork, and they certainly sang while rolling around in that ’81 Chevy Silverado (which I would go on to wreck my freshman year of high school). Eventually, I was given opportunities to learn and participate in the arts myself, and I was very lucky to have two parents who were so supportive of my artistic endeavors.

I have been through six years of piano, thirteen years of band, eight years of jazz band, a couple years of choir, nine years of dance, performed in seven+ plays, and began winning awards for public speaking at nine. I wrote my first Choose-Your-Own-Adventure book at ten, studied with the state poet in undergrad, and would go on to earn another useless degree in English, this time to teach. While I’ve participated in music my entire life, I’ve never formally studied it. I feel this is to my advantage.

My training is with the English language, and my natural talent is for writing. It takes a special kind of masochist to want to be an English major (remember, I did it twice). Yes, you’d better like reading, and you’d better like writing, but in between those two things is a lot of critical thinking, making connections, critiquing through different lenses, and using all your tools to be analytical. Over time, I learned to do this naturally, automatically even. My passion for the arts became the obvious application for my training. My senior thesis was on poetry and songwriting, and my Master’s thesis connected theater to teaching English Language Learners. I have always spent a great deal of time listening to music, thinking about music, and interacting with music, and I have long wanted to record my thoughts. Until now, I’ve spent my life running from a dream. 

It’s fascinating the paths our lives take. Several people have said they agree that when they set out at eighteen, they had a very different idea of where their lives would take them. I’ve been running from writing my whole life, but every time I put down that dream, the Universe knocks me out and reminds me what I’m good at. If anyone’s dream is worth living for, it’s your own. I get that we all need a paycheck, but if you can, make it doing what you love. If you can’t, find a way to do it in your free time. With the relaunch of Every Kind of Blue, I start taking my own advice.

I hope you enjoy what I lay down. It will be a pleasure bringing it to you.

Please follow along on all your favorite social media sites, and I’ll see you out there!

The EKB 2016 Year in Review

It's that time! Time to reflect on all the fun had in the previous year. 2016 was full of challenges, heartbreak, and uncertainty, but we had a lot of fun, too! Here's the best (of what I could actually remember) to come out of this year. 

Favorite Albums/Shows of 2016:

·         Bruce Katz – Out from the Center: Katz is one of the top five of musicians touring today. His latest album is even more accessible to everyone, but still keeps that funky Katz flair. Putting more emphasis on Chris Vitarello’s guitar work [the album is officially titled: Out from the Center (Featuring Chris Vitarello)] the band’s 2016 release beautifully blends their talents into a collection of songs that will keep your toes tapping and your ears interested.

·         Bonnie Raitt – Dig in Deep: With a career that spans five decades, Bonnie Raitt is one of the legends. Her 2016 release keeps her in the game. Fresh new album, same great Bonnie. She’s still out there touring, in fact, she was in Lincoln this fall and I’m so glad I went. While her voice is aging, the show lacked none of the talent, soul, and excitement that I expect from Bonnie.

·         Buddy Guy – Born to Play Guitar: 80 years old, began performing in the 50s, and put out his 17th solo studio album in 2016. Need I say more?

·         Davina & The Vagabonds – Nicollet and Tenth: I love a live album. It’s the next best thing to being there. This is especially true of DATV’s latest release because of all the wonderful covers that are such a big part of who they are. Nicollet and Tenth features unique takes on Sowers’s originals, but also includes the ragtime and Louisiana favorites that we enjoy at live shows. Spending our 15th wedding anniversary with them in Des Moines was definitely a bright spot in 2016.  

·         Gov’t Mule – Tel Star Sessions: A 2016 release of 1994 music. Not everyone can get away with releasing old “crap” that was never meant to see the light of day, but these cats can. Having lost their original bass player, Allen Woody, old school fans enjoy hearing music from the early years when the band was a power trio, fresh out of The Allman Brothers Band. The really fun part of this album is hearing early takes on familiar songs. Even better, “The Same Thing” has never been recorded at all, so us die-hard Mule fans have a new/old studio track to get into.

·         Kris Lager Band – Rise & Shine: Kris and the guys continue to grow with this album. I love the edgy direction they’ve been going. I’m looking forward to hearing these songs jammed out live.

·         Mad Dog & The 20-20s – EP: The world needs more ska. Period. And these cats do it right. They tore up a packed house during Lincoln Calling. I think the local scene is paying attention.

·         Marcus King Band – Marcus King Band: This is the best “new” band out there. While Marcus King has been on the scene for a while, he grew nationally in 2016. I had the opportunity to see them at Knuckleheads in Kansas City, and it was totally worth the drive. A legitimate guitar slinger, with a voice like Ray LaMontagne, King bring more soul than his age suggests. Both Marcus King Band and the first album Soul Insight are diverse, interesting, and lyrically intelligent. I can’t get enough. But don’t take my word for it… Warren Haynes and Derek Trucks each lend their guitar to a track on MKB and Haynes produced the album.

·         Mavis Staples – Livin’ on a High Note: Mavis brings it again. And thank goodness. What the world needs now is more Mavis.

·         Mike Zito – Make Blues Not War: Zito is always making us feel better with his blues. His latest release does not deter from the mission. Quintessentially Zito, Make Blues Not War seamlessly combines blues and rock into fun, danceable, even thoughtful at times, music.

·         Tedeschi Trucks Band: Let Me Get By made my 2016. By far this band’s best effort yet, Let Me Get By ventures out musically, offers even more thought-provoking lyrics, and better showcases the talents of its members. Trucks’s guitar, Tedeschi and Mattison’s vocals, and more prominently featured horns make their 2016 album the one that should have won the Grammy.

I had the great fortune of seeing this tour on two separate nights in the spring and the Wheels of Soul Tour at Red Rocks this year. I can’t wait for their next live album. It sounds like it’s right around the corner. http://www.jambase.com/article/tedeschi-trucks-band-prepping-new-live-album-studio-album

·         Tinsley Ellis – Red Clay Soul: Tinsley is one of the most creative songwriters I know. Having released an album a year for the last four years, he still manages to make them interesting, exciting, thoughtful, and fun. Red Clay Soul is good, solid Tinsley; I can’t get enough of “All I Think About.” We were lucky in Lincoln to get to see him three times this year at The Zoo Bar!

Other 2016 Highlights:

·         Lincoln Calling: I had a blast at this festival. I discovered so many great local and touring artists outside of what I normally play, listen to. I love all music and it was soothing for my soul to experience new music and revisit genres I hadn’t explored in a while.

·         ZooFest: This is always one of my favorite weekends of the year. New experiences (Lee Fields & The Expressions, The Mighty Jailbreakers), old favorites (Mike Zito, Dale Watson), and all the friends you could want to drink, dance, and get sunburned with.

·         Two trips to Red Rocks: We saw Tedeschi Trucks Band on August 5th and Gov’t Mule on August 25th. It was a good month.

·         Dale Watson’s Chicken Shit Bingo: I got to play and didn’t have to drive to Austin! (Though I would love to go to Austin…) In case you’re curious, it was a borrowed chicken, and yes, it pooped freely.

·         EKB 12-8-16: I had Mike Zito live in the studio, a pre-recorded phoner with Samantha Fish to air, Josh Hoyer live in the studio to talk about the Nebraska Funk & Soul Alliance, and at the last minute, I added a live phoner with Kelley Hunt. What a whirlwind day!

·         Blues Blowout this year was extra special with Blues Bits and the event with Sister Sparrow & The Dirty Birds. I had a great time with them live on my show, and I danced my face off that night at The Zoo. Thanks to all who support the blues on KZUM. We’ve really got something special here. And on that note…

·         Perhaps the biggest event of the year, for me, came at the very beginning of 2016. In 2015, fellow blues programmers and the Omaha Blues Society put together a nomination package that earned our station a Keeping the Blues Alive Award from The Blues Foundation. A huge national honor, we were immensely grateful and humbled by the award. The best part? Tuesday Bluesday guy let me tag along to Memphis with him to pick up the award at a special brunch held during the International Blues Challenge (IBC).

The IBC was basically blues camp. People from around the world chatted, boogied, and made connections to each other, the music, and the magic of Beale Street. We cheered on crowd favorite and hometown hero Hector Anchondo all the way to the finals, and were so proud he represented Nebraska in the Top 8. Together, we definitely increased awareness of the good life.

Thank you for reading. What a year! I plan to expand on most (if not all) of these events in the coming weeks, so check back. There are great stories to be had in all of them.

http://everykindofblue.com

Lincolnites Turn Out to Honor Magic Slim

Easter Sunday saw many religious celebrations throughout the city, but there was another celebration, perhaps just as important to the folks who were there, at The Zoo Bar.  Magic Slim, a staple of the Lincoln community for decades, passed away on February 21, 2013.  He played, toured, and loved life right up to the end, and it is impossible to know how many lives he touched.  He was a friend, family man, and an internationally renowned Chicago blues artist, and on March 31^st, Lincoln turned out to celebrate the life of one of our own. 

The Bel Airs kicked off the party, and were followed by The Tijuana Gigolos, The Lil’ Slim Blues Band, and The Zoo Bar House Band.  Several folks stepped in to jam, and the audience was lively and appreciative.  The crowd was especially responsive to Shawn “Lil’ Slim” Holt’s announcement that Levi William would be joining him and the Teardrops.  Holt’s motto has been “The Future of the Blues,” and indeed, he his taking the reins in a big way.  We wish these guys the best of luck out there. 

The mixture of friends, musicians present made Magic Slim’s Celebration of Life one of the happiest, liveliest, and most genuinely fun events this town has ever seen.  All proceeds at the door went to Ann Holt; all the musicians donated their time.  Thanks to Pete, Jeff, Amanda, and The Zoo Bar staff who also made it possible.  And Slim, even in your absence, you threw one heck of a party.  Thanks for being part of our lives. 

Guthrie's Message Falls on Friendly Ears

If you attended the show on March 26th with Arlo Guthrie at the Rococo Theatre, you were treated to an evening of merriment – and contemplation – that reached all generations.  He did at least as much storytelling as he did playing – solo – it was just him, 3 guitars, a 12-string, and a grand piano on stage.  Guthrie was in fine form, both musically and poetically.  Nary a missed note (though several jokes alluding to them), he picked and played his way through crowd favorites like “City of New Orleans,” “The Motorcycle Song,” and “Coming into Los Angeles.”

The focus of this tour, however, is the celebration of Arlo’s father, Woody Guthrie’s 100^th birthday.  Both generations made social issues a priority in their songwriting, and careers in general, and the stories told from decades ago still seem to resonate with audiences today.  Guthrie did a wonderful job of making present-day connections with his father’s songs and stories of the early 20^th century like, “1913 Massacre” and “Deportees (Plane Wreck at Los Gatos).”

Indeed, it was a treat to hear songs written by Woody Guthrie, which were only recently put to music by his son and others.  Arlo closed the evening with a stirring, yet simple, rendition of “This Land Is Your Land.”  Even though some in the audience were ready to sing a long and a soft murmur settled over the crowd, it wasn’t until Guthrie came back out for the encore, when the audience was encouraged to participate. 

Once again emphasizing the power of a group of people singing all at once, Guthrie concluded with another one of his father’s songs, recently set to music.  Spreading peace and good will has always been a priority for Guthrie, and last night he had the help of a wonderfully receptive and responsive audience.  Truly, it felt more like a family reunion than a concert.

As witty and humorous as he is thought-provoking, Guthrie made nearly every story light-hearted, cracking jokes at every turn.  In fact, he was so effective that the audience even beat him to a punch line.  In a story about playing with another great folk legend, Pete Seeger says it’s time to hang it up; he can’t sing as well or play as well… Arlo says, “Well, look at our audience…”  Last night’s audience apparently related, because he had to pause for laughter before he said, “They don’t hear so well, so…”

In all, it was a beautiful, brisk night in Lincoln to enjoy an international folk legend among the company of friends.  

Dr. John and Blind Boys of Alabama Play for a Die-hard Crowd

It was a night full of beautiful music, mixed emotions, and a surprise around every corner.  When we arrived at the Bourbon, we found out that Dr. John was in the hospital, wouldn’t be performing, and the venue was offering a full to partial refund for the event.  Now, I have to admit, my first thought was, “Well, that would be our luck…” and had a Dr. John moment of my own (“I was in the right place, but it must’ve been the wrong time…”)  Of course, my next thought went immediately to the man, in hopes that he was alright.  And while I never expected him to show, I am not surprised that the good Dr. didn’t want to let his fans down. 

I heard several folks indicate they would be getting a refund, most were jazzed to see The Blind Boys of Alabama anyway, and a few even shared our sentiment – we’ve already got a sitter, so…

We reflected that the Blind Boys should feel good – that everyone who had come in was there to see just them.  And they didn’t disappoint.  The slow spirituals had us swaying, and when they kicked it up-tempo, the tunes ranged from gospel to New Orleans funk.  The already appreciative crowd stepped up the volume when 87-year-old founding member Jerry Carter shook the microphone at us, and kudos to those charismatic guys for still bringin’ the music. 

Eventually, a buzz broke through the crowd and sure enough, Dr. John came slowly across the stage and sat at the baby grand.  He played and sang with as much ferocity as we’ve come to  expect (in spite of seeming – with good reason – rather “out of it”), and even though it was only twenty minutes or so, our souls felt filled and we got what we came for.  I have to say, the collaboration between Dr. John and his band and The Blind Boys of Alabama was a rare musical treat that we in Lincoln were blessed to have been offered.  

But those who went over to the Zoo Bar later felt like they were in the right place at the right time as the music didn’t stop at the Bourbon!  The encore performance was organized by local musician Josh Hoyer (at the keys) and featured Sarah Morrow (trombone player for Dr. John) and Joey Williams (lead guitar, vocals for Blind Boys).  Two of the Blind Boys actually sat and listened to their colleagues play a couple tunes before being guided up to the stage to sing themselves.  The magnitude of the impromptu performance was evidenced by the size of the smile on Hoyer’s face as all four guests jammed on the home stage.  It was definitely a special moment.  We truly are lucky to live in a place that values and maintains a home for live music like that.