ReportWire

Tag: Folk and Americana

  • Thousands of fans celebrate life of legendary Grateful Dead guitarist Bob Weir in San Francisco

    [ad_1]

    SAN FRANCISCO — Thousands of mourners gathered Saturday at San Francisco’s Civic Center to celebrate the life of Bob Weir, the legendary guitarist and founding member of the Grateful Dead who died last week at age 78.

    Musicians Joan Baez and John Mayer spoke on a makeshift stage in front of the Bill Graham Civic Auditorium after four Buddhist monks opened the event with a prayer in Tibetan. Fans carried long-stemmed red roses, placing some at an altar filled with photos and candles. They wrote notes on colored paper, professing their love and thanking him for the journey.

    Several asked him to say hello to fellow singer and guitarist Jerry Garcia and bass guitarist Phil Lesh, also founding members who preceded him in death. Garcia died in 1995; Lesh died in 2024.

    “I’m here to celebrate Bob Weir,” said Ruthie Garcia, who is no relation to Jerry, a fan since 1989. “Celebrating him and helping him go home.”

    Saturday’s celebration brought plenty of fans with long dreadlocks and wearing tie-dye clothing, some using walkers. But there were also young couples, men in their 20s and a father who brought his 6-year-old son in order to pass on to the next generation a love of live music and the tight-knit Deadhead community.

    The Bay Area native joined the Grateful Dead — originally the Warlocks — in 1965 in San Francisco at just 17 years old. He wrote or co-wrote and sang lead vocals on Dead classics including “Sugar Magnolia,” “One More Saturday Night” and “Mexicali Blues.” He was generally considered less shaggy looking than the other band members, although he adopted a long beard like Garcia’s later in life.

    The Dead played music that pulled in blues, jazz, country, folk and psychedelia in long improvisational jams. Their concerts attracted avid Deadheads who followed them on tours. The band played on decades after Garcia’s death, morphing into Dead & Company with John Mayer.

    Darla Sagos, who caught an early flight out of Seattle Saturday morning to make the public mourning, said she suspected something was up when there were no new gigs announced after Dead & Company played three nights in San Francisco last summer. It was unusual, as his calendar often showed where he would be playing next.

    “We were hoping that everything was OK and that we were going to get more music from him,” she said. “But we will continue the music, with all of us and everyone that’s going to be playing it.”

    Sagos and her husband, Adam Sagos, have a one-year-old grandson who will grow up knowing the music.

    A statement on Weir’s Instagram account announced his passing Jan. 10. It said he beat cancer, but he succumbed to underlying lung issues. He is survived by his wife and two daughters, who were at Saturday’s event.

    His death was sudden and unexpected, said daughter Monet Weir, but he had always wished for the music and the legacy of the Dead to outlast him.

    American music, he believed, could unite, she said.

    “The show must go on,” Monet Weir said.

    [ad_2]

    Source link

  • Music Review: Jon Batiste opts for chill vibe on stripped-down album, ‘Big Money’

    [ad_1]

    On “Big Money,” Super Bowl-sized singer Jon Batiste opts for a surprisingly intimate sound.

    The just over 32-minute, nine-song set will be released Friday, and it’s not nearly as loud as the New Orleans’ jazzman’s eye-popping wardrobe. The stripped-down, mostly acoustic arrangements create a chill vibe. Simplicity somehow only intensifies the songs’ swing and sway.

    Batiste pairs lyrics about devotion, values, angels and ecology with music that mixes folk and funk, gospel and the blues. The range is such that Batiste even plays a little fiddle and mandolin, but he shines brightest on two songs featuring his solo piano.

    The first is a wonderful duet with Randy Newman, another piano man with New Orleans roots, who in recent years has been slowed by health issues and kept a low profile. They cover Doc Pomus’ “Lonely Avenue,” and Newman’s legendarily froggy tenor provides a comical contrast to Batiste’s vocal sheen. “I could die, I could die, I could die,” Newman sings. “It sounds like I’m dying.”

    Also stellar is “Maybe,” a ballad filled with thick chords and questions about the big picture. “Or maybe we should all just take a collective pause,” Batiste sings, before launching into a keyboard exploration worthy of Jelly Roll Morton.

    The bouncy “Lean on My Love” draws from Prince, Sly Stone and the Spinners as Batiste sings in unison with Andra Day. The equally buoyant title cut rhymes “money” and “dummy” in a strummy sing-along that includes backing vocals by the Womack Sisters, granddaughters of soul singer Sam Cooke.

    “Pinnacle” chooses a similar tempo to kick up Delta dust around a delightful word salad. “Hop scotch/Double Dutchie jumping rope/Twistin’ it and ya wobble it/And let it go,” he sings on one verse.

    Batiste’s gospel influences are most evident on the closing reggae tune “Angels” and the ballad “Do It All Again,” a love song that could be interpreted as secular or spiritual.

    “When I’m happy, it’s your shine,” Batiste sings. As always, he makes joy sound genuine.

    ___

    More AP reviews: https://apnews.com/hub/music-reviews

    [ad_2]

    Source link

  • Jazz Fest’s Saturday opening delayed by weather

    Jazz Fest’s Saturday opening delayed by weather

    [ad_1]

    A line of strong thunderstorms, with wind gusts of up to 60 mph, prompted organizers of the New Orleans Jazz and Heritage Festival to delay Saturday’s opening at the Fair Grounds by at least two hours

    NEW ORLEANS — A line of strong thunderstorms, with wind gusts of up to 60 mph (about 97 kph), prompted organizers of the New Orleans Jazz and Heritage Festival to delay Saturday’s opening at the Fair Grounds by at least two hours.

    In an announcement on Twitter, the festival told festgoers to “stay tuned” for more information and “See you this afternoon!”

    The festival is in its final weekend for its 2023 two-week run. Saturday’s scheduled performers include rock band Dead and Company, R&B singer/musician H.E.R, alternative folk band The Lumineers, jazz trumpeter Terence Blanchard, featuring The E Collective and Turtle Island Quartet, blues singer Keb’ Mo and gospel artist Anthony Brown and group therAPy.

    The festival’s final day is Sunday.

    [ad_2]

    Source link

  • Canadian folk singer Gordon Lightfoot dies at 84

    Canadian folk singer Gordon Lightfoot dies at 84

    [ad_1]

    TORONTO — Gordon Lightfoot, Canada’s legendary folk singer-songwriter whose hits including “Early Morning Rain” and “The Wreck of the Edmund Fitzgerald” told a tale of Canadian identity that was exported worldwide, died on Monday. He was 84.

    Representative Victoria Lord said the musician died at a Toronto hospital. His cause of death was not immediately available.

    Considered one of the most renowned voices to emerge from Toronto’s Yorkville folk club scene in the 1960s, Lightfoot went on to record 20 studio albums and pen hundreds of songs, including “Carefree Highway” and “Sundown.”

    Once called a “rare talent” by Bob Dylan, dozens of artists have covered his work, including Elvis Presley, Barbra Streisand, Harry Belafonte, Johnny Cash, Anne Murray, Jane’s Addiction and Sarah McLachlan.

    Most of his songs are deeply autobiographical with lyrics that probe his own experiences in a frank manner and explore issues surrounding the Canadian national identity.

    His 1975 song “The Wreck of the Edmund Fitzgerald” chronicled the demise of a Great Lakes ore freighter, and 1966’s “Canadian Railroad Trilogy” depicted the construction of the railway.

    “I simply write the songs about where I am and where I’m from,” he once said. “I take situations and write poems about them.”

    Often described as a poetic storyteller, Lightfoot remained keenly aware of his cultural influence. It was a role he took very seriously.

    “I just like to stay there and be a part of the totem pole and look after the responsibilities I’ve acquired over the years,” he said in a 2001 interview.

    While Lightfoot’s parents recognized his musical talents early on, he didn’t set out to become a renowned balladeer.

    He began singing in his church choir and dreamed of becoming a jazz musician. At age 13, the soprano won a talent contest at the Kiwanis Music Festival, held at Toronto’s Massey Hall.

    “I remember the thrill of being in front of the crowd,” Lightfoot said in a 2018 interview. “It was a stepping stone for me…”

    The appeal of those early days stuck and in high school, his barbershop quartet, The Collegiate Four, won a CBC talent competition. He strummed his first guitar in 1956 and began to dabble in songwriting in the months that followed. Perhaps distracted by his taste for music, he flunked algebra the first time. After taking the class again, he graduated in 1957.

    By then, Lightfoot had already penned his first serious composition — “The Hula Hoop Song,” inspired by the popular kids’ toy that was sweeping the culture. Attempts to sell the song went nowhere so at 18, he headed to the U.S. to study music for a year. The trip was funded in part by money saved from a job delivering linens to resorts around his hometown.

    Life in Hollywood wasn’t a good fit, however, and it wasn’t long before Lightfoot returned to Canada. He pledged to move to Toronto to pursue his musical ambitions, taking any job available, including a position at a bank before landing a gig as a square dancer on CBC’s “Country Hoedown.”

    His first gig was at Fran’s Restaurant, a downtown family-owned diner that warmed to his folk sensibilities. It was there he met fellow musician Ronnie Hawkins.

    The singer was living with a few buddies in a condemned building in Yorkville, then a bohemian area where future stars including Neil Young and Joni Mitchell would learn their trade at smoke-filled clubs.

    Lightfoot made his popular radio debut with the single ”(Remember Me) I’m the One” in 1962, which led to a number of hit songs and partnerships with other local musicians. When he started playing the Mariposa Folk Festival in his hometown of Orillia, Ontario that same year, Lightfoot forged a relationship that made him the festival’s most loyal returning performer.

    By 1964, he was garnering positive word-of-mouth around town and audiences were starting to gather in growing numbers. By the next year, Lightfoot’s song “I’m Not Sayin’” was a hit in Canada, which helped spread his name in the United States.

    A couple of covers by other artists didn’t hurt either. Marty Robbins’ 1965 recording of “Ribbon of Darkness” reached No. 1 on U.S. country charts, while Peter, Paul and Mary took Lightfoot’s composition, “For Lovin’ Me,” into the U.S. Top 30. The song, which Dylan once said he wished he’d recorded, has since been covered by hundreds of other musicians.

    That summer, Lightfoot performed at the Newport Folk Festival, the same year Dylan rattled audiences when he shed his folkie persona by playing an electric guitar.

    As the folk music boom came to an end in the late 1960s, Lightfoot was already making his transition to pop music with ease.

    In 1971, he made his first appearance on the Billboard chart with “If You Could Read My Mind.” It reached No. 5 and has since spawned scores of covers.

    Lightfoot’s popularity peaked in the mid-1970s when both his single and album, “Sundown,” topped the Billboard charts, his first and only time doing so.

    During his career, Lightfoot collected 12 Juno Awards, including one in 1970 when it was called the Gold Leaf.

    In 1986, he was inducted into the Canadian Recording Industry Hall of Fame, now the Canadian Music Hall of Fame. He received the Governor General’s award in 1997 and was ushered into the Canadian Country Music Hall Of Fame in 2001.

    [ad_2]

    Source link