If you enjoy acoustic and roots music drenched in the American West you ought to listen to Marc Berger’s recent album “Ride,” most of the songs from which he and his tight band played at the Living Room last night. I had happened on them by accident when they played the same venue in April, missing the start of their set, so this time I went to hear them deliberately.
I wrote about that earlier show, in this post, quoting first from Berger’s website: “Clouds that forever stampede the endless sky, shadows gliding over canyon walls–the West is a vast expanse of magic and mystery. American artists from John Ford to Frederick Remington to A.B. Guthrie have used film, canvas and the printed page to convey the essence of its unique landscape and mythology.” I added, “To those associations, I would add the 1962 Kirk Douglas film, ‘Lonely Are the Brave,‘ where he plays a latter day cowboy unable to conform to modern society. The movie was based on Brave Cowboy, a novel by legendary iconoclast of the American West, Edward Abbey. Relatedly, Kirk Douglas also played the lead role in the 1952 adaptation of Guthrie’s novel,The Big Sky.
Last night, I met most of the members of Berger’s fine band: Deni Bonet, fiddle and accordion; Mike Ricciardi, drums; Jeff Eyrich, bass; and Rich DePaulo, lead guitar. They achieved a powerful yet restrained sound, a true ensemble. I also got the CD of “Ride” this time around. It’s pictured below, along with a shot of Bonet, Berger, and Eyrich. Please click here to see all pictures.
http://philipsturner.com/wp-content/uploads/2016/11/GGB_Logo.png00Philip Turnerhttp://philipsturner.com/wp-content/uploads/2016/11/GGB_Logo.pngPhilip Turner2013-06-20 19:00:352013-06-21 22:32:20An Exuberant “Ride” into the West with Marc Berger & Band
Almost too busy to post or write about yesterday’s NXNE. This being Saturday it’s probably the fullest day of programming all week. But I’ll share something here, pics of the CDs I’ve gotten since arriving here on Wednesday. Some have been given to me, some I was glad to pay for. It’ll be great when I get back to NYC and unpackage them. Sunday should be quieter, so probably more coverage coming here.
Below is an EP and a full album by Crissi Cochrane, a friend from the CBC Radio 3 blog community, and an emerging artist in her own right. I had never met her before today at the annual CBC Radio 3 picnic, nor heard her sing. She has a beguiling voice and presence, as shown in the pic below her recorded music.
As noted in my Day II post below, on Thursday night I heard Toronto band Inlet Sound at The Cameron House. I really enjoyed hearing them, and was glad CBC Radio 3 host Grant Lawrence also invited them to the picnic today. Like Crissi, they are also pictured below their album “The Romantics.” Alongside it is the album I picked up by Union Duke, also on Thursday night.
Also, here’s an album by The Darcys. They were the musical guests at CBC HQs last night where Grant Lawrence ended the 7000KM cross-country CBC Beetle Road Trip. Last is The Matinee‘s “We Swore We’d See the Sunrise.” They played last night at the Supermarket, after which I tweeted:
@philipsturner: The Matinee just played one of the best live sets ever. They owned the crowd&the stage. @NXNE @thematineemusic http://t.co/u2LJxEYREX
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I heard terrific music last night at some excellent Toronto venues. All the artists I heard were new to me. Here's a rundown:
Right on time at 8 PM at the club Central, I sat at a front table and listened to Marta Pacek, an Aussie-born, Toronto-dwelling singer songwriter who led a terrific 4-piece band. Her accent was evident in her between-song banter, but not in her strong singing voice. After their set, I enjoyed meeting Pacek and her friend, writer Neil Murchison, who gave me a download card so I can later hear more of Pacek's music. Here's a pic I took during the show.
Next up was a lively outfit with a rather dolorous name, The Maladies of Adam Stokes. They played a 9 PM set at the Legendary Horseshoe Tavern, the only club I know of that manages to squeeze an adjective like that in to its name! The venue has earned it, though, as they recently marked their 50th anniversary of presenting great live music. I'm sure I'll be back at the 'Shoe' several times this week. Here's a shot of their lead singer and keyboard player.
Next, I took a Toronto street car then walked to reach a club called The Boat, near Kensington Market, where young punk band The Mouthbreathers were playing a 9:45 set. This 4-piece–two women guitarists & a two-man rhythm section on bass and drums–had all the energy associated with 80s punk–playing brief songs fast, loud, and hard. It was the lead singer's 23rd birthday, pictured below on the right. I stood on a riser near the merch table to get this shot, raising myself a bit above the boisterous crowd who stuck with the band all the way.
From The Boat I walked with friend Amit Saha–known as @XCanuck on the CBC Radio 3 blog–to a club on Queen Street West called Czehoski. We wanted to check out The Almight Rhombus, from Sudbury, Ontario, who were playing at 11 PM. They turned out to be one of the highlights of my evening. This 5-piece, which includes 3 brothers, played hooky songs with great energy on the club's very narrow stage. The joy they took in playing their own material was infectious. I met one of the brothers after the show and introduced myself as the writer of this blog. He gave me a copy of their self-titled five song CD.
I left Amit at the Czehoski bar where he was watching the first overtime of Game 1 in the Stanley Cup finals, for what turned out to be a triple overtime game. I walked down Queen Street to one of my most favorite venues, the Cameron House. I barely bothered to check who was even playing, because they always have good bands. The Cameron's front room usually features country and acoustic-oriented acts, while the back room has fuller bands. In the back room, I discovered the excellent Julian Taylor Band, fronted by the extravagantly dreadlocked and handsomely suited Taylor, who played funk and soul-inflected pop with a reggae touch. His keyboard player, shown below on the left, was terrific, too. They ended their set with a crowd-pleasing cover of I Shot the Sheriff.
I moved on to the front room where a 5-piece country outfit called Dear Sister were showing post-midnight revelers a great time. Fronted by two talented women (not sisters, I learned), and featuring an excellent lead guitarist who didn't fit on the tiny stage, they played original material and got many in the crowd dancing and making graceful moves to their sweet harmonies.
With that, I walked back to my hotel room happy and satisfied with all the great music I heard on just my first day at NXNE. Below is a shot of my NXNE badge that's getting me in to so many great shows. Can't wait for what's to come today and tonight.
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For the third consecutive year I’ll be attending Toronto’s North by Northeast festival (NXNE), which I’ll be covering as accredited press for this blog The Great Gray Bridge, which I began the day after Halloween in 2011. The festival, which stretches across the big city on the northern shore of Lake Ontario, takes place at 100s of venues, combining live music shows with artists from Canada and other countries; comedy shows; films; and panels and presentations on interactive and digital topics. I arrive tomorrow, June 12, and will be in town until next Monday night, June 17. I look forward to making new friends and meeting up with many of my old pals from the CBC Radio 3 blog and fan community, coordinated by the inspired work of our ringmaster, Grant Lawrence, radio host, author, and catalytic ambassador for Canadian indie rock n’ roll. Grant is also expected to arrive in Toronto tomorrow, as he completes the CBC Beetle Road Trip, a 5000KM music discovery journey that he began in Vancouver almost three weeks ago.
In addition to covering NXNE, I’ll be working in the area of my publishing consultancy. I’ll be seeing people at Speakerfile.com–a Toronto company whose brand is visible at the upper right corner of this website–one of my chief consulting clients. I also have meetings and meals set up with Canadian publishing, book industry, and media friends and am still seeking out confabs with new contacts. Because Canadian politics is being keenly followed by readers in the States these days–over issues that really matter to my avid audience, such as transnational oil politics and trade issues; the hard sell by the Harper gov’t of the Keystone pipeline and PBO’s looming decision on what to do about Alberta’s tar sands; the always eventful mayoralty of Toronto’s Rob Ford; and many, many US and Canadian shared musical and literary touchpoints. My goal in Toronto will be to explore with media contacts how the coverage I do here of Canadian culture, books, publishing, and politics–all composed from the personal viewpoint of a longtime bookseller of Canadian titles, publisher of Canadian authors, visitor to Canada, and observer of its ways. Stephen Harper’s inevitable electoral bid for another majority will come no later than 2015, a time that I believe I will find more outlets for my writing.
If any Canadian friends, old or new, read this post, and want to get together or talk while I’m in town, please be in touch. You may use this link at my contact page, or find me at Twitter, @philipsturner
Finally, if you’re curious what the home page of the NXNEwebsite looks like, here it is. My favorite bit is in the upper right corner: 1000 Bands * 30 Films * 150 Comedians * 65 NXNEi Sessions * 60 Artists
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A great conversation this morning on one of my favorite weekend radio programs–CBC Sunday Edition, hosted by Michael Enright–with Paul Elie, author of Reinventing Bach, a National Book Critics Circle finalist in criticism, examining how Albert Schweitzer, Pablo Casals, Leopold Stokowski, Glenn Gould and Yo-Yo Ma have interpreted Bach over the past century. I had heard Elie read from his work last March at the readings hosted by the NBCC with many of this year’s finalists. In a post about that occasion, I wrote,
Like all the categories, Criticism was filled with standout titles. Paul Elie, (Reinventing Bach), read a fascinating passage about the blockbuster album of 1968, “Switched-on Bach,” for which Walter Carlos had played Bach on the recently invented moog synthesizer. Elie quoted Glenn Gould on the fusion of Bach and the new electronic instrument, where the Canadian pianist heard an ideal match. Gould relished the moog’s absence of vibrato and inflection, which I imagine probably had an aural quality for him akin to a harpsichord.
Elie is very knowledgeable but not pedantic in discussing Bach and the modern musicians. Today’s program is highly recommended listening.
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Stunning video from BBC Four of Neil Young playing his song “Words (Between the Line of Age)” at the Glastonbury Festival in England, 2009. Pegi Young is singing backup, the late Ben Keith is on pedal steel, Chad Cromwell is drumming, Rick Rojas in playing bass, and someone I can’t ID is on keyboards. This song first appeared as the final cut on Neil’s album “Harvest,” in album in 1972. A number of songs from the festival are viewable via this youtube link. Enjoy!
http://philipsturner.com/wp-content/uploads/2016/11/GGB_Logo.png00Philip Turnerhttp://philipsturner.com/wp-content/uploads/2016/11/GGB_Logo.pngPhilip Turner2013-05-26 13:40:542013-05-26 23:29:25Neil Young at Glastonbury Fest, 2009
My wife and son and I bought tickets for Josh Ritter’s May 18 gig at Terminal 5 back in the winter, shortly after the show was first announced. When the night finally arrived this past Saturday, we were excited we’d be hearing him live for the first time. It was also our first time hearing a show at this venue, and we were surprised and pleased by how smoothly Terminal 5 operated. Though we arrived earlier than 7 PM when the doors were scheduled to open, we were admitted immediately, sent up to a rooftop patio and soon allowed downstairs in the big performance space. Our early arrival meant we were very close to the stage when the opening act, the Felice Brothers, took to the stage. Though hailing from towns in NY’s Hudson Valley, I heard tinges of Tex-Mex rock from this likable 5-piece, along with echoes of Doug Sahm and his Texas Tornadoes, driven especially by the keyboard and accordion work of boisterous brother James Felice. They were a great warm-up band and I was glad I later I had a chance to buy their CD, “Tonight at the Arizona.”
After an interval to reset the stage, Josh Ritter stepped up to his mic right at 9:00 PM. He addressed the audience: “It is so good to be here, this is my home now. Thank you for being here. We’re going to have an amazing night. If at any point in the show I look nervous, it’s because I am.” With that he started finger-picking a Gibson acoustic guitar for his first song, “Idaho.” As he segued from his first song to his second, members of the Royal City Band began joining him on stage, with Sam Kassirer taking a seat at the keyboards, while Zachariah Hickman*, sporting an extravagant handlebar moustache, picked up a Fender bass, followed by Austin Nevins on lead guitar and Liam Hurley on drums. The first song with the full band was “Southern Pacifica”–with its opening verse “Southern Pacific/Red, white and blue/Where are we running to,” and the memorable chorus, “Remember me to Roxianna/You know she’s still lovely/Tell her I was on the move/Last time you saw me/That you only saw the back of my head.”
A bit more than halfway through the show, Josh spoke to the audience about his new album, “Beast on the Tracks,” a kind of breakup album written following his recent divorce. He alluded to the personal anguish that led to the composition of the new songs, and the resilience that allowed him to record them and, now sing them live for people, night after night, and do so joyously and not in sorrow. As the band then moved in to playing the songs from “Beast,” Ritter became even more buoyant than earlier, even while some of his lyrics became darker. I was reminded of other breakup albums, almost a genre of its own: Dylan’s “Blood on the Tracks,” released in 1975, and widely regarded as expressing his pain at the end of his marriage to the same Sara who he sings of in “Sara” from “Desire.” More recently, Canadian artist Kathleen Edwards released “Voyageur”–Rolling Stone reported she wrote the album after enduring a breakup of her own.
For nearly two hours Josh Ritter and his fine band ranged widely across his rich repertoire, playing nearly 20 songs on the ride. Ritter is an exciting and ebullient performer, continually interesting to watch on stage. He lowers himself to his knees while continuing to strum his instrument; cups his hands to his mouth and howls like a wolf; turns his back to the audience to direct his band like a vested conductor; strides in close to Nevins as the sideman plays arcing lead riffs with clear tone; tosses away guitar picks like pistachio shells; and connects with everyone in the crowd like he’s playing and singing just for them. It was a thrill to hear and see him play live. His performance was a triumph of his winning personality. Below are pictures from this superb show, many taken by my wife, artist Kyle Gallup.
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May 4, 2018—On this date forty years ago, I opened Undercover Books in Cleveland with my sister Pamela, brother Joel, and our parents Earl and Sylvia. Below is one of my favorite posts I’ve ever written and shared from this blog about this date in my life.
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I published a version of this post on May 4, 2012, and have now updated it for 2013-14 with additional material, such as Crosby, Stills, Nash & Young’s “Ohio,” as you’ll see below. The comments below are from the 2012-13 posting–you’re welcome to add your own.
— May 4, a big date on my personal calendar
On this date in 1970 I was fifteen. That afternoon, around 4:30, I was standing on a sidewalk in downtown Cleveland, waiting for my sister Pamela to get off her job at Halle Bros., a local department store. Nearby, a delivery van pulled up, with the name of the evening paper, Cleveland Press, emblazoned across its side. The back door of the van rolled up and a worker began tossing bundles of that afternoon’s edition off the truck. It was a real “Front Page” moment, as in old movies when a swirl of numbered calendar pages and newspaper print resolves in to a splashy headline of bold, readable type and a brash reporter rushes off to get the rest of the story. Only this time, it was not a funny, Capraesque moment. In weirdly unfolding slow-motion I watched a particular bundle roll toward me until it landed above the fold, headline up. Like seeing a license plate in front of one’s eyes during a car accident—and remembering the combo of digits and letters forever—I read the inches-high black type: Four Students Shot Dead On Kent Campus. For several days prior, I had been following the antiwar demonstrations at Kent State, about thirty miles from Cleveland, and I knew that Ohio Governor James Rhodes had deployed armed troops to the campus. Pam soon joined me on the sidewalk and I told her the disturbing news. We shared our shock and dismay and probably dropped whatever we had been planning to do, though I have no memory after telling her about the newspaper headline. I recall that little more than a week later I heard on local radio Crosby, Stills, Nash & Young’s recording of “Ohio.” It was as if Neil had written a musical version of an instant book, as is still done in the book world after a terrible catastrophe. In fact, in Neil’s recent memoir Heavy Peace he recalls quickly writing the song and the alacrity with which they recorded it, pushing the acetate copies of the song out to radio stations, before the vinyl 45s had even been pressed. Here’s a youtube version of the song from the Neil Young online archive. Thanks to Neil for making this sharable, as other versions of the song are not.
Eight years later, May 4, 1978
Pamela, our brother Joel, our parents Earl and Sylvia, and I all opened Undercover Books, the bookstore that would define our lives for many years. When I was graduated from Franconia College a year earlier, with a BA in Philosophy of Education and History of Religion, I had imagined I might work for the Anti-Defamation League or some similar organization. I certainly hadn’t thought of working in a bookstore, but my siblings—with Pam having worked in department stores, and Joel at Kay’s Bookstore in downtown Cleveland–had the idea of opening a bookstore in our home suburb of Shaker Heights, where despite it being an affluent and well-educated community, no bookstore had ever been located. We were fortunate in our timing, for in Cleveland, as in several other midwestern cities, book retailing was migrating from the downtown core to the suburbs. Undercover Books caught on right away, and I got what amounted to a graduate education, provided by bookselling. As buyer for adult books for what would become our three-store indie chain, I met every day with bookbuying customers and browsers. We were regularly called upon by publishers’ sales reps, and became a go-to store for houses eager to break out books on the national scene. Notable authors who launched books at the store included Mark Helprin (Winter’s Tale), Richard North Patterson (The Lasko Tangent), and Walter Tevis (Queen’s Gambit). I was with the bookstores for seven years before moving to New York City, and have written more about the transition here on this site. The bookstore proved to be a gateway to my career in the book business and it all began on this date thirty-six years ago today.
Another nine years, May 4, 1987
Now working as an editor at Walker & Company, my first full-time position with a publishing house, I was in the happy position of telling my author Ellen Hunnicutt that her novel, Suite For Calliope: A Music and the Circus—the first book I signed up on arriving at the company, and which was to be published that summer—had just received a starred review in Kirkus. Ellen was very excited as I read her the whole review with lines like these, “An extraordinary first novel that, in its remarkable inventiveness, intelligence, and charm-struck humanity, should draw—and more than richly reward—readers of almost every inclination. . . . A prodigiously masterful novel of profundity, breadth, and continual delight: waiting now only for what ought to be its very, very many readers.” Note I read it to her, and didn’t fax it, probably because neither one of us had one. What added to the special quality of the occasion however was that this day, May 4, was also Ellen’s birthday. You can read more about how I came to discover Suite for Calliope in this essay elsewhere on this blog.
Nowadays, when May 4 rolls around again, even if nothing so deeply tragic or personally historic is occurring in that given year, I marvel at it all. For now, I’m just really glad I created this site over the past couple years, so that this year, I have a proper venue to share my memories of May 4, from 44 years ago, from 36 years ago, and from 27 years ago.
The pictures seen here were taken in what we called “the middle room” at Undercover Books, where we placed a comfortable rattan couch. The black Labrador is our dog Noah, whose ear Joel is massaging. I am wearing the same style of pink eyeglass frames as I wear nowadays. I’ve told the story of how Joel and I came to get Noah at a dog pound in Deadwood, South Dakota, on a cross-country road trip in the summer of 1970, on a biographical blog post I tweeted out it a few months ago, with a picture of Noah and me that I cherish. I miss them both, Noah who passed in 1982, and Joel in 2009.
http://philipsturner.com/wp-content/uploads/2013/05/Screen-Shot-2020-05-04-at-11.50.14-AM.png1003786Philip Turnerhttp://philipsturner.com/wp-content/uploads/2016/11/GGB_Logo.pngPhilip Turner2013-05-03 23:58:152021-05-04 20:38:32May 4th, a Key Date in My Life at 3 Critical Junctures