Merle Haggard - April 6th, 1937 - April 6th, 2016

The Okie from Muskogee Misunderstood

I certainly did, many years ago, thinking that song an ardent redneck anthem, and whilst I’m sure he held contrary views all his life, I subsequently learned to appreciate his music both as writer and performer, not least his recent with that other legend Willie Nelson, Gjango and Jimmie. So many are leaving us, and now one of the Outlaws is off causing mischief somewhere else.

Gregory Porter - Colston Hall, Bristol, 6th April, 2016

Outstanding Man and Band

To melt and to funk and to jazz it up. I think Gregory Porter pretty much covered this and more. He’s quite a presence: a big guy and that trademark cap. So when he strolls on after his fine, fine band has laid some grooved foundations, there is considerable appreciative and expectant applause; when he croons his first notes, the females [it was that noticeable, c’mon] melted – one in front of me laid her head on her friend’s shoulder, a musically empathetic swoon. To my left, another’s dazzled smiling was palpable. Hey, I was touched. He has the voice.

I’ve wanted to see Porter live since the beginning, and last night at Bristol he delivered on all of my hopeful expectations. He isn’t chatty on stage, but he puts all his vocal energy into the songs and covered the ‘hits’ as well as new material from his forthcoming. Indeed, I’m so glad to have heard Take Me To the Alley live because it carries weight on stage, and listening on record will resonate of that hearing.

There’s little point naming all the songs, but I did look forward to and loved 1960 What?. Wonderful. And that hooker/snippet of Papa Was a Rolling Stone! And that band! Great to see Chip Crawford on piano, and he controls with skill and talent: liked in particular a duet segment with saxophonist Tivon Pennicott where their sweet interplay was gorgeous.

All in the band got solo spots and all excelled. It takes a great band to work with a great singer. The encore was Free from Liquid Spirit – a rousing rouser – and after delivering to the crowd’s absolute delight, Porter was the first to leave the stage as the band continued playing, each eventually departing in turn until they had all gone. The ovation was for the band, but Porter obviously, yet he had long gone: I quite liked the humility of that.

My previous reviews of his work can be read here.

Kandace Springs - support act, Gregory Porter, Bristol, 6th April

I will be reviewing Gregory Porter's outstanding show last night a little later, but first a mention of the support act Kandace Springs who in a short set demonstrated what a huge talent she is. Set up for Porter's performance, Kandace played at Chip Crawford's grand piano which meant she had to play with her back to the audience. Odd and annoying. But all the more remarkable that she still captivated with her soulful vocal as well as excellent piano playing, here jazz infused and supported by double bass and drums for this trio presentation. I have been researching Springs on YouTube this morning and she sings well beyond jazz, with what seems a more prevalent leaning to soul with funk and some hip hop: the set at Daryl Hall's home - with the great man himself - is impressive. It's all impressive, as was last night's talent taster. Looking forward to her album Blue Eyes in July. Kandace performed First Time I Ever Saw Your Face last night - a sweet and affecting delivery. What a salutary reminder to never miss the support.....

Gregory Porter - Bristol, tomorrow....

Have just ordered my copy of the imminent new release, and am looking forward to the Bristol gig tomorrow. Have had the tickets for a long time in keen anticipation!

Allison Crowe and Band - live at St Mary in the Castle, Hastings, 16th April, 2016

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Fox Music

You All Haunt Me - Allison Crowe and Band

Allison Crowe and Band - Heirs + Grievances, album review

Emotive Commitment

With a professed liking for Pearl Jam amongst a delightfully eclectic range, seventh track On the Air on this latest from Allison Crowe certainly echoes the chorus from PJ’s Garden in its own chorus. It is a track where Crowe’s vocals are also at their more vibrant – and by that I also mean her remarkable vibrato - but it is the opening five tracks that so delight for me, a gentler [this is a relative term] vocal, controlled to a subtle dynamic, and often accompanied by beautiful vocal harmonies from Billy Woods and Céline Greb, the latter adding solo layers of emotive cello.

And emotive is a key expression for all of the music on this fine album, Crowe investing so much of this in her singing – for example the piano based Going Home Tonight – and this is a natural consequence of the power in that voice and the passion in her performing. I don’t believe Crowe ever sings a song without an absolute personal commitment.

Mostly self-penned, there are also arrangements of traditional songs like Tarry Trousers that gets a spirited folk delivery with pretty vocal harmonies, and one cover that has appeared on her album Spiral, Annie Lennox’s Why which Crowe sings with what seems like restraint compared with Lennox, but this is actually a performance that rises to a rousing climax.

Opener You All Haunt Me, with simple but beautiful acoustic guitar from Woods and cello by Greb, is exquisite, especially when all also harmonise vocally, Crowe as songwriter and singer demonstrating for me the perfect amalgam of her considerable skills – without the need to push forcefully, the emotive impact here in its poignant self-reflection. An outstanding song. Next Arthur, with Allison on piano, again engages with sweet vocal harmonies, Crowe’s voice emerging from these to assert its affecting power.

This is an album that should and could develop a greater audience for Crowe beyond those who already adore her. You can buy it at the ridiculous price of $8 here.

Legs Music 19

Teddy Thompson And Kelly Jones - Little Windows, album review

April Fools, No

There’s no fooling [apart from Only Fooling] on this 1^st April release, mine with signed poster arriving smartly on the day, as the 50s/60s pop offerings are originals and not, as one could imagine, esoterica from the Everly Brothers’  and similar discographies. These are self-penned nostalgic-sounding gems from Thompson, Jones and Bill DeMain, Thompson having displayed a love of this period of rock’n’roll as well as Country for many years.

The harmonies are as tightly aligned as a double stick popsicle [I’ve been watching the box set of Mad Men, early episodes….] and the brisk renditions as radio ready for the time they imply. The lyrics are as contemporary as the timelessness of human relationships, exemplified in the single I Thought That We Said Goodbye, cleverly written with the bathetic irony we often find in a Thompson lyric,

The lying the fighting the me verses you

The make ups the break ups we know how to do

We swore up and down that this time we were through….

I thought that we said goodbye

This is followed by an even more plaintive if beautiful waltz Don’t Remind Me, the harmonies as perfectly coalesced as could be for two sweet singers. Penultimate You Can’t Call Me Baby at 1.57 is the breezy flipside, a jaunty slice of Bakersfield. 

A brief review of a brief but excellent album.

I so look forward to both Thompson and Jones performing In Exeter in May.