3 Shows : 1 in New York, 1 in Nashville and 1 in L.A.
Joe has announced that he will join the stage in L.A. (May 22nd.)
Joe performed as an opening act for Mavis last August.
woensdag 27 maart 2019
Mavis Staples & Friends (in L.A.)
In May there will be 3 special shows to celebrate Mavis Staples' 80th Birthday.
3 Shows : 1 in New York, 1 in Nashville and 1 in L.A.
Joe has announced that he will join the stage in L.A. (May 22nd.)
Joe performed as an opening act for Mavis last August.
3 Shows : 1 in New York, 1 in Nashville and 1 in L.A.
Joe has announced that he will join the stage in L.A. (May 22nd.)
Joe performed as an opening act for Mavis last August.
vrijdag 22 maart 2019
There is no Other
Oh Yes I'm excited !
Have you heard the first single I'm on my way from the upcoming Rhiannon Giddens &Francesco Turrisi album ?
It sounds impressive !
Really : Rhiannon, Francesco, Ryan and Joe; What a powerful sound ! song !
I can't wait to hear the rest of the album entitled 'There is no Other'.
It will be released on May 3th, and is already available as a pre-sale.
Listen to a conversation with Rhiannon and Francesco on the label's website : www.nonesuch.com/
And now, you can find me knock-out somewhere in a corner.
Have you heard the first single I'm on my way from the upcoming Rhiannon Giddens &Francesco Turrisi album ?
It sounds impressive !
Really : Rhiannon, Francesco, Ryan and Joe; What a powerful sound ! song !
I can't wait to hear the rest of the album entitled 'There is no Other'.
It will be released on May 3th, and is already available as a pre-sale.
Listen to a conversation with Rhiannon and Francesco on the label's website : www.nonesuch.com/
And now, you can find me knock-out somewhere in a corner.
woensdag 20 maart 2019
5 Years of blogging, 5 open endings.
Today, 5 years ago, I started building the Time is a Lion blog. Since I am a sucker for marking such passings of time, I'm offering exactly that in this post.
Looking back at it all, I posted some stories where we don't know how it evolved further on. Stories with an open ending.
It seemed a good moment to try and offer the follow-up story, and there was only one person who could offer such insides..., I'm gratefull Joe was open for the idea.
Will you finally read the closure of these stories ? Who knows, but maybe new doors will open...
After that, we never heard anything anymore about it. Today it is totally off the radar. What happened to it ?
post : joe-henry-on-vintage-guitars
JH : This is still an idea that Tony and I kick around; but essentially, I believe he became so busy meeting customer orders (New Era is a one-man operation), that investing time into a new design ––which typically could require the completion of numerous prototypes–– has not yet been feasbile. but I am still open to the process. I love both the guitars he has built for me, and Tony is as well an exceedingly kind man.
In an interview in 2015 about Vinyl records, Joe explained that 'Invisible Hour' didn't get a Vinyl release because it was too expensive at the time. We are only a few years later, and both 'Thrum' and 'Shine a light' received their Vinyl release, both with an exquisite artwork. What changed in the meantime ?
post : thoughts-on-vinyl
JH : From my vantage point, what has changed the field a bit is that vinyl records are now significantly out-selling CD's; and as more labels and artists are making vinyl availability a priority, more manufacturing facilities are opening their doors, thus making an LP option less expensive, and requiring less lead time to produce. Not very many years ago, there were only a couple of manufacturing plants in the whole world still pressing music into vinyl grooves, and they were servicing every label’s demand, big and small; and as such it was a pricey proposition. It took a great deal of time from delivering a master to receiving vinyl refs for approval. and some of us just couldn’t reconcile the money or the time.
Is there still chance 'Invisible Hour' is going to be released on vinyl ?
JH : I would sincerely love to have issued “invisible hour” on vinyl, and would still like to. I happen to think it is sonically quite a beautiful recording. Ryan Freeland did exactly what I asked him to do: Catch all the beauty in the collisions of string interplay, and the warmth of our friendship ––and let’s not f... any sounds up just for the sake of doing so. let’s be unabashedly beautiful, if we can manage it.Yes, I’d still love to. but given that I released that record on my own label (in partnership with my management 'Work Song'), it would require an investment from my camp of resources that I’d sooner see going to recording a new album.
Frankly ––the lion’s share of songs for such having already been written, I think.
The growth of the 'Vinyl industry' happened indeed quickly these last years. Even your album 'Shufletown' got released on LP..
JH : Well, I had absolutely nothing to do with the reissue of ‘shuffletown’ onto vinyl. In fact, I didn’t know it had happened ––or was even being discussed–– until someone (No idea who that could've been) posted on social media a new physical copy. I still don’t have possession of one…haven’t heard its remaster, nor a single pressing ref.
OK, I'll make you an offer you can't refuse : Next time you are in our regions, we must listen to it together.
All kidding aside, such issues bring me to the following dilemma. Take for example a listener like me. When I buy music, I'd prefer that the money I invest, is fairly shared towards the artists who made it. Off course musicians, but there is also artwork,... What do you think, is the best purchase to do ? A legal download or streaming format, CD, LP, ... ?
JH : There isn’t a quick answer to this, given that none of us can know, when buying/streaming music, just what deals might be in place for any given artist that might best insure that the revenue stream flows as close to the artist as possible; but I am of the belief (and it is based more on instinct than on research) that vinyl is more typically instigated directly either by an artist and/or in partnership with.
It is almost a year ago, when the fundings for musical projects in Australia where made public. One of these projects was a record by Heath Cullen, Joe Henry and Jim Keltner.
post : heath-cullen-jim-keltner-joe
I was wondering, if it was already recorded or planned.
JH : It is a project I still dearly hope to do. Heath and I continue to look for an opportunity of time that works for us both. As well, we collectively have some grand ambition for this project, and a number of very particular people (Jimmy Keltner not least of which) who we are still figuring how to get all in the same room together. We could do it in pieces, of course; but both Heath and I feel committed to at least trying to go for some real-time alchemy, if we can manage it.
A Couple of months ago, unfortunatly Steve Lippman passed away.
"He (Joe) became part of the creative team of an ambitious project of mine not yet made."
post : mid-summer-update-2018
JH : The sudden passing of Steve Lippman was and remains a shock to those of us who loved and admired him. Beyond the work he did for me around “tiny voices” and “thrum,” we had been in conversation for years about his desire to make a documentary film around Judy Garland’s seminal appearance at Carnegie hall in 1961. He was interested in me writing the score and curating the period source music. I think Steve’s vision was to not only look at Garland’s powerhouse performance on an historic night, but to look as well at the times surrounding it... that provided its context. It’s a project that was dear to Steve’s heart, and I believe he had every intention of realizing it, no matter how long it took.
Do you think you, or someone else, might do something with the idea in the future ? Perhaps to honor Steve ?
JH : I can’t imagine this ever being undertaken without Steve. It was based on his vision, and a fundamental and wholly personal belief in the transformational aspects of that performance from Judy. Like a poem never written by a particular poet: No one else can step in and imagine its weather system.
So Joe, you had a writing residency in Ireland. Now how do we have to imagine such a residency ?
post : writing-in-ireland
JH : When my wife Melanie and I were on the west coast of Ireland to celebrate our 30th anniversary, in may of 2017, we spent part of our time in the small seaside village of Ballyvaughan, where we happen to have a dear friend living. While there and in a pub one evening, I met the dean of the local Burren College of Art; and he invited me to think about my coming back there for a writing residency. He explained it to me over time that I would have no real obligations other than to show up with whatever it was I was interested in writing, and just…doing it there; be a presence on campus, where I might interact ––as much or as little as I cared to–– with the young art students. In exchange, the school would provide me a studio space at the school, a rental cottage for me and my wife, right by the sea.
Needless to say I jumped at the opportunity. I had an office in which to write, and I showed up there monday through friday, from roughly 10AM until 5:50PM, for a month; and I wrote. a lot of poems and several songs that I think will serve me well. I also did a lexture one afternoon for the students (mostly visual artists) about how I engage with the creative process. and then on the last weekend there, I invited in from Dublin both Lisa Hannigan and Glen Hansard to do a songwriting workshop with me, and then a shared performance that evening, as a benefit for the school.
Never underestimate the power of (creative) people around you. I personally believe that everything that happens in your live is important for your further evolution. It is impossible to measure, but at the same time unpayable. I'm sure your presence had an important influence for those students.
JH : If my presence at the art college in Ballyvaughan had any lasting impact on any student, it would be without my realizing it ––and well beyond my means to quantify its value. I’d like to think it meant something to someone other than me that I was there; but i don’t think I could ever know it.
That is also an aspect of something unmeasurable. The entire trip sounds like a wondeful experience.
JH : It was one of the great autumns of our lives, both Melanie and I agree.
Greetings,
Stefan.
Looking back at it all, I posted some stories where we don't know how it evolved further on. Stories with an open ending.
It seemed a good moment to try and offer the follow-up story, and there was only one person who could offer such insides..., I'm gratefull Joe was open for the idea.
Will you finally read the closure of these stories ? Who knows, but maybe new doors will open...
Signature Guitar.
In oktober 2014 I asked Joe a few questions regarding Vintage Guitars. At the time, there was talk of a 'Joe Henry' signature.
"It is still in the design phase, but Tony (Klassen) and I are working on a model together based on a Regal guitar from the mid-30s, but with variations based on my favorite Gibson guitars –most notably a short-scale."
After that, we never heard anything anymore about it. Today it is totally off the radar. What happened to it ?
JH : This is still an idea that Tony and I kick around; but essentially, I believe he became so busy meeting customer orders (New Era is a one-man operation), that investing time into a new design ––which typically could require the completion of numerous prototypes–– has not yet been feasbile. but I am still open to the process. I love both the guitars he has built for me, and Tony is as well an exceedingly kind man.
Vinyl Records
In an interview in 2015 about Vinyl records, Joe explained that 'Invisible Hour' didn't get a Vinyl release because it was too expensive at the time. We are only a few years later, and both 'Thrum' and 'Shine a light' received their Vinyl release, both with an exquisite artwork. What changed in the meantime ?
post : thoughts-on-vinyl
JH : From my vantage point, what has changed the field a bit is that vinyl records are now significantly out-selling CD's; and as more labels and artists are making vinyl availability a priority, more manufacturing facilities are opening their doors, thus making an LP option less expensive, and requiring less lead time to produce. Not very many years ago, there were only a couple of manufacturing plants in the whole world still pressing music into vinyl grooves, and they were servicing every label’s demand, big and small; and as such it was a pricey proposition. It took a great deal of time from delivering a master to receiving vinyl refs for approval. and some of us just couldn’t reconcile the money or the time.
Is there still chance 'Invisible Hour' is going to be released on vinyl ?
JH : I would sincerely love to have issued “invisible hour” on vinyl, and would still like to. I happen to think it is sonically quite a beautiful recording. Ryan Freeland did exactly what I asked him to do: Catch all the beauty in the collisions of string interplay, and the warmth of our friendship ––and let’s not f... any sounds up just for the sake of doing so. let’s be unabashedly beautiful, if we can manage it.Yes, I’d still love to. but given that I released that record on my own label (in partnership with my management 'Work Song'), it would require an investment from my camp of resources that I’d sooner see going to recording a new album.
Frankly ––the lion’s share of songs for such having already been written, I think.
The growth of the 'Vinyl industry' happened indeed quickly these last years. Even your album 'Shufletown' got released on LP..
JH : Well, I had absolutely nothing to do with the reissue of ‘shuffletown’ onto vinyl. In fact, I didn’t know it had happened ––or was even being discussed–– until someone (No idea who that could've been) posted on social media a new physical copy. I still don’t have possession of one…haven’t heard its remaster, nor a single pressing ref.
OK, I'll make you an offer you can't refuse : Next time you are in our regions, we must listen to it together.
All kidding aside, such issues bring me to the following dilemma. Take for example a listener like me. When I buy music, I'd prefer that the money I invest, is fairly shared towards the artists who made it. Off course musicians, but there is also artwork,... What do you think, is the best purchase to do ? A legal download or streaming format, CD, LP, ... ?
JH : There isn’t a quick answer to this, given that none of us can know, when buying/streaming music, just what deals might be in place for any given artist that might best insure that the revenue stream flows as close to the artist as possible; but I am of the belief (and it is based more on instinct than on research) that vinyl is more typically instigated directly either by an artist and/or in partnership with.
Heath Cullen
It is almost a year ago, when the fundings for musical projects in Australia where made public. One of these projects was a record by Heath Cullen, Joe Henry and Jim Keltner.
post : heath-cullen-jim-keltner-joe
I was wondering, if it was already recorded or planned.
JH : It is a project I still dearly hope to do. Heath and I continue to look for an opportunity of time that works for us both. As well, we collectively have some grand ambition for this project, and a number of very particular people (Jimmy Keltner not least of which) who we are still figuring how to get all in the same room together. We could do it in pieces, of course; but both Heath and I feel committed to at least trying to go for some real-time alchemy, if we can manage it.
Steve Lippman
A Couple of months ago, unfortunatly Steve Lippman passed away.
"He (Joe) became part of the creative team of an ambitious project of mine not yet made."
post : mid-summer-update-2018
JH : The sudden passing of Steve Lippman was and remains a shock to those of us who loved and admired him. Beyond the work he did for me around “tiny voices” and “thrum,” we had been in conversation for years about his desire to make a documentary film around Judy Garland’s seminal appearance at Carnegie hall in 1961. He was interested in me writing the score and curating the period source music. I think Steve’s vision was to not only look at Garland’s powerhouse performance on an historic night, but to look as well at the times surrounding it... that provided its context. It’s a project that was dear to Steve’s heart, and I believe he had every intention of realizing it, no matter how long it took.
Do you think you, or someone else, might do something with the idea in the future ? Perhaps to honor Steve ?
JH : I can’t imagine this ever being undertaken without Steve. It was based on his vision, and a fundamental and wholly personal belief in the transformational aspects of that performance from Judy. Like a poem never written by a particular poet: No one else can step in and imagine its weather system.
Writing in Ireland
So Joe, you had a writing residency in Ireland. Now how do we have to imagine such a residency ?
post : writing-in-ireland
JH : When my wife Melanie and I were on the west coast of Ireland to celebrate our 30th anniversary, in may of 2017, we spent part of our time in the small seaside village of Ballyvaughan, where we happen to have a dear friend living. While there and in a pub one evening, I met the dean of the local Burren College of Art; and he invited me to think about my coming back there for a writing residency. He explained it to me over time that I would have no real obligations other than to show up with whatever it was I was interested in writing, and just…doing it there; be a presence on campus, where I might interact ––as much or as little as I cared to–– with the young art students. In exchange, the school would provide me a studio space at the school, a rental cottage for me and my wife, right by the sea.
Needless to say I jumped at the opportunity. I had an office in which to write, and I showed up there monday through friday, from roughly 10AM until 5:50PM, for a month; and I wrote. a lot of poems and several songs that I think will serve me well. I also did a lexture one afternoon for the students (mostly visual artists) about how I engage with the creative process. and then on the last weekend there, I invited in from Dublin both Lisa Hannigan and Glen Hansard to do a songwriting workshop with me, and then a shared performance that evening, as a benefit for the school.
Never underestimate the power of (creative) people around you. I personally believe that everything that happens in your live is important for your further evolution. It is impossible to measure, but at the same time unpayable. I'm sure your presence had an important influence for those students.
JH : If my presence at the art college in Ballyvaughan had any lasting impact on any student, it would be without my realizing it ––and well beyond my means to quantify its value. I’d like to think it meant something to someone other than me that I was there; but i don’t think I could ever know it.
That is also an aspect of something unmeasurable. The entire trip sounds like a wondeful experience.
JH : It was one of the great autumns of our lives, both Melanie and I agree.
Greetings,
Stefan.
maandag 11 maart 2019
Rabbit Hole, Rosanne Cash
Rabbit Hole is a song by Rosanne Cash. It is featured on her latest album 'She Remembers Everything.'
She wrote this song for her friends Joe Henry and Billy Bragg.
After a serious operation in 2007, it was a struggle for her to return to the stage. Seeing Joe and Billy perform helped her through it.
She wrote this wonderful song for them. A great song about the power of friendship. Cherish it !
She wrote this song for her friends Joe Henry and Billy Bragg.
After a serious operation in 2007, it was a struggle for her to return to the stage. Seeing Joe and Billy perform helped her through it.
She wrote this wonderful song for them. A great song about the power of friendship. Cherish it !
I just want a road that bends
A love that wins
An honest friend
I just want a night of peace
A blessed relief
I want to make you see
That you in your crumpled splendor
When you sing to the farthest rafter
With your big life full of love and laughter
Can pull me up from the rabbit hole
To show me the road that bends
The love that wins
You're an honest friend
And you'll give me that night of peace
Blessed relief
You can make me see
That you with your light and glory
With your old dreams and epic stories
You seal all the darkened doors
And pull me up from the rabbit hole
I just want a road that bends
A love that wins
An honest friend
I'm looking for a night of peace
Blessed relief
You could make me see
That you, with your soldier's honor
You kind man and plainsong scholars
You sound like a million dollars
You pull me up from the rabbit hole
A love that wins
An honest friend
I just want a night of peace
A blessed relief
I want to make you see
That you in your crumpled splendor
When you sing to the farthest rafter
With your big life full of love and laughter
Can pull me up from the rabbit hole
To show me the road that bends
The love that wins
You're an honest friend
And you'll give me that night of peace
Blessed relief
You can make me see
That you with your light and glory
With your old dreams and epic stories
You seal all the darkened doors
And pull me up from the rabbit hole
I just want a road that bends
A love that wins
An honest friend
I'm looking for a night of peace
Blessed relief
You could make me see
That you, with your soldier's honor
You kind man and plainsong scholars
You sound like a million dollars
You pull me up from the rabbit hole
P.S. : A limited release of the album 'She remembers Everything' features letters exchanged between her and Joe (and a few more)
zondag 10 maart 2019
'Demon Seed' by Doug Seegers
Listen to the first single of Doug Seegers' upcoming album 'A story I got to tell'. The album is produced by Joe Henry.
Here is Demon Seed
The album will be released on May 31. You can already pre-order it.
Here is Demon Seed
The album will be released on May 31. You can already pre-order it.
Rhiannon Giddens and Francesco Turrisi
Rhiannon Giddens and Francesco Turrisi recorded an album last summer, produced by Joe Henry.
They are currently touring in Ireland and have given some info for this record in a few interviews.
 |
| Photo : Karen Cox |
The duo have a forthcoming album, recorded with Joe Henry at Windmill Lane, and it is a musical voyage of discovery from Africa and the Middle East across to Europe and the Americas. They discovered a shared creative ground after their paths crossed a few years back, spanning gospel, jazz, blues, country and folk, but this is their first nationwide tour of Ireland.(source)
What we can expect from this voyage we can read in another interview. In this interview they speak about the current tour.
"We’ll play an Appalachian ballad with an Iranian frame drum normally used by Sufis for trance,” Turrisi says, “but you know, there’s almost a trance element to the ballad singing and the resonance of the large frame drum gives a kind of a drone effect. And we have a minstrel tune on the banjo with a Sicilian tamburello [an Italian tambourine]. And an old time American tune connected to a Brazilian forró sound. They seem to go hand in hand: we’ve discovered improbable connections that somehow work.”
further on in the interview Rhiannon explains :
I’m discovering so much about how invisible, othered and dismissed the Islamic world is, in terms of the massive effects it had on European music and culture,” Rhiannon continues. “For example, the massive impact it had on the African continent, the number of Muslim enslaved people there were in the Americas: way more than people think. It’s a really huge topic and we’re barely scratching the surface. But even having some of the rhythms and modes that Francesco has been working on through his music for so long match up so well. The way that both of us approach music is very similar because we’re both very educated about where the music is coming from. But when it comes to playing, we’re both just playing what we feel.
The interview for the Irish Times announces 'an' album for the coming month of May.
I must admit.
I'm intrigued by all of this, and looking forward to it.
Greetings,
Stefan.
vrijdag 8 maart 2019
Songs of our Native daughters
Songs of our Native daughters
This album is Musical journalism.
What better day is there than today, international Women's day, to thank, honor and put on a pedestal these 4 women, and what they have created.
How do I start writing about this album? I can’t get my thoughts in line, they are all together pushing their way out, as if there was a fire in my head. I am supposed to write a logical, structured text, and not this uncontrolled stream of thoughts. Who knows where this entry is ending up?
Songs of our Native daughters is an album that shines light on African-American women’s stories of struggle, resistance and hope. It is a confrontation with America’s history of slavery and racism seen from a woman’s point of view. It was Rhiannon Giddens who felt the need to address these stories, and she invited Amythyst Kiah, Leyla McCalla and Allison Russell to a, how to say it…, a custom-made recording studio in Louisiana. A studio created by their producer Dirk Powell. In the meantime it is also an ode to a centuries old musical heritage of minstrelsy, bluegrass and folk. This interweaved with a celebration of the banjo, which can not be left aside in these histories.
On top of that : the title is a tribute to James Baldwin's essay : 'Notes of a Native Son' .
Several reviews for this album have already been written, and they all, righteously, praise this album, this music, these wonderful musicians. If they don’t know it yet, they will know it now: I truly admire these musicians, these human beings. It is indeed great music, powerful music, and only for that a must to hear.
But that’s not what I wanted to write about.
Although this album consists of stories from the past, it still is relevant today. Although these are stories about the African-American history; the issues addressed here can easily be translated to a global scale, and any kind of disrespect from 1 side to another more unfortunate one. The re-interpretation by Dirk Powell, from William Cowper’s poem “Pity for Poor Africans” from 1788 is the clearest proof of that. You can listen to it in the song ‘Barbados’.
This album is, what I would call, Musical journalism. It is like the war journalist who doesn’t search the big overall story of a conflict, but the one who tells the stories of innocent inhabitants who have to endure it all against their will. It is, for me, the most important form of journalism, for it tells you exactly how brutal it all is, and not how political just or unjust.
William Cowper displays us the problem of using only such journalism. Or is it propaganda? It depends on which side you are on, I guess. In the poem a person starts talking about his disapproval of slavery, but soon comforts, maybe mostly himself, by explaining that it is for a good cause: coffee, tea…. And if they didn’t someone else would… and so on. The de-humanization of these Africans is taken for granted. They were addressed as slaves…. Not as Africans or humans, but with a word that has no human connotation: Slave. That makes it easier for people to accept the inhuman behavior towards these people. Step 1: you de-humanize them.
Today, in Europe, a same thing is happening for people who are fleeing from parts in the world where it is (or is becoming) impossible to live. Mostly because of war or climate change. These people are not called humans. No, we use words like refugee or luck-seeker. In my country, last year, a 2-year-old child was killed by a police bullet. “It was only a refugee” was something you heard a lot,... too much.
No! A 2 year old child died !
But back to the poem: Dirk Powell’s re-interpretation talks about modern slavery where it is not anymore about wool or sugar, but about the raw materials for our electronic devices. (Yes, I am aware I am typing this on an electronic device.) You can also easily interpret it towards cheap clothing, coffee from farmers in Africa, Shrimps for our summer barbecue, hazelnuts for our chocolate spread…
All (actually) luxury items we (also me) take for granted in our Western society.
Cynically Dirk Powell’s version ends with “So relax, my friend-we’re not all complicit.”
Should I, or we, feel complicit? Is it OK if I ask myself, or you that question? – There are politicians in my country who literally say we live in a superior society, so I think they don’t ask them self that question. But I do, … I ask myself more questions then I can give answers. I sometimes wish I didn’t, because that would be easier for my mind. Hellas, or luckily, I am who I am…
Am I complicit because (f.e.) I use smartphones and tablets? The easiest simple answer is: ‘no, because I can’t help it.’ But there is a more difficult complex answer. I don’t think you can point at it to individuals. We must question the society we live in. We all agree that any kind of slavery must end. Why do we, even today, close our eyes for such? I think, deep down, we all know there are people suffering so that we can have our ‘self-called-basic-needs’. Why do we find it for ourselves normal to be payed well, and work in healthy conditions, but don’t speak up for other parts of the world?
If we can do it for our own society, we can do it for everyone in the world, and that starts with thinking of this earth, this universe as 1 big society. a society of different people but all equal.
Bringing back a human face to the oppressed helps with that.
Stories of the innocent people who have to endure it, do exactly that.
This musical album does that.
That’s why, besides being a fantastic album, this is a very important album.
"We can do better, We can be better. We are 1 family, blood and bones, one race-human- and so many beautiful colors. We have love. We can take better care of eachother. Music helps, Music heals."
Allison Russell
And I thank you Rhiannon,
And Amythyst, Leyla, Allison and Dirk.
1000 words in - : my electronic device tells me, and if you made it up to here with me, you can maybe understand a little why these thoughts needed to come out.
Much Love,
Stefan.
dinsdag 5 maart 2019
Rich Hinman vs. Adam Levy Part II
The wonderful record Rich Hinman vs. Adam Levy arrived this afternoon.
As I assumed : on the backside of the artwork, besides all the usual info, you find Joe Henry's praise for this album. It is entitled 'Rookie of the Year', just like the song on the B-Side written by Rich Hinman & Chris Morrissey.
Once I start listening to the record, I get reminded again that there is another lifeform, besides a biological one, out there. It is entitled music.
How else can you explain that you are witnessing feelings from sadness up to joy while all that there is, are the soundwaves floating in the room.
It's a lifeform that is created, but who is the creator of this one ?
It are musicans Rich Hinman, Adam Levy, Jennifer Condos and Jay Bellerose who perform these songs. These are four musicians who already are high up there in 'tower of songs', and with this record they remind us all why they are in that place.
But are they the creator of these songs, or did the songs choose them to find their way out ?
When is a song born ? When it is played, or when it started brewing in the minds of Musicians ?
I am a total amateur musician, but I know, sometimes when you play music,... your mind seems not to be the one to move your body, but it is the music inside yourself that takes over.
This record feels like it always has existed, but it only needed to be played, and only Rich, Adam, Jennifer and Jay could have done it, there was no other way.
I thank all of them.
Greeting,
Stefan.
As I assumed : on the backside of the artwork, besides all the usual info, you find Joe Henry's praise for this album. It is entitled 'Rookie of the Year', just like the song on the B-Side written by Rich Hinman & Chris Morrissey.
Once I start listening to the record, I get reminded again that there is another lifeform, besides a biological one, out there. It is entitled music.
How else can you explain that you are witnessing feelings from sadness up to joy while all that there is, are the soundwaves floating in the room.
It's a lifeform that is created, but who is the creator of this one ?
It are musicans Rich Hinman, Adam Levy, Jennifer Condos and Jay Bellerose who perform these songs. These are four musicians who already are high up there in 'tower of songs', and with this record they remind us all why they are in that place.
But are they the creator of these songs, or did the songs choose them to find their way out ?
When is a song born ? When it is played, or when it started brewing in the minds of Musicians ?
I am a total amateur musician, but I know, sometimes when you play music,... your mind seems not to be the one to move your body, but it is the music inside yourself that takes over.
This record feels like it always has existed, but it only needed to be played, and only Rich, Adam, Jennifer and Jay could have done it, there was no other way.
I thank all of them.
Greeting,
Stefan.
maandag 4 maart 2019
Doug Seegers produced by Joe
On May 31 2019, Doug Seegers will release his new album. It is produced by Joe. The album is entitled 'A story I got to tell'.
The album was recorded in the spring of 2018.
source
Here is 'Angies's song' from 2015.
‘A Story I Got To Tell’ is Doug Seegers’ first major album release on BMG in the UK. American by birth and a star in Sweden, he has gold and platinum discs to his name, hundreds of live shows to his credit and multiple successful album releases elsewhere in the world.
Released on May 31st ‘A Story I Got To Tell’ features eleven new tracks and is produced by renowned GRAMMY-winning US producer Joe Henry. Encompassing country and blues, gospel, soul and rock, it’s a fluid and eloquent mix that demonstrates just how accomplished Seegers is as an artist; though as the title suggests, his story has not all been plain sailing.
The album was recorded in the spring of 2018.
“Working with Joe Henry has been one of the most revolutionary and evolutionary experiences,” says Seegers. “This album is probably my most personal songwriting experience ever and reminds me why every day I choose my recovery, my redemption, and my faith. Through my music I know my authentic message of hope and rehabilitation can help people. It’s what I’m meant to do. It’s the story I’ve got to tell.”
As producer on the new album, Henry instantly connected with Doug’s charismatic presence, his soulful songs, and his artistic sensibility. The result of their collaboration takes Doug beyond his signature country sound to a rich soundscape where soul, blues, rock and gospel intersect — redefining Doug Seegers as a classic American Music artist in the same legendary category as Ray Charles, Johnny Cash, Willie Nelson, and Roy Orbison.On March 8th, the first single 'Demon Seed' will be released.
source
Here is 'Angies's song' from 2015.
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