GORDON ALSO CURATES THE GORDON GALLERY IN NASHVILLE, TN
When master songwriter Kevin Gordon read folklorist and University of North Carolina professor William Ferris' book "Local Color," he was particularly struck by the oral history of Yazoo City, MS quilter Pecolia Warner. "Things she says in there about creativity, art and the spirit, really got to me," he says.
Warner was born in 1901 in Rose Hill, MS, only some 250 miles from Gordon's birthplace in northern Louisiana.
Gordon chose to tell her story in the first person in his song "Pecolia's Star," named for her favorite quilting design, in some cases using her words and phrases for his lyrics. He draws out the metaphors of a quilt in creating community, tying together kinship bonds, and the comfort of faith for a woman who faced economic struggles as a sharecropper.
"I was raised up in the fields, hard work
Was just like breathing
Knowing nothing else
Wanting nothing more
Like morning brings the day, summer sun
Brought the cool of the evening
I’d watch the women sew and sing
Behind an old screen door…
Yes, I’ve been on that hill, a long time
I don’t never want for nothing, or nowhere
Stay right here with my people
Just give me Mississippi
You can have all the rest
As long as I can see, I’ll be
Trying to thread that needle
With my mind on the Maker
Working to do my best"
"Pecolia's Star" isn't Gordon's only interaction with folk art. He also curates the Gordon Gallery in Nashville, TN, focusing on folk and outsider artists. Gordon says, "I found this work, with its immediacy, inventiveness, and singular power, being made outside of an academy or career track, to be a source of renewal and revelation after two years of graduate study in poetry at the University of Iowa Writers' Workshop."
The Bug Music artist – the southern rock and roll songwriter who has been covered by Keith Richards, Levon Helm, and Irma Thomas and who has recorded a duet with Lucinda Williams – will release 'Gloryland' (February 14 / Crowville Media), his first new album in 7 years.
Of Gordon's music, Buddy Miller said, "It reminds me of why I love music. I get transported to a beautiful, strange, familiar place. It's where the best music comes from. Deep and soulful." No Depression has called Gordon's music “dirty and beautiful." All Music Guide said, "Kevin Gordon has earned the reputation as a storytelling leader." Entertainment Weekly said, "He evokes the scorching guitar intensity of Springsteen."
Thursday, November 10, 2011
Wednesday, November 9, 2011
'THE GATHERING' A FICTIONAL STORY OF FAMILY COMING TOGETHER AND REAL STORY OF MUSICAL KIN
OR HOW A CAROLINA CHOCOLATE DROP, A SONGWRITER COVERED BY LEVON HELM, AND A JOHN HARTFORD BAND MEMBER FOUND THEMSELVES IN THE NC WOODS RECORDING A WINTER & CHRISTMAS MUSIC ALBUM
'The Gathering' is both a song cycle of the prodigal daughter's return on a North Carolina winter night in the mountains and a story of six remarkable folk musicians coming together for a one-time only collaboration and finding uncommon personal and musical kinship.
The aggregation came together because Dossett (who wrote "Anna Lee" from Levon Helm's GRAMMY-winning album 'Dirt Farmer' and the new 'Ramble At The Ryman' album); Mike Compton (of Elvis Costello & The Sugarcanes, The Nashville Bluegrass Band, The John Hartford Band); Rhiannon Giddens (a member of the GRAMMY-winning and Newport headlining Carolina Chocolate Drops), famed old time musician Joe Newberry, and engineer and bassist Joe DeJarnette had all taught at the Augusta Heritage Center in Elkins, WV. Laurelyn has long been a mentor for Giddens as they are neighbors in Greensboro, NC. Bassist Jason Sypher (Irma Thomas, Clarence Gatemouth Brown) was a late but necessary addition to the crew.
The chemistry between musicians was immediately apparent when they gathered in the North Carolina woods to rehearse and record during a five-day period in August. Laurelyn Dossett says, "This record should not really have worked, but there were six on-the-job collaborators in one room. That we had not really played together and didn't really know the material was secondary to the fact of their incredible talent and true hearts."
Check out video on the making of the album.
Stream the song "Lights in the Lowlands."
Many of the musicians were introduced to the material, centering on a six-song cycle by Dossett commissioned by the North Carolina Symphony, the same day as they recorded it live in one room and virtually without overdubs.
New York-based bassist Jason Sypher said, "We have never all sat down knee to knee and played together and it was immediate chemistry from the first note on." He continues, "Respecting the music and each other created an atmosphere of warmth and fun that you can hear and feel on the final record. Recording live can be a little nerve wracking, but the immediacy of the music is worth the extra tension."
Engineer Joe DeJarnette observed, "This record captures the magic moments of true discovery, where everyone is listening closely and responding to each other in real time. The record feels as though you have the finest stringband pickers and singers in your living room sharing music, stories, and life at a holiday gathering. It was a rare and delightful opportunity to work with such talented creative musicians who were willing to just go for it live."
Roots music star Larry Campbell responded to both elements, saying "The combination of heart and intimacy on 'The Gathering' feels like a warm wood-smoke fire on a cold North Carolina winter's night."
'The Gathering' is both a song cycle of the prodigal daughter's return on a North Carolina winter night in the mountains and a story of six remarkable folk musicians coming together for a one-time only collaboration and finding uncommon personal and musical kinship.
The aggregation came together because Dossett (who wrote "Anna Lee" from Levon Helm's GRAMMY-winning album 'Dirt Farmer' and the new 'Ramble At The Ryman' album); Mike Compton (of Elvis Costello & The Sugarcanes, The Nashville Bluegrass Band, The John Hartford Band); Rhiannon Giddens (a member of the GRAMMY-winning and Newport headlining Carolina Chocolate Drops), famed old time musician Joe Newberry, and engineer and bassist Joe DeJarnette had all taught at the Augusta Heritage Center in Elkins, WV. Laurelyn has long been a mentor for Giddens as they are neighbors in Greensboro, NC. Bassist Jason Sypher (Irma Thomas, Clarence Gatemouth Brown) was a late but necessary addition to the crew.
The chemistry between musicians was immediately apparent when they gathered in the North Carolina woods to rehearse and record during a five-day period in August. Laurelyn Dossett says, "This record should not really have worked, but there were six on-the-job collaborators in one room. That we had not really played together and didn't really know the material was secondary to the fact of their incredible talent and true hearts."
Check out video on the making of the album.
Stream the song "Lights in the Lowlands."
Many of the musicians were introduced to the material, centering on a six-song cycle by Dossett commissioned by the North Carolina Symphony, the same day as they recorded it live in one room and virtually without overdubs.
New York-based bassist Jason Sypher said, "We have never all sat down knee to knee and played together and it was immediate chemistry from the first note on." He continues, "Respecting the music and each other created an atmosphere of warmth and fun that you can hear and feel on the final record. Recording live can be a little nerve wracking, but the immediacy of the music is worth the extra tension."
Engineer Joe DeJarnette observed, "This record captures the magic moments of true discovery, where everyone is listening closely and responding to each other in real time. The record feels as though you have the finest stringband pickers and singers in your living room sharing music, stories, and life at a holiday gathering. It was a rare and delightful opportunity to work with such talented creative musicians who were willing to just go for it live."
Roots music star Larry Campbell responded to both elements, saying "The combination of heart and intimacy on 'The Gathering' feels like a warm wood-smoke fire on a cold North Carolina winter's night."
Tuesday, November 8, 2011
Kevin Gordon's "Colfax/Step In Time" on Music Fog
Music Fog has some great video of Kevin Gordon performing his new masterpiece of a song "Colfax." Peter Cooper of the Nashville Tennessean has said, "We'll empty your spit-valve for life if you find us anything more stunning than 'Colfax,' [Gordon's] undeniably superb song that could only have come from one mind, and from one person's experience. It's ostensibly about a kid in the marching band but winds up being about the heart of American darkness and the steel that it takes to move beyond."
Friday, November 4, 2011
Kevin Gordon publicity photos & album artwork
Credit: Jim Herrington
Credit: Jim Herrington
Credit: David Wilds
Credit: Bryan Farland
ON WAVE OF ACCLAIM FOR SOLO ALBUM 'RED COATS' (END UP RECORDS), FORMER RAINER MARIA SINGER/BASSIST CAITHLIN DE MARRAIS PLANS TOUR
Former Rainer Maria singer/bassist Caithlin De Marrais has earned acclaim for her solo album 'Red Coats,' out next week on End Up Records, and is planning a tour.
"Beguiling." – The New Yorker
"Sparse, elegiac pop." – New York Times
"It reduces her old band’s emo-rock blare to a quieter roar, surrounding de Marrais’ uncommonly expressive singing with tense little clicks and buzzes, slyly destabilizing where Rainer Maria once aimed to knock off socks." – Village Voice
"A crawl of brittle guitar on 'Birds,' a shivering synth on 'City Girl,' de Marrais' shyly pretty voice -- are given a chance to gleam, as they cluster shyly around her more forceful, composed bass lines." - SPIN
"Most tracks meld lush strings with catchy pop hooks that bring to mind the best of Rainer Maria." –New York Post
CAITHLIN DE MARRAIS TOUR DATES
12/02 - Brooklyn, NY @ Glasslands Gallery
12/03 - Philadelphia, PA @ North Star Bar
12/04 - Allston, MA @ Great Scott
01/18 - Riverside, CA @ The Barn at UC Riverside
01/19 - West Hollywood, CA @ The Troubadour
01/20 - San Francisco, CA @ Bottom of the Hill
"Beguiling." – The New Yorker
"Sparse, elegiac pop." – New York Times
"It reduces her old band’s emo-rock blare to a quieter roar, surrounding de Marrais’ uncommonly expressive singing with tense little clicks and buzzes, slyly destabilizing where Rainer Maria once aimed to knock off socks." – Village Voice
"A crawl of brittle guitar on 'Birds,' a shivering synth on 'City Girl,' de Marrais' shyly pretty voice -- are given a chance to gleam, as they cluster shyly around her more forceful, composed bass lines." - SPIN
"Most tracks meld lush strings with catchy pop hooks that bring to mind the best of Rainer Maria." –New York Post
CAITHLIN DE MARRAIS TOUR DATES
12/02 - Brooklyn, NY @ Glasslands Gallery
12/03 - Philadelphia, PA @ North Star Bar
12/04 - Allston, MA @ Great Scott
01/18 - Riverside, CA @ The Barn at UC Riverside
01/19 - West Hollywood, CA @ The Troubadour
01/20 - San Francisco, CA @ Bottom of the Hill
Wednesday, November 2, 2011
Caithlin De Marrais shreds vocal cords in homage to Patti Smith, Scorsese
Caithlin De Marrais (formerly bassist/singer from Rainer Maria) totally shredded her vocal cords recording "Hot Day," an homage to Patti Smith's Horses and 1970s era crime films. Caithlin says, "Tears were streaming down my face during tracking. There was a feeling of desperation in the lyrics and I was reckless in a way I hadn't been since the early days of Rainer Maria when I would regularly lose my voice on tour." I love the scorching fuzz bass and her all-out belting.
Check out "Hot Day" on MTV Hive.
Hear the entire album streaming at Magnet's website.
"The primal yell in there is about running away from responsibility," Caithlin continues, "'Horses' was destined to be in my record collection. I loved Mapplethorpe, Blondie, Talking Heads and hanging out in the Village as a teenager. Now I relate to 'Horses' totally differently. It sounds old and wise to me, like a force of nature that won't be silenced."
Simultaneously "Hot Day" was influenced by soundtracks to 1970s era crime dramas "The French Connection," "Taxi Driver," and "Dirty Harry." Caithlin's Wurlitzer and Ray Saperstein's cornet pay homage to those moody, dark masterpieces.
New Yorkers: Caithlin is playing tonight at Union Hall at 10pm. Please let me know if you'd like to be on the guest list.
Advance praise for the new album:
"The former Rainer Maria frontwoman has a new solo album coming next month, Red Coats, and it reduces her old band’s emo-rock blare to a quieter roar, surrounding De Marrais’ uncommonly expressive singing with tense little clicks and buzzes, slyly destabilizing where Rainer Maria once aimed to knock off socks." -- The Village Voice
"Beguiling." – The New Yorker
Check out "Hot Day" on MTV Hive.
Hear the entire album streaming at Magnet's website.
"The primal yell in there is about running away from responsibility," Caithlin continues, "'Horses' was destined to be in my record collection. I loved Mapplethorpe, Blondie, Talking Heads and hanging out in the Village as a teenager. Now I relate to 'Horses' totally differently. It sounds old and wise to me, like a force of nature that won't be silenced."
Simultaneously "Hot Day" was influenced by soundtracks to 1970s era crime dramas "The French Connection," "Taxi Driver," and "Dirty Harry." Caithlin's Wurlitzer and Ray Saperstein's cornet pay homage to those moody, dark masterpieces.
New Yorkers: Caithlin is playing tonight at Union Hall at 10pm. Please let me know if you'd like to be on the guest list.
Advance praise for the new album:
"The former Rainer Maria frontwoman has a new solo album coming next month, Red Coats, and it reduces her old band’s emo-rock blare to a quieter roar, surrounding De Marrais’ uncommonly expressive singing with tense little clicks and buzzes, slyly destabilizing where Rainer Maria once aimed to knock off socks." -- The Village Voice
"Beguiling." – The New Yorker
Tuesday, November 1, 2011
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