Archive for the ‘Jenny Whiteley’ Tag

Fervor Coulee’s Favourite Roots Albums of 2016   2 comments

At the end of each year, writers and broadcasters get to indulge themselves and—one hopes—their readers and listeners with their judgements on the year past.

I’ve spent substantial time reviewing the roots/Americana/whatever you want to call them, if they are on the No Depression list I might have considered them, and even if they aren’t I still may have albums I heard during the past year, and have come up with my definitive (at least for today) list of Favourite Roots Albums of 2016. Of course, your kilometreage will vary: I once received a cranky email from the father of a fairly prominent bluegrasser whose album I didn’t include on such a list several years ago. For those such inclined, I repeat—these are my favorite roots albums of the year. Not the best, ’cause that is silly. And all I can base it on is those albums I’ve heard, and maybe I somehow missed your son’s album…talk to his publicist.

I’ve already posted my Favourite Bluegrass Albums of 2016, and while bluegrass is an essential part of roots music, I’ve chosen not to intermingle the ‘grass into this list. Reason? This way I get to praise more albums. If you care about such stuff, my favourite bluegrass album of the year, Laurie Lewis & the Right Hands’ The Hazel and Alice Sessions would also top this list if I were to include bluegrass amongst the roots. Likely the top six bluegrass albums would have made my top 20 roots albums, and I likely would have found space for Sam Bush, too…

The number rankings, once past four or five, don’t mean much more than a way for me to stay organized: feel free to move your favourite up a spot or three. Full reviews are linked as artist/title.

My Favourite Roots Albums of 2016 are…

cds1882-20160322121902

1.Mark Erelli- For a Song Likely the album I listened to second most all year. Erelli has been at the top of his game over the past number of years, both with his bluegrass band Barnstar!, as an interpreter of others’ music (his Bill Morrissey album of a couple years back, Milltowns,) as a pissed off (alternately, disappointed) topical folkie of the Woody Guthrie vein (“By Degrees,”) and on his latest full length release, For A Song. For a Song is a quiet album, yearnsome and blue in turn, reflective, observant, and above all honest; the album wove its way into my soul, making me appreciate what I understand and consider that which I don’t. I just wish he would show up in Alberta some time.

2.Maria Dunn- Gathering One of Alberta’s foremost folk musicians returns with her sixth collection of lyrically-rich gems. An artist who places her convictions and heart on display in complementary proportions, Dunn has found balance between sharing the inspirational and compelling within songs that are insightful, artfully constructed, and just plain enjoyable. There will always be more than a bit of the Celtic lands in Dunn’s music, and throughout Gathering African, Asian, and Canadian First Nations influences can also be heard. Like the finest troubadours, Dunn communicates: she is the vessel through which others exist. She reveals the innermost, personal, and captivatingly universal perspectives and insights of devoted parents, the down-trodden challenged by circumstance, those connected to the land by more than choice, and the youthful who rise above.

Certainly one of the finest recordings to be released this year. Those who compare Maria Dunn to Woody Guthrie, Hazel Dickens, Jean Ritchie, and Buffy Sainte-Marie aren’t taking the easy way out: with the release of Gathering she demonstrates that she is an international folk artist of significance.

3.Jenny Whiteley- The Original Jenny Whiteley On this recording, Whiteley satisfies a desire to more fully explore the music that provided the foundation for her development—old-time folk sounds that have existed and thrived for generations. A recognition of her rich and diverse Americana/Canadiana upbringing within the venerable Whiteley clan, this fifth recording is a rootsy masterpiece. In a lesser artist’s hands such a multi-dimensional homage might sound disjointed; The Original Jenny Whiteley is united in its eccentric melding of the rich traditional and roots tapestry—folk, jugband, bluegrass, early jazz and ragtime, Francophone, Dylan, and the blues.

4.The Honeycutters- On The Ropes Fronted by Amanda Anne Platt, the Honeycutters offer up country sounds that have a bit of rock ‘n’ roll push, a combination that enhances rather than detracts from their honky-tonk foundation. Their instrumental interplay is excellent, and Platt has an incredible voice, as powerful as needed and as tender as desired. There exists an intimacy within these songs, all but one written by Platt, and that intensity allows the songs (and their performance) to make personal connections with listeners.

The Dixie Chicks seem a reasonable comparison. Playfully rambunctious and justly pointed, a song like “Let’s Get Drunk” resonates: “…and if the ship is really sinking what’s the use in waiting til it’s sunk? Baby, we’re already drinking, so we might as well get drunk.” Where was she 35 years ago?!

5.Western Centuries- Weight of the World I am sure it is no coincidence that the debut album from Western Centuries vaguely resembles the self-titled release from a late 60s band of considerable Americana-roots influence. Fronted by a trio of songwriters, each singing their own songs with distinctiveness, Western Centuries is a modern country band that encourages cerebral shifts as readily as it does two-stepping shuffles. Drawing inspiration from generations of country honky tonk singers and their bands, Western Centuries is something many of us are continually pursuing—a genuine country band that doesn’t take the easy way reinterpreting familiar songs, but rather pushes their talents toward creating modern classics. Weight of the World is pert darn special.

6.Robbie Fulks- Upland Stories Stone classic this one is. Nominated for a Grammy for “Alabama at Night”—wait a second, Robbie Fulks is nominated for a Grammy! Let that percolate for a minute. Maybe 2016 wasn’t an entirely awful year! There are a dozen memorable songs on Upland Stories, none indistinguishable from those surrounding it. Maybe not Fulks’ most exciting or dynamic album (tough to beat those early albums,) but maybe his best.

7.William Bell- This Is Where I Live I have to admit, when I saw a tweet from Rosanne Cash about a new William Bell album, my first thought was “Is that like the Pop Staples album of last year?” Because I truly thought William Bell was dead. Idiot, me. I first heard William Bell after Billy Idol covered “To Be A Lover,” playing the crap out of that pink Soul of a Bell album in the mid-to late-80s. I’ve now played This Is Where I Live as many times. A beautiful sounding, complete album. Another Grammy nominee. Tied with #8 for Comeback of the Year.

8.The Monkees- Good Times! Hands down, my most played album of the year. No Depression has it on their year-end list, so that makes it roots enough for me. “She Makes Me Laugh,” “You Bring the Summer,” and “Love to Love” are just great songs. Pure pop for old people.

9.Caleb Klauder and Reeb Willms- Innocent Road Featuring the Caleb Klauder Country Band, Innocent Road is comprised of a half-dozen Kluader songs, a few obscure covers, and a healthy dollop of familiar country classics from the likes of Buck Owens and George Jones. The kicker is a track from Paul Burch’s stunning Fool For Love album, “C’est le Moment (If You’re Gonna Love Me,)” artfully sung by Willms.

As much as I enjoy Prine and DeMent and Robison and Willis, I think I might just prefer what this duo accomplishes. There is no artifice within these recordings, no hint of sly aside.

10.Northern Cree- It’s A Cree Thing North America’s original roots music perhaps? Northern Cree are a drum group from Alberta, and It’s A Cree Thing has also been nominated for a Grammy, the seventh time this group from Saddle Lake has been recognized in this manner. It’s A Cree Thing is a powerful collection of round dance songs full of energy, personality, and history. “Oh, That Smile” should be a hit single! Gorgeous.

11.Darrell Scott- Couchville Sessions With consistency his strong suit, and similar in most ways to his breakthrough album Family Tree, Couchville Sessions is a welcoming listening experience highlighted by Scott’s warmly distinctive voice and diverse presentation choices. Recorded around the same time Scott was starting to ‘break’ 15 years ago—working with Tim O’Brien and Guy Clark then—this is a set of well-aged performances captured in Scott’s living room, the gestation of which are disguised within the sultry “Come Into This Room.” It provides continuing evidence that Scott is one of Americana’s most vibrant visionaries.

12.Matt Patershuk- I Was So Fond of You Back in January or so of this year, I was listening to the radio and a four-song set was played-some combination of Corb Lund, Guy Clark, John Fulbright, and Patershuk, and I recall realizing that I couldn’t tell which of those guys was from La Glace, Alberta and making his living in construction. Put his songs on WDVX, and Patershuk would sound as comfortable alongside Darrell Scott, Fred Eaglesmith, and Chris Stapleton. Heck, add Sturgill Simpson, Hayes Carll, and the rest to the list. Patershuk is the real deal, folks. If you are missing the country, the kind of country music recorded in the days when there was more grease and a little less gloss, check out I Was So Fond of You.

13.Eric Brace & Peter Cooper- C & O Canal I suspect that I would enjoy passing time about a round table with a cool beverage in my hand in the company of either Eric Brace or Peter Cooper. Two of my favourite musicians, songwriters, and wordsmiths, Cooper and Brace have released a strong slate of albums over the past decade. C & O Canal, their latest, pays homage to the folk and bluegrass music the two encountered in Washington, DC in the 70s and 80s.

14.Rory Block- Keepin’ Outta Trouble A tribute to Bukka White, this set is so strong that it deserves a place in my Top 20 rather than as part of my tributes/collections list that is still being assembled. Block goes beyond White’s music, creating original music inspired by his life and his approach to the blues. With attention to detail, but an even greater sense of purpose, Block enlivens these performances with a balance of passion and precision that breathes life into oft-encountered numbers. Her voice is magic, and her approach to blues guitar is clean, restrained, and just damn fine beautiful.

15.Dori Freeman- Dori Freeman Freeman isn’t interested in presenting herself as some social archeology project, the mountain singer untouched by modern sway. She is a contemporary vocalist, one touched by the influences of her rural mountain upbringing as well as less-rustic contributions. She is a folk singer, a country singer, and a pop singer, all rolled into one appealing vocal package. Having written these ten songs, Freeman most obviously has her own viewpoint and voice, one that has been honed by producer Teddy Thompson; the focus of the arrangements, musicians, and production choices remain on Freeman and her songs.

16.Red Tail Ring- Far Away Blues How did this relatively unheralded set have such a significant impact on me that it took about two months to (barely) uncover the words to attempt a review? It is danged freakin’ good. This Michigan duo of Laurel Premo and Michael Beauchamp is incredible. They have the rare ability to inhabit songs, removing the barrier of time, place, and reality between their performance of ancient tunes “Yarrow” and “Come All Ye Fair & Tender Ladies,” their own timely compositions, the recorded medium, and the audience. You are transported into the recording, watching the pair lean into their songs as they maintain eye contact to communicate chords and progressions.

17.Chicago Farmer- Midwest Side Stories Cody Diekhoff—okay, Chicago Farmer—doesn’t set out to do anything fancy on Midwest Side Stories. He has insight into the experiences and internal dialogues of contemporary working class folks, and has the artistic ability to convert these into songs of substance and interest. “Skateboard Song” touches on a whole lot of stuff—youthful disenchantment, small-mindedness, finger-pointing, and police harassment, just to start—over a hard-beaten melody that would do both Weezer and Dan Bern proud. Chicago Farmer’s mid-western insights do not limit these songs: they appeal whether you are rural or urban, upstate or down, blue- or white- collar, Canadian or American. “Rocco N’ Susie” are our neighbours, the ones we don’t really know, but are more like us than we care to admit—a couple pay cheques away from foreclosure, a few months from desolation, several bad decisions from remand. The gradual journey from independence to dependence is identified in “Farms & Factories,” suspicion thrives in “Revolving Door,” and the night shift margins are explored on “9 pm to 5.”

18.Margo Price- Midwest Farmer’s Daughter I had several albums circling around these final spots, and I went with the ones I did because of their genuineness, their apparent authenticity. There is little to suggest Price considered market configurations or sales ramifications when compiling the songs for this release. Like Hazel Dickens did and Brandy Clark does, Price sings and writes of true life situations, and like Dickens (but not so much Clark) she doesn’t add a lot of spit and polish to the music. When I hear “Four Years of Chances,” “Hurtin’ On the Bottle,” “Desperate and Depressed,” and “This Town Gets Around,” I imagine I’m experiencing something similar to what folks felt listening to Loretta Lynn for the first time more than fifty years ago; still, I don’t think Loretta ever sang of blow jobs.

19.Corey Isenor- A Painted Portrait (Of the Classic Ruse) This is country music. Just not country music. There are times, as in “From Towers to Windmills,” that I am reminded of New Order (“Love Vigilantes.”) At other points Isenor’s approach reminds me of Matthew Lovegrove’s Woodland Telegraph: sparse, minimalist and achingly poignant (“Queen of Calgary” and “Diamonds on the Moon.”) “The Navy Blues” is catchy and complex, with Andrew Sneddon’s pedal steel providing additional melancholy. Rebecca Zolkower and Desiree Gordon’s vocals lend depth to several songs, as do Liam Frier’s guitar contributions. Alt-country continues with Corey Isenor.

20. Grant-Lee Phillips- The Narrows Sometimes you locate an album never realizing you were looking for it. The Narrows is one of those albums. I have a couple Grant-Lee Phillips albums, ones I listened to a few times upon purchase and then filed away in the drawers. I was looking around the internet one night a few months back and clicked on a video link for “Tennessee Rain.” Before the song was finished playing, I had gone into iTunes and hit Buy. Raucous in places (“Rolling Pin”) and atmospheric elsewhere, the deluxe edition of the album provides additional takes that extend the pleasure of the listen. While the Drive By Truckers delivered a more timely and angry disc, GLP produced the more enduring one.

I’m out of words, but also enjoyed these discs:

Brandy Clark- Big Day in a Small Town; Mary Chapin Carpenter- The Things That We Are Made Of; Parker Millsap- The Very Last Day; Lori McKenna- The Bird & the Rifle; Paul Gauthen- My Gospel; Loretta Lynn- Full Circle; Mandolin Orange- Blindfaller; Blackie & the Rodeo Kings- Kings & Kings; Chely Wright- I Am the Rain; Steve Forbert- Flying at Night; and Drive-By Truckers- American Band;

As an aside or addition, my favourite Roots Compilations/Tributes/Reissues of the year are, in no particular order:

VA- 40 Years of Stony Plain

J D Crowe & the New South- S/T vinyl 

Gillian Welch- Boots No. 1- The Official Revival Bootleg

Nitty Gritty Dirt Band- Circlin’ Back: Celebrating 50 Years

VA- Wayfaring Strangers: Cosmic American Music

VA- God Don’t Never Change: The Songs of Blind Willie Johnson

VA- Just Love: A Tribute to Audrey Auld Mezera

VA- The Life and Songs of Emmylou Harris

VA- Fast Folk: A Tribute to Jack Hardy

Merl Saunders and Jerry Garcia- Keystone Companions: The Complete 1973 Fantasy Recordings vinyl box

(Not included in the above list are excellent tribute [or tribute-ish] albums from Del McCoury Band, Laurie Lewis & the Right Hands, The Earls of Leicester, Rory Block, Jenny Whiteley [tribute to her family’s musical roots,] and Eric Brace/Peter Cooper, all of which made my top Bluegrass or Roots album lists.)

Finally, some 2015 albums didn’t get as much attention from me last year as they did in 2016, for a variety of reasons. But, man- did I play the heck out of them this year: Linda McRae- Shadow Trails; Chris Stapleton- Traveller; Josh Ritter- Sermon on the Rocks; Sam Baker- Say Grace; and Steve Forbert- Compromised.

BUY SOME MUSIC, DAMMIT! Roots musicians deserve our support.

Best for the New Year, Donald

 

 

 

 

 

Advertisements

The Original Jenny Whiteley review   3 comments

album-the-original-jw

Jenny Whiteley The Original Jenny Whiteley Black Hen Music

I first encountered Ontario’s Jenny Whiteley as a member of Heartbreak Hill, a bluegrass band featuring Dottie Cormier, Christopher Quinn, Victor Bateman, and Danny Whiteley. I don’t recall too much about their performance at that Blueberry Bluegrass fest appearance outside the impact of a single Whiteley song: “John Tyrone” remains one of the finest bluegrass songs that have come out of Canada, and from the first time I heard the song I knew Whiteley was someone I wanted to learn more about.

I didn’t get the opportunity at the time, but months later Whiteley found me at Wintergrass and offered me a copy of her debut self-titled album. That independently released disc displayed Whiteley’s remarkable ability for creating characters within a few well-crafted lines, and earned comparison to Emmylou Harris’ recent Red Dirt Girl. Whiteley was revealed as a major talent, and was rewarded with the first of two Juno Awards for best solo roots/traditional recording. With sultry vocal sophistication, Whiteley has previously released four albums (Hopetown, Dear, and Forgive or Forget followed the debut, with Hopetown also picking up a Juno) filled with love, loss, and regret.

In 2010, I wrote of Forgive or Forget that is was more universally palatable than her rootsy initial offering, but one missed the narrative intensity and youthful fragility of songs such as “Gloria” and “Train Goin’ West.” As one who frequently better enjoys musicians early, developing years than their fully-realized artistic selves (Steve Earle, Lucinda Williams, Jack Ingram, Dolly Parton, and many others fit into that frame) while still appreciating what they do, The Original Jenny Whiteley appears designed expressly for me.

On this recording, Whiteley seemingly satisfies a desire to more fully explore the music that provided the foundation for her development—old-time folk sounds that have existed and thrived for generations. She even goes back to a song previously recorded on Dear, “Banjo Girl.” A recognition of her rich and diverse Americana/Canadiana upbringing within the venerable Whiteley clan, this fifth recording is a rootsy masterpiece. In a lesser artist’s hands such a multi-dimensional homage might sound disjointed; The Original Jenny Whiteley is united in its eccentric melding of the rich traditional and roots tapestry—folk, jugband, bluegrass, early jazz and ragtime, Francophone, Dylan, and the blues.

Singing “Groundhog” accompanied by producer Sam Allison’s old-time banjo and Teillard Frost’s percussion (harp, bones, etc.,) Whiteley isn’t striving for cultural appropriation or cornpone authenticity. Rather, she is singing of rural experiences that are as genuine as the acoustic sounds comprising the song. For “Stealin’ Stealin'” Whiteley goes back to the Memphis Jug Band, but doesn’t stay there infusing the timeless tune with nine decades of patina via The Grateful Dead, Taj Mahal, and her own danged self.

Whiteley explores the school of hard knocks in “Higher Learning” while acknowledging (via Chris Coole) the thousands of fools on stools eking out a living (of sorts) playing for “$100” a night. “In the Pines” (Bill Monroe, not Huddie Ledbetter or Nirvana) provides a welcome old-time (not bluegrass) connection to Heartbreak Hill, while The Incredible String Band’s “Log Cabin in the Sky” (perhaps) serves as a connection to the generation of players surrounding father Chris and his brother Ken.

The Original Jenny Whiteley is beautiful. By going to her past and rooting around in her trunk of influences, Jenny Whiteley has found the inspiration to create an uncompromising, uncluttered representation of what (mostly) acoustic folk music is all about. In this case, you can judge an album by its cover, a lovely, unadorned sketch by Stewart Jones.

As she sings in “Things Are Coming My Way”—”O me, How good I feel.” After spending thirty minutes listening to this album, you will be singing the same. It is early, of course, but I can’t see a way this album doesn’t make my Polaris Music Prize ballot.

Thanks for visiting Fervor Coulee. I hope you are inspired to purchase the music of the artists featured because they deserve it!

Jenny Whiteley- Forgive or Forget   Leave a comment

 Jenny has been a favourite since 2001 when I met her at Wintergrass. I had previously seen and heard her with a bluegrass band called Heartbreak Hill but it was only listening to Jenny’s debut album that she reached out and grabbed me. This one is a keeper, but very different from that largely narrative album. Give it a listen; I think you’ll be pleased. (Originally published in the Red Deer Advocate, April 2, 2010)

Jenny Whiteley Forgive or Forget Black Hen Music

Ontario’s Jenny Whiteley isn’t afraid to take risks while evoking emotional connections through her music.

A two-time Juno Award-winner for Roots Album of the Year, Whiteley patiently crafts albums with the assistance of producer Steve Dawson and top-drawer session instrumentalists; Forgive or Forget is her fourth effort since 2001.

With each album, Whiteley has evolved and this time out has created a mature, multi-layered, and vastly entertaining album.

Forgive or Forget’s only non-original, Boudleaux and Felice Bryant’s “Raining in My Heart” sets the pace, a collection of mid-tempo ballads that sway more than swing.  This album is gentler than anything Whiteley has previously attempted, extending the explorations of Dear. The ten songs continue her career-long examination of love, regret, and loss.

Whiteley’s voice remains her strongest asset. She continually expands her vocal repertoire, this time injecting a soft bluesy quality to her phrasing. Despite imagining a loss of significance singing “I can’t live without you,” Whiteley sounds like she’s enjoying the reflection of “Ripple Effects”, the first of three songs that picks up into anything resembling a country-pop song.

An able collaborator, Whiteley mostly keeps things in-house this time out writing the vast majority of the album herself while sharing songs with husband Joey Wright (a featured performer on various stringed instruments) and Chris Coole.

The album’s signature song is “Cold Cold Kisses”, maybe the best song you’ll hear this month; Whiteley’s approach to the song is sultry, and the song’s warmth belies its title. The instrumentation from producer Steve Dawson provides countrypolitan touches without descending into parody. On this number, as elsewhere, drummer John Raham’s contributions are ideal.

Jenny Whiteley doesn’t get the attention that many of her contemporaries garner. With Forgive or Forget, Whiteley again demonstrates that there are few who can match her for producing balanced, appealing albums that engage diverse listeners.

Thanks for visiting Fervor Coulee. Donald

Fairly Random Links for today   Leave a comment

As we all are, I’ve been quite busy these last weeks. What with watching (too much) Olympic action- after vowing not to watch any, but come on- how can you not watch more skicross or snowboard cross once you see it- and trying to keep up with my real job and life, writing sometimes has to take a back seat. Compound this with things I stumble across on the Internet when doing research, and I’m surprised I accomplish anything anywhere. Below are a few sites I’ve discovered the past few weeks- I have no interest in any of them and do not advocate their content beyond the fact that I found them interesting. Don’t blame me for the time you spend visiting them. Best, Donald.

http://1000awesomethings.com/about/ What it says.

http://www.outinthestorm.com/ Alberta singer-songwriter Ruth Purves Smith’s site with music and video.

http://redneckerson.blogspot.com/ One of my favourite places for out of print and often obscure country recordings.

http://tinyurl.com/y8wcab3 My newest favourite album- Strange Creek Singers, featuring Hazel Dickens, and somehow I had never heard of it before last week. On eMusic and YouTube.

http://www.blueberrybluegrass.com/ Once upon a time my favourite bluegrass festival. It is still great, but has went a bit ‘big’ for my tastes- whatever that means- but their lineup is usually pretty good. This coming July’s festival lineup will be tough to beat.

http://www.countrystandardtime.com/countrymusic.asp I usually find something of interest here.

http://www.carrienewcomer.com/ Not a new discovery by any means, but I’ve been delving into her back catalogue and am liking everything I hear. Her new album is fabulous.

http://redbeetrecords.com/ For all things East Nashville, Eric Brace, and Peter Cooper.

http://www.archive.org/details/audio I’ve recommended this site before. Legit live recordings approved by the artists. You will spend hours here if you allow.

http://www.jennywhiteley.com/home/index.php Her new album is quite good and “Cold Kisses” is one of those songs that screams “You won’t hear anything better this week.” Really.

http://www.killbeatmusic.com/ For those of us in the business- okay, I’m not in the business, but whatever- Ken is one of the best promoters of independent and mostly Canadian talent. You can get lost here listening and viewing.

http://www.youtube.com/watch?v=6OjDalPzTz4 James Reams is one of my favourite bluegrass singers and people. There are several Barnstormer clips on YouTube.

http://www.oldmanluedecke.ca/ His new album (coming late March) is a huge step forward. Much of this is due to the presence of Tim O’Brien, never a bad idea, but also due to OML’s development as a songwriter, singer, and performer. Covers Willie P. Bennett’s “Caney Fork River.”

http://btxmp3index.freeforums.org/index.php The Springsteen mp3 archive. O my gosh. If he wanted it down, I’m sure it would be. An amazing resource. I can’t get enough of the late 2009 shows.

and finally http://record-fiend.blogspot.com/search?q=Africa A website that I found while doing some searches after reading the 2003 Oxford American music issue last week. This album is one I can’t stop listening to.