Eilen Jewell's Understated Treasure

Nearly two months have passed since the occasion, but I don’t want to let the wonderful shows Eilen Jewell and her band played at Fall River’s Narrows Center for the Arts back in mid January go by without some recognition. 

The two sold out performances featured plenty of country twang and upbeat folk highlighted by the tight band's superior chops and Jewell’s prowess as a songwriter and singer. Her between song storytelling added to the folksy vibe while showcasing her understated humor and genuine charm. 

Eilen’s crisp vocals really shone on the few Loretta Lynn tunes where she really cut loose with extra exuberance. Among her many own tunes, standouts included “Queen of the Minor Key,” “Bang, Bang, Bang,” “Warning Signs,” I’ll Remember You,” “Only One” and “If You Catch Me Stealing.” 


SET LIST
Eilen Jewell at  The Narrows Center, Fall River 1/19/13:
•  Radio City
•  I Remember You
•  Warning Signs
•  Heartache Boulevard
•  Reckless
•  Restless
•  Only One
•  Too Hot to Sleep
•  Deep As Your Pocket
•  Why I’m Walking
•  Santa Fe
•  Dusty Boxcar Wall
•  Satisfied Mind
•  Home to Me
•  Rain Roll In
•  High Shelf Booze

•  Fist City

•  Bang Bang Bang
•  I’m Gonna Dress in Black
•  Shakin’ All Over  (with bits of Paint It Black and Daytripper)
Encore:
•  Queen of the Minor Key
•  If You Catch Me Stealing

A Broad View of GP’s Repertoire at the Narrows

Graham Parker does an acoustic take on "Heat Treatment," the title track from his debut album with The Rumour in 1976, during his 9/29/12 performance at the Narrows Center in Fall River, Mass.

Last month, my wife and I made seeing Graham Parker at the Narrows Center in Fall River part of our 22nd anniversary celebration. It seemed fitting since we’ve enjoyed many GP shows – solo and with various bands – together over our years.

This Saturday in late September was no exception. Despite claims of being under the weather and not exactly road ready – it was one of only two shows he was doing on this stint, having added the Narrows to his trip to Cambridge for a commemorative event at the famed folk club Passim – Parker sang as soulfully as usual and regaled the audience with characteristic humor and sarcasm. 

The Narrows is a great venue for fans and perfect for the likes of GP’s solo shows, which he’s made an annual habit of bringing to the old warehouse-cum-artists’-studios in recent years. When out on his own like this, Parker adeptly accompanies himself on acoustic and electric guitar, harmonica and even kazoo – the latter more than once! But mostly it’s about the songs; and, yes, to a lesser degree, the banter.

This show was particularly notable in that besides a handful of the requisite – and welcomed! – favorites, Parker dug deep into his back catalog, pulling out several songs I’d never heard him perform in any of the previous dozen or so times I’ve seen him live. 

Another highlight was the debut of a catchy riff-based tune from the yet-to-be released GP and The Rumour album. Throughout the evening, the noted singer/songwriter and former angry young man spoke with a mix of disbelief and enthusiasm about his former band’s upcoming reunion tour. I know I’m excited; I already have my tix – front row! 

Wanting to end his performance on an upbeat note, Graham Parker performed “Life Gets Better” from his 1983 The Real McCaw album. Of course, as you’ll see in the video above, GP being GP, he couldn’t resist injecting a bit of cynicism into one of his most optimistic songs. Despite that, it holds a nice sentiment for an anniversary celebration. Happy anniversary, baby!

The Majestic Beauty of Frisell’s Dreamers

Bill Frisell’s current trio with Eyvind Kang and Rudy Royston goes by the name Beautiful Dreamers, after their eponymous album of last year. It’s an apt moniker for the majestic tapestry of transportive music the trio weaves.

With Kang on violin and Royston on drums, the soft-spoken bespectacled guitarist again graced the stage of Narrows Center in Fall River, Mass., last night. Like last year’s show there (see my write up of that concert here), it was a magnificent palette of colorful sounds and musical interplay.

What this trio does is a jazzy take on Americana, flavored with modern effects and occasional new-agey elements – all rendered with impeccable musicianship. If not for Frisell’s clear country and folk influences, and his notable propensity for twiddling the knobs of his various stomp-box effects, it would be easy to label him a “jazz guitarist.” And most do. But that charts too narrow a course for his wide-ranging, intuitive and, ultimately, joyous musical explorations. Yes, there are plenty of modal chords in the mix, and the complex melodies he and Kang play in unison are straight out of the jazz playbook. But Frisell’s sonic sparring with delay and other effects puts him in another place than most jazzers dwell. It’s not quite The Edge or Robin Trower (re: the effects) meets Chet Atkins and Les Paul, but it is something akin to that – though clearly with more emphasis on the latter two six-string icons.

With steady concentration, Frisell and co. build a mounting swirl of sound that expands and then ambles onward as it evolves. The guitarist barely breaks a sweat – you won’t see any rock star posing or facial contorting (other than the occasional gleeful smile aimed at a bandmate after a particularly inspired passage). Yet, when the moment is right, he can seriously rip it up. Even then, though, he does it with precision and control, looking at his instrument with a studied thoughtfulness.

That’s not to suggest any lack of passion or feeling in his playing. In fact, it’s exactly the opposite! His fingers effortlessly feel out the most emotive melodies and chord patterns, often infused with a joy that borders on giddiness. This is most evident in the trio’s jaunty take on the Carter Family classic, “Keep on the Sunny Side,” which seems to be emerging as one of the several standards that Frisell is often associated with (along with his unique renditions of “Heard It Through the Grapevine,” “Shenandoah” and a few others). So while his particular brand of flare on the instrument may be understated, it’s no less impactful.

Of those nods to past country and r&b classics, only “Sunny Side,” was featured in Saturday’s two-set, 100-minute performance. But it was a standout along with “Tea for Two,” “Hard Times” and a stunning encore of “Goin’ Out of My Head.”

Lousy iPhone picture of Bill Frisell's Beautiful Dreamers at the Narrows Center, 6/18/11

This was the third time I’ve seen Frisell in the trio format, and the second time with this particular trio. Quite the active musician, he also performs with a quartet and a larger ensembles featuring horns. In addition, he makes guest appearances on many artists’ albums, most recently Buddy Miller’s outstanding Majestic Silver Strings collaborative, as well as with Lucinda Williams and others. The first time I saw him, six years ago, was with a different trio in tow. I’m guessing that – to my ears, anyway – the trio is his best musical setting; at least it’s where his guitar virtuosity shines most brightly. And that’s why I’m there.

I love the interplay between Frisell and Kang (interesting and creative violin playing always gets me, too). Kang has a nuanced feel for a variety of styles, and he’s more than just an adept counterpart for Frisell, mirroring the guitarist’s jazzy licks. On many songs, it’s Kang who leads the way, with Frisell providing the supportive reflections and foundation. Last night reminded me why I was so impressed by Kang last year. But this time I was even more struck by his stunning pizzicato string work. I don’t recall ever seeing a violinist finger pick the strings as much or as adeptly as Kang.

The dynamic that Royston’s super-subtle percussive touch brings to the group is unparalleled. This time around, I had a different vantage point on the triangulated trio, and thus a much better view of the drummer’s surgical stick work (his light dexterity on the cymbals was extraordinary). Royston’s playing is, most of the time, fittingly low key, but every once in a while he executes a controlled explosion, as if to say, “Yeah, I can do that, too!”

In the end, however, as much as Frisell would probably like to make it otherwise, it really is primarily about the guitarist. Playing a red Fender Stratocaster, rather than his familiar Telecaster, he let his musical comrades shine, but left no doubt as to why he was the focal point of the affair. I can’t wait for the next time around.