New York’s Burnt Sugar, the Arkestra Chamber played Black Lodge Coffee Roasters in New Harmony, Indiana. Burnt Sugar is a collective of over 30 very accomplished musicians. Last night’s lineup featured Shelley Nicole and Mikel Banks on vocals, Jared Michael Nickerson on Bass, Micah Gaugh on Sax, LaFrae Sci on drums, Leon Gruenbaum on keysand Ben Tyree on Guitar.
Burnt Sugar ‘s music moves in and out of many genres, but generally inhabits a Jazz – Soul – Funk space. And as their name implies, Sun Ra is a major influence, but far from the only one. I had one of their records on while driving the other day, drifted off and thought I was listening to Eddie Hazel era Funkadelic, which actually is one of their other primary influences. But their influences are all over the place. They opened the show with “Lonely Woman” the Ornette Coleman classic from his seminal album “The Shape of Jazz to Come,” which featured incredible drums and sax from Lafrae Sci and Mica Gaugh.
Check out those links, and check out their music. And if you like their music, check out Rebellum, an offshoot band with many of the same members that played the New Harmony show. The Rebellum song, Rockstar Amnesiac, was one of the (many) highlights of the show.
Burnt Sugar made the small town stopover between gigs in Nashville and Chicago. New Harmony, however, is not just any small town. The site of two early 19th century Utopian communities in the early 19th century and the playground/museum for one of the wealthiest women in the world for the second half of the 20th, it has a long history as a friendly place for artists, musicians, skilled craftspeople, intellectuals, and generally interesting folk.
In recent years, a fascinating music scene has been developing in New Harmony. Chris Layer’s annual Music Festival and School brings in top flight musicians from all over, including Mazz Swift, who is also a member of Burnt Sugar, although not part of this particular show. More recently, Marc Chevalier, a longtime Nashville recording engineer and his wife have opened a coffee roasting business and coffee shop and have begun bringing more worldly and alternative bands to town. Marc’s sound engineering took last night’s concert to the next level. World class band, world class sound, world class little town. Nice experience all around.
In one of the more extreme examples of what a small world we live in, and how great New York is, Lafrae Sci recognized my wife and I. Turns out she briefly worked at our son’s school in Brooklyn 10 or so years ago – and was one of his favorite teachers ever – and she somehow remembered us. Lafrae is one of the world’s premiere Jazz drummers. New York is like that. Anyone you meet in the workaday world could be supremely accomplished in some aspect of the art world.
The whole night – great music, talented people at the top of their game – made me really miss the big city. And the happenstance of running into Lafrae did too. You know, lately we’ve been living in a small town of 7000, and it was more common for us to run into people we knew in Brooklyn that it is to run into people we know here. Hell, it was just about as common running into Dennis Leary in New York as running into high school friends in my little hometown. People in New York get out a lot. Here, not so much. I recognized it a long time ago, but I still find it odd. Brooklyn today, and much of New York City, is more like the small town I grew up in than the current version of small town I grew up in.
This photo is from the Flags of Valor: A memorial for hour Fallen American Heroes exhibit in Saint Louis. When I took it, I envisioned it as part of what I consider my Naive Photography effort. For me, Naive Photography is about presenting staged, wholesome events without any kind of irony or ill will. Its purpose is the purpose of the subjects: to make the subjects happy; and some sort of effort to boost community pride. I believe there are deeper meanings to be found in these kinds of efforts, but I admit I’m having trouble finding them. I recently had a hard drive crash that possibly meant the loss of two years of this kind of work, and I didn’t even care.
Anyway, the point is that when I took this photo, I had no ill will towards these gentlemen, nor against the military, the flag, veterans, the war dead, or anything else. I envisioned it as an Instagram photo, and possibly something for the larger Naive Photography effort. I figured the military would encourage their members participating in this kind of thing. It makes them look good in a way they want to look good, and shows them as an integral part of the community.
But when I asked them for their names so I could put them in the captions, they got very weird and defensive and refused to provide them, saying they were afraid they would get in trouble with the Public Relations people. Perhaps that was true, but I got the impression they used that as an excuse, that there was also some deeper kind of fear. A mistrust of the public. A fear they would be attacked.
I found the whole exchange disturbing. I think it’s a bad sign when the military fears the people. And I think it’s a bad sign when soldiers are even allowed to be anonymous.
And I really can’t imagine what they were afraid of? Did they think I was one of those miltary-hating unicorns, and that I might Photoshop them into a porn image, or something like that?
I say “military-hating unicorns” because the only people I’ve ever met who hate the military were people who served in the military. I don’t think I’ve ever known any civilians who hate the military, certainly not the individual soldiers who serve in it. Sure, I know plenty of people who hate how the politicians have used the military, but that’s a different thing altogether. And I know plenty of people who criticize the military when individual service people commit war crimes and atrocities, such as Mai Lai or Abu Ghraib, but again, that’s not hating the military.
Anyway, I notice it’s 9.11, so maybe this is apropos.
I saw Nick Cave’s new film “One More Time with Feeling” the other night. It documents the making of Skeleton Tree, his new record, and delves into his feelings about the tragic death of his son Arthur.
Going in, I figured it would be a gut-wrenching experience, and there are a few of those moments, but it has it’s lighter moments as well. I was surprised to find myself laughing out loud a few minutes into the opening scene when the camera malfunctioned as Warren Ellis was giving an emotional speech, and then the soundtrack continued with Ellis bitching about the documentary. Many of those lighter moments are associated with the film’s meta critique of the documentary filmmaking process. Overall, the film was much more about the creative process than about Cave’s grief.
So as a viewer, just like the participants, I found myself critiquing the filmmaker, and the manufactured elements of the film as a documentary, such as performing interviews in the back of a car while driving around; or, as the title of the film alludes to, the overall artificiality of placing people in fake scenes and manipulating how they communicate to the camera.
Otherwise, the film consists of interviews with Cave, Warren Ellis and Cave’s wife Suzie about the making of Skeleton Tree, Cave’s creative process in general, and their emotional states concerning Arthur’s passing. Cave narrates a closely-written voiceover throughout much of the film that gives it an overall coherence.
The film was shot in black and white, except for one incredible color sequence that made me wish the whole thing was shot in color. And my understanding is that it was shot with a 3D camera, as well, but apparently the theater I saw it in didn’t do 3D. Anyway, much of the cinematography was excellent.
Warren Ellis’s work is almost as much a part of Nick Cave’s music as Cave is himself. In the film, you see Ellis creating the soundscapes, directing the other musicians, and genuinely collaborating with Cave on how the songs are constructed.
Whether you would want to see it probably depends on how much you like Nick Cave; or possibly if you are interested in the grieving process and how one very creative couple and group of friends are handling it. Skeleton Tree is not one of Cave’s more accessible records. There are no rockers or guitar solos. Few of the songs have any kind of traditional narrative or even refrains. It sounds more like one of Cave/Ellis’s soundtracks than a Bad Seeds record. The songs are built on elegiacal notes that alternate their resonance. More of a A few of the songs contain not-too-distant-echoes of material from Push the Sky Away. “Jesus Alone” is the closest thing to a regular song on the record, and it’s not very close.
I like it a lot, but I think Cave is one of the great artists of your time, so I am inclined to give it the time and consideration it deserves. To experience either the movie or the record requires slowing down. Slowing way down.
The other day I drove by this old fashioned carnival as they were setting up. The mechanical rides, games and concessions were much the same as when I was a kid, so I came back and did a hit-and-run photo project on Saturday night. This is a coal mining region in southern Illinois where, as more than a few people I spoke with informed me, most of the mines have closed in the past few years; several adding something along the lines of “thanks to our wonderful president.” Somehow I managed to keep from saying “Obama caused global warning? But of course he did.”
Anyway, although this is just a quick hit-and-run, and it shows, I think these old carnivals might make for a good project. Maybe next summer?
A friend and I went out looking for a new swimming hole the other day in Shawnee National Forest. On the way we stopped in a little museum located in an old train depot. At first glance, you probably thought the above photo was my desk, but it’s actually an exhibit in the Stonefort Depot Museum.
While I was there I got to inadvertently insult this little Mennonite boy by first mistaking him for Amish and then thinking he might not be allowed to have a camera. Yes, he can and does have a camera and loves taking pictures with it. Stupid English, he probably muttered under his breath. Or do only the Amish use that term?
Above is the museum’s owner and operator, Linda Blackman. Linda gave us a personalized tour and was a great sport posing for photos, even silly ones like this one. We very much enjoyed meeting her and learning about the museum.
It turned out there was a bit of a hike to get to the swimming hole. It appeared to be in a box canyon with sheer cliffs on both sides. Appearances, however, proved to be deceiving. I lagged behind my friend to take the above photo. Then I came to a place where one trail went left, the other right. I could tell that the trail to the right was the one most traveled and I was sure it led to the swimming hole. But the one to the left looked more interesting, and I was sure it would lead to the swimming hole as well, being as it was a box canyon. Turned out that it wasn’t a box canyon, though, and I hiked a long way on a very hot and humid day, and of course kept going long after I was sure I had gone the wrong way, just on the hope that it was right over the next hill. But it wasn’t and I had to turn around and hike all the way back. On the positive side, I ran into some people who had given us directions earlier who were now lost, and was able to send them in the right direction.
I finally got to the swimming hole, literally drenched in sweat, which was great because the water was very cold and diving in was incredibly refreshing. That little swim turned out to be the best I’d felt all summer, and I’ve felt pretty good a number of times this summer.
These photos are from this morning’s hike. Rather than go somewhere I knew would be nice, I chose to explore new lands. I knew odds were good I wouldn’t come across anything very interesting. But you never know until you try.
I don’t do it as much as I used to, but one of my favorite photo exercises is to work a superficially boring place until I can find a way to make it visually interesting. The first time I remember doing that was at a parking lot outside a Comfort Inn in Tysons Corner, Virginia, which has to be one of the more boring places on earth. Over the years, I got pretty good at photographing parking lots in suburban wastelands. It’s a good skill to have. Really makes you think about composition. The lessons learned can be applied in a lot more interesting situations.
Although not nearly as challenging, it’s a good exercise to do in nature, whether you are a photographer or not. You may think you’ve walked a long way across boring fields only to end up at an ugly little stream in a muddy swamp, but if you sit in the same place long enough, interesting things about the place will eventually reveal themselves. Try it. You’ll see.
For extra credit, contemplate the idea that there’s no such thing as bad light.
I am old, very old. The first concert I went to was Jethro Tull in 1972. The ticket cost $6. Through my high school and college years, I went to many concerts, and $6 became $8 became which became maybe $12, but it was always a price a regular working class person or poor college student could afford.
Not so, nowadays. That $6 in 1972 is $35 in today’s money, but today’s average ticket price is roughly $80. In 1972, someone making minimum wage would have to work about 4.5 hours to afford a concert ticket, which btw, would get you a seat, or place to stand, anywhere in the arena. Today, a minimum wage worker would have to work over 10 hours to get the average ticket, and probably a whole week or more to get a place in front.
So what’s a young person without a trust fund or high paying job to do? It’s not like young people are going to stop going to see live shows. Something had to fill the void left by big corporate music.
That’s one of the directions my thoughts meandered during my time at the Beesonstock Music & Art Festival. Beesonstock is a two day event on a rural 10 acres in southern Illinois, just outside the small town of Cisne and not too far from I-64. A two day pass costs $40 to see 20 or so bands, or Saturday only is $30 to see about 12 bands. The answer to the question ‘what’s a young person to do’ in the previous graph is go to “small festivals.” Turns out they are happening all over, As some old guy once sang: my my, hey hey…
The Beesonstock Music and Arts Festival is the work of James Beeson. What has turned into a large festival with 20+ bands and 500+ attendees was born on his 18th birthday with his front porch as a stage and a party of 35 or 40 people.
After a few years on the porch, more than 250 people were showing up, so he found some land in the country and built a stage. After a few years passed at the new venue, and the crowds continued to grow, he acquired a permanent location on a beautiful 10 acres of rolling hills outside of Cisne.
The music at Beesonstock covers a wide range of styles. It leans towards what I’d call hard rock with a lot of jams, but also includes such diverse styles as Reggae, Funk, Singer/Songwriter, and Bluegrass.
“I tell the bands to fire up and play original music,” says Beeson. “I try to culture shock the audience by staggering my sets to where you have really weird music up against each other.”
Growing up, Beeson was one of those kids who was really into music and always playing in bands. His father was a Luthier who made Mandolins.
“I was a 90’s kid,” says Beeson. “In high school I listened to Pearl Jam, Sound Garden, Incabus, and Wilco. After high school, I met new people who influenced my musical taste. I discovered bands like Radiohead, and then Andrew Byrd and more independent artists. I’m also a big classic rock guy. I love Led Zeppelin. I love falsetto frontmen in general. Like Cedric from Mars Volta, Thom Yorke, and Robert Plant.”
Beeson’s current band is Mountain King.
“We like to jam, and we like to play some solos, but they don’t go on forever,” he says. “We may do parts of the songs note for note, but we do extended solos and certain bridge extensions. Last night we were just vibing, but it all worked out.”
Beesonstock is in a musical solar system that includes Saint Louis and Chicago, as well as college scenes in Champagne-Urbana, Carbondale among others. Most of the headliners came from those big cities and college towns. But there were also bands from small towns such as Fairfield, Flora, Olney and Mount Vernon, Illinois. Olney, in particular, seems to be a musical hotbed. Who knew?
“We have the bigger local bands,” says Beeson. “Everyone around here knows who they are. They produce a lot of great original music. They are all artists. Everyone here has something going for them. They may not have been seen by someone big, but they’ve been seen by us and are amazing.”
Cecelia Kushava, who is from the area and has known Beeson since high school, comes all the way from Madison, Wisconsin to enjoy the fest.
“I always come home for this,” she says. “It’s just a great scene where you can listen to music and have a great place to hang out. I’ve never seen a grumpy crowd here. It’s a safe place to come to listen to music where people are into their art.”
Cecelia used to go to a lot of concerts, but now prefers these little festivals. “You get a good group of people together to see a lot of bands and different types of music, it makes it easier for everyone to afford it.”
“We’ve been coming to Beesonstock since James had it in his backyard,” says Ember Harrelson. “It started out small and it’s turned into this awesome thing. You meet new people every year. It’s always a great atmosphere. Everything is just mellow. Everyone makes it work. Everyone comes together and has a good time with their art and their music.”
Live music is not only under siege by greedy promoters and ridiculously high ticket prices. Beeson says it’s a lot harder for bands to get bar gigs these days.
“There are a lot of good bands in southern illinois, but EDM (electronic dance music) and the deejays have driven a lot of the live bands out of the bars. Festivals are about all that’s left.”
Running a festival, however, is not easy. It takes a lot more than getting the land and building a stage. Insurance is a huge hurdle. It is expensive and requires certain security measures, amenities like porte-potties, policies against blatant drug use and underage drinking, and it prohibits certain types of acts such as Rap, Death Metal, or Rave-type electronica.
“The market for festivals is saturated,” says Beeson. “It was almost nothing when I started, but now there’s Ragefest near Carbondale, a couple near Effingham, Down on the Farm in Northern Illinois. It’s tough when another fest takes your weekend.”
“I don’t make any money,” he says. “but I pay the bands straight out. Other festivals give tickets and the bands have to sell them and keep the money.”
But the festival circuit is also something of a family affair.
“I know a lot of people from running a festival,” says Beeson. “We also play a lot of other festivals. You get to know the other bands and people who love going to festivals.”