Newsletter Archive
Connected Through History
Wednesday, October 26, 2005
Dave Carter and Tracy Grammer
In recent years I've dug deeply into American "roots" music--Mississippi Delta and Piedmont blues, mountain music, roots gospel. I'm also increasingly drawn to contemporary music that has a history, that comes from some tradition (whether musical, cultural, or literary). Why?
Because having a history--coming from somewhere--means standing on the shoulders of those who came before, the mothers and fathers of all of us (musically, culturally, socially). Those "familial" connections, culturally speaking, are part of what unite all of us, performers, listeners, human beings. The music becomes bigger than an expression of "me" the performer. It expresses some shared history.
When I hear Dave Carter's writing, the archaic/anachronistic language he uses tells me that he had at his disposal the majesty of Shakespeare, the revelation of the Gospels, the stillness of the Buddha, the sensuality of Rumi--in sum, the whole of human wisdom and experience that came before him. He spoke with not just a single person's voice, but, to paraphrase Emerson, you hear the multitudes within (and before) him. Read the lyrics to "Gentle Soldier of My Soul"
Listen to it here (Last track on "Drum Hat Buddha")
To me, respecting and incorporating traditions doesn't mean fearing innovation. Just check out Crooked Still, who sound traditional and rather avant-garde at the same time.
Listen to their version of "Darling Corey"--the cello wails like a country fiddle playing Bartok.
There are even modern and postmodern traditions--the jazz saxophonist Steve Lacy was inspired by the minimalist, whimsical paintings of Paul Klee, and you could hear it in his playing. Look at some Paul Klee paintings: Listen to a snippet of Lacy's solo on "Wickets": (Scroll down the page to the sound samples--Track 3.)
I hear among my contemporaries a renewed interest in those who came before, and it's exciting to hear what they create with our shared history. I hear generations of life in the Carolinas in Jonathan Byrd's songs. Listen to "The Young Slaver": (Track 2). I hear the progressive patriotism of Woody Guthrie in Fred Gillen Jr.'s songs. Listen to "We the People": (Track 6). And I hear the mothers and fathers of country music in Red Molly. : Listen to "Yellow House" (Track 1)
In a world of disconnection, misunderstanding, and division, connectedness is what we need. If you like, drop me a note, and let me know some works that connect you with our shared history.
Links:
Dave Carter www.daveandtracy.com
Crooked Still www.crookedstill.com
Steve Lacy http://senators.free.fr
Paul Klee http://tinyurl.com/76awq
Jonathan Byrd www.jonathanbyrd.com
Fred Gillen Jr. www.fredgillenjr.com
Red Molly www.redmolly.com
•---------------------------------------------------------------
Ears and Eyes (what I'm listening to and reading )
•---------------------------------------------------------------
•-- Music
•-- Books
Listen to a tape of a conference call
with the editor: link (Windows Media only)
Coahoma County Study, 1941-1942."
buy the book: link
Because having a history--coming from somewhere--means standing on the shoulders of those who came before, the mothers and fathers of all of us (musically, culturally, socially). Those "familial" connections, culturally speaking, are part of what unite all of us, performers, listeners, human beings. The music becomes bigger than an expression of "me" the performer. It expresses some shared history.
When I hear Dave Carter's writing, the archaic/anachronistic language he uses tells me that he had at his disposal the majesty of Shakespeare, the revelation of the Gospels, the stillness of the Buddha, the sensuality of Rumi--in sum, the whole of human wisdom and experience that came before him. He spoke with not just a single person's voice, but, to paraphrase Emerson, you hear the multitudes within (and before) him. Read the lyrics to "Gentle Soldier of My Soul"
Listen to it here (Last track on "Drum Hat Buddha")
To me, respecting and incorporating traditions doesn't mean fearing innovation. Just check out Crooked Still, who sound traditional and rather avant-garde at the same time.
Listen to their version of "Darling Corey"--the cello wails like a country fiddle playing Bartok.
There are even modern and postmodern traditions--the jazz saxophonist Steve Lacy was inspired by the minimalist, whimsical paintings of Paul Klee, and you could hear it in his playing. Look at some Paul Klee paintings: Listen to a snippet of Lacy's solo on "Wickets": (Scroll down the page to the sound samples--Track 3.)
I hear among my contemporaries a renewed interest in those who came before, and it's exciting to hear what they create with our shared history. I hear generations of life in the Carolinas in Jonathan Byrd's songs. Listen to "The Young Slaver": (Track 2). I hear the progressive patriotism of Woody Guthrie in Fred Gillen Jr.'s songs. Listen to "We the People": (Track 6). And I hear the mothers and fathers of country music in Red Molly. : Listen to "Yellow House" (Track 1)
In a world of disconnection, misunderstanding, and division, connectedness is what we need. If you like, drop me a note, and let me know some works that connect you with our shared history.
Links:
Dave Carter www.daveandtracy.com
Crooked Still www.crookedstill.com
Steve Lacy http://senators.free.fr
Paul Klee http://tinyurl.com/76awq
Jonathan Byrd www.jonathanbyrd.com
Fred Gillen Jr. www.fredgillenjr.com
Red Molly www.redmolly.com
•---------------------------------------------------------------
Ears and Eyes (what I'm listening to and reading )
•---------------------------------------------------------------
•-- Music
- Kurt Elling, "Man in the Air"
- Jonathan Byrd and Dromedary, "The Sea & The Sky"
•-- Books
- Herodotus, "The Histories"
Listen to a tape of a conference call
with the editor: link (Windows Media only)
- John W. Work, Lewis Wade Jones, and Samuel C. Adams, Jr.,
Coahoma County Study, 1941-1942."
buy the book: link