On the property of the Orphan Wisdom school in Deacon, Ontario, the prelude to this concert is an exquisite farm-to-table meal and the concert itself takes place in a hand-hewn, solar powered great hall. With Adam Hay on drums; Lisa Hodgson on vox and keys; and all the hands preparing the meal. Songs from Vain+Alone, Beggar Heart, The King of Good Intentions. For tickets/reservations, click here.
This concert takes place in the intimacy of a beautiful art gallery in the small town of Alton, Ontario. Artist Paul Morin curates a series of events at the gallery throughout the year bringing high-quality art into the Caledon horse hills north of Toronto. With Adam Hay on drums. Lisa Hodgson on vox and keys. Songs from Vain+Alone, Beggar Heart, The King of Good Intentions. For tickets/reservations, call The Paul Morin Gallery at (519) 942 4918.
On April 20, 2018, at The Swedish American Hall in San Francisco, California, we take version 2.0 of NOG&M for a spin. Accompanying Stephen and I on stage will be Adam Hay and Lisa Hodgson. You can find tickets here.
The concert is being presented as a part of Reimagine End of Life, a week of exploring big questions about life and death.
I’m still at a loss when asked to describe the evening. It’s a collision of sorts between Stephen’s world and mine. We don’t create material specifically for these nights. Rather, we’ve gingerly introduced writings and stories to their ambient counterparts in front of live audiences and in doing so we’ve discovered a thing or two about the works we didn’t know before subjecting them to an experiment like this. I’m really not the one who should be trying to describe what goes on, so I’ll use this…something from a concert-goer:
Hearts broken. Hearts mended. All on one Dark, Luminous night.
On my way to the funeral of an old friend this morning, I got a note from Laurie Brown that a podcast went live today that she and her team had woven together centred on an interview with Stephen and tracks from A Night of Grief and Mystery. For those of you who don’t know, Laurie has long been a fixture of Canadian broadcasting and has always brought a fresh perspective to her line of questioning when acting as an interviewer and a deeply creative approach to her hosting duties. Having signed off from CBC’s The Signal last year, she has made her broadcast home at lauriebrown.ca where she continues to create her innovative conversations with listeners in her Pondercasts.
Today’s weather was typically awful, the driving treacherous, the funeral heart wrenching/beautiful, the welcome home warm. We sat and listened to the pod cast and I couldn’t have planned a better way to end this day.
Get comfy, light a fire if you’ve got one, or maybe a candle, and drink in this gem of modern broadcasting. It is about dying, and it’s just as much about living.
Over a year ago, sometime in July, 2016, I set out to make a little record: A quick solo thing, in and out in seven weeks, whereon I was the only performer. It was to be modest in scope, a sonic sketchbook I would record like I used to when I’d demo songs before bringing them to whatever band I had working with me. I had a couple ideas what to call it and decided that its self imposed solitary nature resonated with a side project I had going where I took self portraits that tried to buck the selfie trend. I called that project Vain+Alone and thought this recording would benefit from the name. I’m not a great marketer so I was probably wrong about that. I gathered up some bits of poetry, finished songs I’d been working on for about 10 years, and took up temporary residence in the 2nd floor of a dank old factory a couple minutes from where I live. I christened the space Dead Starling Studio because that is what greeted me on the floor by the door the first time I stepped through it.
Making a record where one plays all the instruments is not news.
Making that recording outside of a traditional studio is very au courant and a good side effect of the advances of affordable recording tech, but it is hardly groundbreaking.
Engineering, mixing, and mastering it is no big thing, either; just a long process trial and error.
Actually, making any kind of recording these days is not in any way news worthy, and that suits me just fine.
As I set out to make my first “real” recording at the age of 27, I sat across a lunch table from Jonathan Goldsmith, the man who would produce the 2 recordings I made for True North Records. After an initial awkward hello, the first thing said at that table was, and I quote, “Like the world really needs another record.” That was 27 years ago and the statement seems even more true now. We both laughed in agreement and pursued the thing anyway, freed from any expectations that it was going to mean anything to anybody but us. I haven’t made a lot of recordings–only 9 or so since then–but I’ve made every one in that same spirit.
Contemporary popular musicians can be some of the most the whingey, self-absorbed, and entitled little pricks. Some of them ARE that, and some just come off like that. Yes, its true that for many peers of my age, the game has changed significantly and those changes can be a challenge to negotiate. But lets be honest: We never mattered. Not in the way you thought, and not in any way that guaranteed a paycheque or a place of value in the culture we were born into– one that, by the way, eats its’ young, has a voracious appetite for competence, and the attention span of a horny highway dog.
Making your way through the world trying to create original content has always been tricky. It seemed to me that something was worth doing if it created an echo and gave you a sense of its life beyond your own intentions for it. That echo was reason enough to find ways to pursue the endeavor. No echo meant you either had to dig deeper when you were making the thing (I’m talking the content of the songs here…not the window dressing of the recording) or consider another line of work. Somewhere along the way the romantic choice to pursue the making of ‘something from nothing’ turns into a full- fledged consequence, the grown up version of the dream you had as a teenager maybe. It’s a more potent version to be sure and now gives no fucks about the industry, royalty rates, news cycles, delivery methods, publicity, branding, social networking or, for that matter, your hopes for the thing. You just do what you do and make what you make because what else are you gonna do?
Back to my little record…this note was meant to be a bit of an apology as to why it took so long to cook, though I can’t say who I may have disappointed.
I should have mentioned that making demos hardly qualifies me to engineer, mix, and master, and I learned this by making Vain+Alone. So there was a fairly steep learning curve, which was great, because a secret part of doing this record was about learning how to do this record. Even the most modest of modern recording rigs lets one tweak until the cows come home. [I used–and this is for the geeks–a Macbook Pro mid 2012 running ProTools 10, an assortment of Royer, Apex, and AKG mics run through Universal Audio 4710-D mic pre’s into a UA Apollo Twin along with a UAD2 Satellite and the occasional Antelope Zen interface and a pair of Yamaha HS 8 monitors. ed] This is, as you would assume, both a blessing and a curse. I’ve found that living with the curse eventually brings you to the blessing, a journey of approximately 15 months, apparently.
Vain+Alone became a bigger swipe at a sonic landscape than I had intended and that made it more difficult to wrangle when it came time to mix and master. When my pursuit of something that felt finished began to feel embarrassing, I’d think of friends like Don Rooke, who’s latest The Henrys record Quiet Industry (2015) I was fortunate enough to play a small part on. I know that Don dragged his beleaguered self to the basement for at least a year to make that disarming and beautiful record; or Kevin Breit who, working in his usual genius and mercurial fashion to make his new disc Johnny Goldtooth and The Chevy Casanovas, gave himself to the task in a basement with the same geeky tools that I had and a commitment to doing all of the technical heavy lifting himself as a way to justify continuing to make records and the time and foolishness it takes; or Kurt Swinghammer pouring himself into the CD/Blu-ray DVD release of his ode to Tom Thompson Turpentine Wind; or John Southworth and his epic 2-CD release of Niagara; or Ingrid Veninger and her blazing indie films. These people would stumble across my peripheral vision in various stages of their productions and I would glimpse them creating the best work they could with no apparent expectation of what it owed them. Ultimately they would finish and move on and any commentary about any hardship in the process was mumbled under the breath or was just letting off steam in a bid to keep going.
So, I’m done tinkering with Vain+Alone. I think. No, I’m done.
Its on to other things. A recording of the tours with Stephen Jenkinson is coming out called Nights of Grief and Mystery. It’s hard to describe this CD…it is worthy company and I am honoured to have been a part of it (more on this record another time). There is a 5-song cycle I’m starting that will have me co-creating some recordings with survivors from the Huronia Regional Institution. A re-imagining of the songs from Vain+Alone is close to being finished and will be available…Spring 2018?… arranged, produced, and much of it performed by Kevin Breit and featuring a list of internationally acclaimed musical contributors. There will be some more touring, no doubt, and hopefully some kind of celebration of the 10th anniversary of the recording of Pleasure & Relief: A Live Concert Recording, a night which owes its beauty to the many people who lent their grace and talent to it. On that night, I was neither vain or alone.
And then, I will make another recording.
I know other singers can slide easily into the skins of songs they didn’t write, but I cant. It is such a self-conscious thing for me because I’m always sure that I never get it quite right. This is probably because I don’t see myself as a singer: When I fill out a car loan application, I put “Songwriter” or “Musician”, or “Artist” if I feel like brightening their day in the credit department. Not “Singer”. The only time I sing songs I didn’t write is when I sing with the Art of Time Ensemble and by the time I walk out on stage, I’ve wrestled my way inside the songs as much as I can, mostly desperate to not oversing the thing, but create some kind of respectful distance. A song aint just notes and words…not songs I agree to sing, anyway. There is some kind of intention woven into the songs I agree to sing and that is the thing I’m trying to locate…more the bones of the song rather than the skin. Most often the songs are some kind of iconic. Yesterday, a friend pointed me to a video that was recorded earlier this year of a performance of Chancellor by Gord Downie and there I saw another clip of After Mardi Gras by Steve Earle.
I came to these songs a stranger, as I come to most songs that aren’t mine. I’d forgotten I’d sang Chancellor and whinced my way through the video. I’d never heard the song before being asked to sing it (and I was asked as if it was assumed I knew of it) and it was a tender time in the arc of the story that had emerged about Gord Downie and so I climbed into the song with even more uncertainty than usual. Making my way around the atypical phrasing and imagery of Chancellor was more difficult than contending with the desire for redemption and the self immolation of the heart in Steve Earle’s Mardi Gras. It was Gord’s vampire versus Steve’s inner demons… I dunno… As I wrote that just now, it occurred to me perhaps the songs had more in common than I thought.
In any case, the thing I did note in these video performances was the tenderness in the arrangements (courtesy of Kevin Fox and Jonathan Goldsmith), the focus of the players on the stage, and the respect I remember feeling everybody bringing to the enterprise. I am sharing the stage with Andrew Burashko, Drew Jurecka, Mark Mariash, Don Rooke, Rob Piltch, Rachel Mercer, Douglas Perry, Joseph Phillips, Stephen Sitarski, Kevin Turcotte, Bryan Holt, and John Johnson.
And we all, on the stage and in the house, were surely sharing the minutes with the spirit of the songwriters: Steve Earle and Gord Downie.
I went to the Louvre once. It was 1987. I was 23. I was on a belated honeymoon trip. I ate french fries on the patio while playing Crazy Eights, mistakenly sat on a Louis the XIV chair and set off the alarm, and lined up to see the Mona Lisa only to bail on the lineup and take pictures of people looking at the Mona Lisa instead.
I’m not very good in museums. I become super self-conscious in crowds, and in art galleries I break into a sweat under the pressure of liking what I’m seeing, or the expectation of my having an intelligent opinion because, apparently, it is not enough to like a painting, to be intrigued or moved by it: you have to know why and be able to tell your mates…and anyone else in earshot…if you talk loud enough.
A couple weeks ago, L & I were in Montreal and took in the Chagall exhibit at the Musee Des Beaux Arts. It was near the end of the exhibit’s run and the place was packed. People moved from room to room like sheep and I was a sweaty mess of nerves within a few minutes but I discovered something important: I enjoy seeing paintings when I can get up close…really up close. Like sitting in the Louis the XIV chair kind of close.
I found a painting that didn’t have a crowd gathered around it…a portrait Chagall had done of his father (he did a few, I think). With my nose a few inches away from it, I took my time looking at the canvas without the feeling of 50 pairs of eyes drilling into my back.
I saw ridges– the pressure exerted, all the places the painter decided to stop moving the brush, the exact moments his brain signaled the muscles in his arm, wrist, and fingers to ease up or bear down or change direction. Up close, the thing was a study in intention, force, and trust. Micro movements and decisions made on some sub-existent level. The place where what is invited and what actually appears seem to work it out for the greater good, all caught in oil and pigment a few inches from my nose. Looking at it like this allowed me to relate to the humanity of the painting, and of the painter. I appreciated how he painted those he loved, and that he painted himself, too.
I lasted longer than I thought in the gallery, but will confess we did spend a good portion of time in the Kids Chagall Colour Zone playing with puppets. Well, one puppet. A donkey puppet. I loved that puppet.