03.04.2014

Songs about trying to get your ex back,how to get all girlfriends on gta san andreas,winning a girl back after a break up songs - Review

A blistering version of a€?Stagger Leea€? occurs seven tracks deep into Danielle Miragliaa€™s most recent album, Box of Troubles.
So it is that Danielle Miraglia puts her own stamp on a€?Stagger Lee.a€? Of course, ita€™s not her own composition, but surely a cornerstone of her repertoire.
An interview with this refreshingly affable, down-to-earth performer reveals how she became the player and writer she is today.
While her musical aspirations took a back seat during her college career, there was still some dabbling.
When Danielle left Emerson, she felt lost for a while, describing herself as a€?unfocused.a€? She wasna€™t able to translate a degree in writing into meaningful employment.
Danielle had a fantasy about moving to Arizona and starting a whole new life out there, getting a fresh start.
Her first songs, coming off the dissolution of a relationship were (again) a€?cheesy breakup songs,a€? she said. At that point, she was a€?writing a ton,a€? and within about six months she enlarged her repertoire to six decent songs and another six months to beginning her first recording. In addition to the strong, steady thumb beat on the bass strings, Danielle also uses a hollow foot stomp, sometimes amplified.
I asked her about the guitars shea€™s favored and she mentioned that the Yamaha her boyfriend got her in high school was a nice beginnera€™s guitar (he took it back when they broke up a€” song opportunity!). Danielle feels that her first two CDs were of little consequence a€” a part of the learning process a€” and that her recording career started in earnest with the album, Nothing Romantic. In a€?You dona€™t Know Nothin,a€™a€? a reaction to some right-wing radio talk shows, Danielle flashes metaphoric sharpness.
The a€?eight oa€™clock shadowa€? then displays his own ignorance, condemning abortion rights marchers on the bara€™s television. Although I first got cold-cocked by a€?Stagger Leea€? and a€?Loud Talkera€? from Daniellea€™s latest CD, Box of Troubles, there are other standouts.
Wea€™re ecstatic that wea€™ve caught up to this supremely intelligent and talented performer. Danielle has had purists disagree with her about not following original styles note-for-note. Ita€™s difficult to express how much enjoyment I got out of hearing the old chestnut, a€?Wild Women,a€? written by Ida Cox and sung by Wool&Grant on a recent John Platt Sunday Morning Breakfast Show on WFUV-FM.
Their joined voices provide a wealth of pleasure, no matter what direction their music takes them.
A big formative experience came from Ina Maya€™s connection with a member of a frienda€™s family, Davidine Small, whose mother and uncles were vaudevillians and musicians. One of Ina Maya€™s big money gigs was the town Christmas party at Abbott Hall in downtown Marblehead. After high school, she moved to Manhattan and went to Barnard College, the womena€™s school affiliated with Columbia University. In a short-lived episode after college, Ina May moved to Santa Cruz, Calif., to continue working in a rock band with her boyfriend. As she described it: a€?I booked myself at coffeehouses and colleges as a solo act but after a few months, the bass player from the rock band moved to town from where hea€™d been in California to play with me.
One of my solo gigs without the band was at Sandya€™s (also a famous jazz club) in Beverly, Mass. As she saw it: a€?I missed playing out live and New York gigs were always high pressure showcase kinds of things. The next change in her life came through her friend Jon Albrink, a session player and singer who also had bands playing his original music. It was the era of singing sister acts such as The Lennon Sisters (The Lawrence Welk TV Show) and The McGuire Sisters (The Arthur Godfrey TV Show). Bev felt intimidated by the jazz people who surrounded her and stopped doing music for a time.
She was finally on her own and became involved with protesting the Viet Nam war and in overarching societal problems. She got introduced to and became heavily involved in the womena€™s movement, resulting in a greater level of self-awareness. Bev gave birth to her second child in 1982 and The Human Condition re-formed as a world-beat band, singing in different languages about international struggles. Ten years ago, Bev formed a trio called The Dissident Daughters with two women were recruited from the Brooklyn Womena€™s Chorus.
Beva€™s involvement with Ina May evolved from a Dissident Daughters recording project with Ina Maya€™s husband Daniel.
While Bev brings a higher political sensibility and Ina May writes a greater amount of personal songs, they complement each other. She got introduced to and became heavilyA  involved in the womena€™s movement, resulting in a greater level of self-awareness. Every time Ia€™ve seen him live over the years, Ia€™ve chided myself for not having remembered to grab him for a feature article. Brooks has been living in England with his wife, Jo, who is British, for four years at this point.
Speaking with Brooks from a€?across the pond,a€? I found someone who is so acclimated in his new life that he speaks in a clipped, slightly British, almost Cockney manner, sort of like the way a Northern visitor to the U.S.
Brooks appeared a couple of times at The Fast Folk Cafe in the mid-a€™90s, where I was a volunteer manager. In addition to New Everything, which he mailed to me, I remembered owning How the Night Time Sings (1991) and Knife Edge (1996). Red Guitar Plays Blue is a self-issued collection of vintage recordings of songs written during 1986 and 1987.
One instrumental track on How the Night Time Sings, a€?Look What the Cat Dragged In,a€? is itself cat-like, aurally walking the top edge of a fence and nimbly leaping from one tiny surface to another. The opening instrumental track of Live Solo, a€?Chasing The Groove,a€? is typical Brooks a€” a bouncing fret-skipper that easily beguiles the audience who will now hang on every note and syllable of the eveninga€™s performance. His new CD, appropriately named New Everything, is at times a good-time, jump-out-of-your-seat, get-up-and-dance guitar clinic. When he lights into a€?Deep River Blues,a€? the classic made famous by Doc Watson, my body does a giddy flinch of joy. The title track is a skewed version of the old country song a€?Flowers on the Wall,a€? by The Statler Brothers (a€?countina€™ flowers on the wall, that dona€™t bother me at alla€?). This batch of stories reflects his expressed career goal to continue following the primal urge to express reactions to life events with sung poetry and a guitar riff.
Brooks is quick to remark how welcome and appreciative his British audiences have been and continue to be. Brooks appeared a couple of times at The Fast Folk Cafe in the mid-a€™90s, where I was a volunteer manager.A  His first appearance was on a co-bill with Frank Christian.
The opening instrumental track of Live Solo, a€?Chasing The Groove,a€? is typical Brooks a€” a bouncing fret-skipper that easily beguiles theA  audience who will now hang on every note and syllable of the eveninga€™s performance.
I was driving home from the 2010 Falcon Ridge Folk Festival, the two-lane blacktop of Route 22 South stretching out in front of me. While I tend to invest a lot in the psychology of the farm lifestyle, Susan sees things in more practical terms.
Susan counts her blessings when it come to the education she got in her small-town high school. But what good fortune to have this unusual talent in the middle of the cornfields that my teacher and friend Alan Jacobsen was able to provide this unusual kind of encouragement and understanding. Susan also recalled: a€?My high school piano teacher would record all the Marion McPartland shows and give me cassettes of them.
Susan went to college at the University of Iowa and received a bachelora€™s degree in voice. While she was at Temple, she played jazz piano in nightclubs and restaurants to make ends meet.
After seeing Nancy Griffith in concert at a club in Philadelphia, she came to the realization that writing and singing songs based on personal experience was a perfectly valid way to expend her musical talent. She surfaced again and again through the a€?90s, always giving a dynamic, thrilling performance. In 2004, she released the first of her a€?themeda€? projects, I Cana€™t Be New, which drew on her experience with pop standards. This got her the aforementioned appearance on the Marian McPartland show and also, brings us to the issue of her ingrained sense of humor. The most recent of Susana€™s projects, Classics, takes pop songs and weds them to classical themes. When I remarked about the impressive diversity in her songwriting a€?projects,a€? and not playing it safe, she expressed appreciation. When I made comparisons to the diverse approaches Ia€™ve used as a visual artist (drawing, painting), her emotional core showed its strength.
In parting, I mentioned that it seemed as if her audiences were bigger and more appreciative these days. Susan has a strong connection to her audienceA  and looks forward to interaction with them. Tom Bianchi, her husband and producer on this album, uses an electric violin, a blues harp and a sinuous lead electric guitar with a wah-wah pedal to sustain the cloud of doom that hangs over this historic piece. Her family lived in Everett until she was 8, then moved to nearby Revere, where she grew up.
As kids will, she and some friends tried to form a band, even though no one actually played an instrument. She took a couple of lessons from the aforementioned frienda€™s father who was going to teach her friends to play their instruments. Using an acoustic guitar, shea€™d get together with a friend back home to play and write songs.
Her first stop was the open mic at The Kendall Cafe in Cambridge (now closed), just to a€?check it out.a€? She saw people who were very advanced and some raw beginners. However, a€?They had grit to them.a€? Although she cringes when she looks back on her early writing, she still feels that the songs werena€™t all that bad considering her level of development.
She was a fan of the late Janis Joplin and would belt her songs out, Janis-style,without giving thought to vocal dynamics or microphone control. Additionally, she studied the Stefan Grossman transcriptions (written and audio) of the guitar of Mississippi John Hurt.
Shea€™s been told, a€?If youa€™re not doing it exactly the way they did it, youa€™re not doing it.a€? For Danielle, ita€™s all about enjoying it and getting into the a€?feela€? of it [we agree]. Although shea€™d seen performers like Chris Smither use this sort of device, she never intended to copy it. She later got an Ovation, then a Guild and then found her first love in a Gibson [lots of blues in those Gibsons].
Thata€™s about when we made her acquaintance (as well as taking note of her impact at the 2009 Northeast Regional Folk Alliance Conference). She uses a nimble Mississippi John Hurt-style fingerpicking pattern for this philosophical gem.


Tongue-in-cheek, she asks for a drum machine, and, in a reference to Robert Johnson, Tell me where the roads cross, Ia€™m ready to sell my soul. Ita€™s a plus that finding out how good a writer she is now reinforces our first impression of a highly energetic blues artist. Her teacher, George Walkey, hired her as a helper for his group guitar lessons at the Marblehead Y.
During their visits from New York, everyone made up songs and wrote plays, then performed them. She played the venerable Postcrypt Coffeehouse and other concerts on campus, opening at one point for legendary jazz pianist and composer Mary Lou Williams.
A drummer hea€™d met in California also moved in, and we met some local musicians, and we started doing some of my solo gigs as a band. I opened for Paul Pena who wrote (Big Old) a€?Jet Airliner.a€™ He invited me to sing with him that night, and I jammed with him onstage. Musicians that I knew were able to play a€?cluba€? dates, weddings, anniversary parties, bar mitzvahs, etc., and I thought it would be good for me to get better as a singer and to learn material, not just work in a band based around me a€” and to earn money.
Her oldest sister bought some stock arrangements and thata€™s how Bev learned to sight-read music. She listened to the greats like Billie Holiday and Ella Fitzgerald and thought a€?I cana€™t do that.a€? She played the role of the musiciana€™s a€?old ladya€? for a couple of years and then ended the marriage. It was liberating for Bev to finally see her own involvement in an abusive relationship as part of a greater issue. The project never went anywhere, but Bev and Ina May had gotten to know each other through a song writing workshop and started singing together. They got to know each othera€™s life stories and saw that they had similar sensibilities as young performers. Youa€™d need to know a lot of those ways if you were to count the places Brooks Williams has been referred to in that manner. If you watch a YouTube video like his version of a€?Weeping Willow Blues,a€? recorded at Uncle Calvina€™s in Dallas, the guitar seems like ita€™s been grafted onto him. With the release of his new CD, appropriately named New Everything, wea€™re finally getting that corrected.
Southern states might return northward, dragging the expression a€?ya€™alla€? across the Mason-Dixon Line. Whenever they got to a new town, the first thing shea€™d do was call a music school or store and ask who taught violin. He noticed that not many other boys his age were inside on sunny summer days playing violin. Rather than accept an offer from Berkelee School of Music, he attended a liberal arts school for a couple of years. A check of our CD shelves uncovered a forgotten treasure trove: Red Guitar Plays Blue (1994), Nectar (2003) and Live Solo (2004). It carried me back in time to when Brooksa€™ jackhammer-steady rhythm and pristine clear picking were a new revelation. Knife Edge illustrates Brooksa€™ love for Ireland in the rollicking instrumental track a€?Belfast Bluesa€? and the stomping slide romp a€?Rotterdam Bar,a€? which recounts the time he played Belfasta€™s legendary Rotterdam Bar alone on stage to an empty room after it had been closed down (a favorite playera€™s venue during the a€™90s, an Internet search as to whether it was saved from demolition is inconclusive).
He plays fingerstyle on a resonator guitar while Martin Simpson, British guitar monster, adds background slide licks on a second resonator. Maverick is an Americana festival held every year in eastern England during the 4th of July weekend. There may be a stronger sense of purpose, a drive to overcome any obstacle, an unshakeable emotional center.
As she recalls, a€?My older brother learned guitar from Sister Marie Claire of the Franciscan nuns of Saint Marya€™s Chapel School in Manchester, Iowa. If you have parents who enjoy what you do, you will never stop doing it for your entire life. When pressed further, she distilled the varying elements of a rural personality for me this way: a€?Other people who grew up in the countryside, people Ia€™ve met who grew up on farms or ranchesa€¦ therea€™s a practicality to those people, a straightforwardness, a plainspokenness that I find really wonderful. Afterward, she moved to Philadelphia and earned a mastera€™s degree in voice at Temple University. She had a gig every Friday night at the Pen & Pencil club (an after-hours Journalista€™s club) The man who ran it, Ron Patel, wanted to have a a€?Chantoosiea€? in the corner. Alan Pepper, owner of the Bottom Line saw as much as I did, and more, and created the Bottom Line record label, of which Susan was the first to be signed. She wrote an entire album of her own Cole Porter-like songs, utilizing her considerable chops as a pianist and guitarist, her razor-sharp lyrics and her muscular vocals. I like somebody who can turn a phrase, who can put words together in a way you cana€™t see coming.
I searched Eddiea€™s Attic online and found that Susan was playing during my visit, so I bought two tickets.
She became became interested in the project after attending the Chicago Gospel Music Festival. There are some songs where shea€™s a lot more generously hopeful about religious practices that many of us disillusioned lapsed practitioners would be. Then, with mock seriousness, she said, laughing, a€?I really feel bada€¦ theya€™ll throw me in the grave, saying, a€?Well she took that all too far. She said, a€?a€?When you see someone over the course of a career and they always have something to bring to an audience, youa€™ve got to respect that. Danielle had a Casio keyboard; a frienda€™s father played guitar, so it was assumed that hea€™d show others in the group how to play their instruments. There were writing courses of every kind, including journalism, childrena€™s writing and poetry.
She figured, a€?OK, I can fit into this mixa€¦ I can pull this off.a€? She signed up to play the following week and found that others were very polite, offering encouragement. It wasna€™t until she got to the open mic of blues master Geoff Bartley at the Cantab Lounge that her mistakes were pointed out. The practice really evolved from using a foot stomp on stage to keep rhythm and provide percussion. It actually took another year for her to digest and learn what Geoff had taught her.A  a€?It was like I got all the food and then I processed it,a€? she told me. I knew it was Ina May and Bev because Ia€™d heard them before and their sound is immediately recognizable. Both women started making music when they were very young and both of their paths make fascinating stories.
She would help tune studentsa€™ guitars and at the end of the class, would sing and play a song. Although she cana€™t be sure, Ina May thinks that Davidine might have helped her get her first local gigs.
Paul Penaa€™s producer and booking agent were there and approached me about working with them. The gig organizer told Ina May that a€?Danny Weiss would be playing the evening gig and was a genius.a€? Ina May was skeptical. Always a high-energy person, Bev had a full-time job and was a single parent throughout this time. Their first gig as Wool&Grant was a co-bill with Bev and The Dissident Daughters at The Good Coffeehouse in Brooklyn.
If further proof of his prowess is needed, in another video, apparently from the same set, he laughingly tosses off a guitar medley of the most famous rock and folk riffs. They hit it off immediately, but didna€™t see each other for another year, so their relationship developed a€?at a slow burn,a€? he said.
He would get tired of one line of work or things would get slow and hea€™d switch back and forth. Bored with playing classical pieces and with the instrument itself, he wandered off and came across an older boy, a teenager, playing guitar. It kept him away from the drinking and racial conflicts that pervaded the lives of many Southern teenagers.
He also bought a book of the greatest hits of the a€™70s a€” Beatles, Carly Simon, CSNY, Arlo Guthrie a€” and it showed him how to play chords.
He left for another couple of years, but went back and re-enrolled, this time at Salem State College in Massachusetts and graduated with a B.A in English.
I played anywhere that would have me a€” cafes, bars, open mics a€” and lots of restaurants. The title track invites the female listener to walk with him on the insecure a€?knife edgea€? of a relationship. If further proof of his prowess is needed, in another video, apparently from the same set, he laughinglyA  tosses off a guitar medley of the most famous rock and folk riffs. Brooks said he was a€?in awe.a€? Frank was a damn fine picker himself, so the evening was a thrill.
I was passing through farmland, marvelling at the quiet beauty of corn rows, of the silos that peeked out from beyond them, and the stately, weathered white of the homes and barns.
Case in point: A musically gifted girl raised on an isolated hog farm in Manchester, Iowa, surrounded by a loving, supportive family. Alan Jacobsen was a Buddy Rich-type drummer working as a music teacher at the Manchester High School. Ia€™d hear Marian McPartland talking to this one, or that one a€” Oscar Peterson a€” and listen to how they did it. He said to her, a€?I have this picture of a rummy bar, so go over in the corner and sing something and play something.a€? Susan bought Gershwin and Cole Porter songbooks and enlarged her repertoire of standards.
Somewhere around the time that her third album, Last of the Good Straight Girls was released (1995), maybe a little before, I saw her play live, at the now-defunct Bottom Line nightclub in NYC.
The next album, on that label Time Between Trains might contain the most of my favorites in her repertoire. When she cradles that song in her big voice, it becomes a call to find every woman who has ever been mistreated and do battle for her.
For me, there has always been a discrepancy between what religion professes to be and what its practitioners actually are.
In another interview, she states: a€?There is a religious left that is stepping up and into the fore and has a real case to make in making this country a better place. Therea€™s nothing more to be gained from thata€” unless you feel the need to show of and have people clap for you, which is kind of pathetic. They choose wisely, the prioritize wisely and theya€™re giving people something very, very real. She credits two older boys, her upstairs neighbors, in helping to add to her musical knowledge.
She went back again and again and found a€?a whole new crew of friends.a€? They were a€?on the same wavelength,a€? she said. On a gig where she needed to use a box for added height, she found herself rhythmically tapping on the box and liking the sound. Although she told me that her husband Tom hosts it now, shea€™s still listed as the host on The Burren website.


Danielle developed a a€?roguea€? mixture of what Geoff taught her and the Grossman transcriptions. Therea€™s something of a country twang in Ina May Woola€™s voice that increases the veracity in her songs about lifea€™s travails and victories. Her mother graduated from Massachusetts College of Art in Boston and was an oil painter and then later a prolific printmaker. She played kidsa€™ parties in junior high and high school and would get $10 for each party during which shea€™d lead singalongs. She didna€™t play acoustic for a while and hung out with rock musicians, did studio work and was in a rock opera, The Last Words of Dutch Schultz. It took her a while to extricate herself from that relationship, but she managed to do it around 1966.
She learned to use the concept of a€?story songsa€? to make a political point, and on the first album, wrote about a working-class woman, a€?Janie,a€? from Ironbound, N. Ina May has learned more about harmonizing from working with Bev, who is still a choral director. The violin practice and concerts brought him in contact with other youngsters, so early on, it was fun.
He thought, a€?I want to do that.a€? Brooks returned the next day and asked the boy to show him how to play. During this time, in the late a€™80s, stalwarts such as Vance Gilbert, Ellis Paul, Jonatha Brooke and Catie Curtis were beginning to make their mark.
In addition to all the guitar pyrotechnics, I came away with the indelible image of Brooks cleverly easing forward and using the mic stand as a slide at the finish of one song.
The girl blossoms as a musician whose talent usually dwarfs those around her and leaves audiences enthralled.
When you grow up and therea€™s your corn out in the field and here comes the hail storm and there goes your seasona€¦ therea€™s an acceptance of things beyond your control that in a healthy way counteracts neuroses.
Her version of the title track, performed live these days, with Trina Hamlin on harmonica and percussion (Natalia Zuckerman on slide at certain shows) is one of the most thrilling concert experiences I can recall in years.
A well-written comedy song can hang around for a long time, but it takes more effort and it takes more brains. Danielle and another friend, Brenda, who Danielle said, a€?has a twisted sense of humor,a€? would write songs with ridiculous lyrics.
For Danielle, they included John Irving (for his humor as well as his dramatic flair), Tim Oa€™Brien (Vietnam War novelist, not the bluegrass performer), satirist David Sedaris and Lorrie Moore (a€?humorous and poignant short storiesa€? a€” Wikipedia). There was an epiphany of sorts in that they both realized life is too short to waste on doing things you have no love for.
Later, she asked a friend to follow her design to make a hollow device like a footrest that she could attach to her stool. Also, she mentioned that it seemed less desperate than standing when playing in a noisy bar. For Danielle, they includedA  John Irving (for his humor as well as his dramatic flair), Tim Oa€™Brien (Vietnam War novelist, not the bluegrass performer), satirist David Sedaris and Lorrie Moore (a€?humorous and poignant short storiesa€? a€” Wikipedia). She finds it fundamentally impossible to repeat someone elsea€™s stylings note-for-note a€” shea€™ll develop her own version instead. Therea€™s a Buffy Sainte-Marie-like quaver and a power in the voice of Bev Grant that helps raise a persona€™s social awareness when it happens to be her goal.
It was a whole other world, some rock and pop and also some standards and jazz singing with pickup bands. Another band person was explaining to Dan how Ina May sings a€?this songa€? and a€?that song.a€? Daniel said in response (not aware that Ina May was standing there) a€?Oh, I know all that female stuff!a€? Ina May stepped up and said, a€?Oh, really? Bev was known as a€?the little girl with the big voice,a€? and sang songs like a€?Blue Suede Shoesa€? and a€?Heartbreak Hotela€? as well as Teresa Brewer covers. As part of that group she made a documentary about the Miss America pageant protest in 1968 and she took many photos surrounding that event. She has written songs to illustrate those issues.] After the Human Condition disbanded, she formed the Brooklyn Womena€™s Chorus, a 40-person vocal group. While Ina May focuses on rhythm guitar and finger picking, Bev has taken on lead guitar work.
Brooksa€™ first time playing guitar in front of an audience was in a concert on his last day of high school. When I finally got it together enough to make a little money from playing a€” and I decided thata€™s what I wanted to do a€” I was playing five to six nights a week in the little clubs, bars and coffeehouse of New York and New England. Red Guitar Plays Blue is out of print and I dona€™t see it in the iTunes store, so I feel pretty lucky to have it. On the drive home, a full moon hung in the sky and awoke reminiscences of people who werena€™t there that day, specifically Michael, who had passed away. When I finally got it together enough to make a little money from playing a€” and I decided thata€™s what I wanted to do a€” I was playing five to sixA  nights a week in the little clubs, bars and coffeehouse of New York and New England. Feeding a habit I started at the Cafe, I bought CDs from Brooks and had him autograph them. Under the cerulean blue of the sky, with clouds like cotton pulled apart, floating in tufts, there were no people in evidence. I also think that the best songs contain things that people dona€™t say, people cana€™t say, people are afraid to say. However the world views her as a blues singer, shea€™s well-prepared for original songwriting.
Danielle also studied from an instructional DVD of Mississippi John Hurta€™s guitar style by Happy Traum and John Sebastian that combined video and tablature transcription. Together, Wool&Grant possess a sweet blend and a one-two punch that invites all kinds of a€?strong womena€? references. Are you married?a€? and wound up telling him about her relationship problems after the gig.
Her oldest sister had taken several years of piano lessons and learned electric bass, while her middle sister took up lap steel.
Theya€™ve each brought earlier work to the new album and have collaborated on one of the new songs, a€?The Last Man on the Mountain,a€? about strip mining. He was really nervous, a€?shaking in my boots,a€? he said, but he loved the experience and was determined to do more of it. The midweek gigs were in loud bars where I could barely even hear myself and I played for four hours without stopping. Looking at the a€?Listeners Also Boughta€? thumbnails in the iTunes store below Brooksa€™ albums, one sees Kelly Joe Phelps, Taj Mahal, Susan Tedeschi and Muddy Waters. In all that quiet beauty, I could not help pondering the delicate, sometimes brutal, sometimes violent contract made between the farmer and nature.
Thata€™s all I wanted him to do.a€? Her brother played in the folk mass and then, Susan followed suit.
Thata€™s a great gift, because they didna€™t need to express themselves through our success in the arts. A small town in rural Iowa, that you would have a high school band teacher who had a phenomenal amount of jazz talent.
Later, while promoting her album of self-penned a€?standards,a€? I Cana€™t Be New, released in 2004, Susan appeared on Mariana€™s show.] She continued, a€?That played a role and, years later, there I am, on the Marian McPartland show!
When I told her of this, she responded, a€?Give me a room of 200 people or less, and wea€™re gonna have a good time.
People like Greg Brown and Richard Thompson, who stay true to it, who always find something new to say, and new ways to do it.
When she returned home, Danielle began attending open mics, kick-starting what would become her career. I would be putting together help desk manuals, and then Ia€™d write a song about how miserable I was.
Later I realized that when you change the words, the chords, the melody and the rhythm of a song, it might be called a€?writinga€™ a song. Abruptly, her husband and a bass player friend moved to New York, where they looked for gigs. He gave Brooks a fresh push back in the early 2000s, lining up gigs in numerous venues, when Brooks was struggling. When you make your own entertainment, if you have music around the housea€¦ You might wind up playing your instrument longer, you might wind up actually practicing, you might wind up experimenting with it. Pretty rare, because most music teachers, most band directors at the high school level, are all about the marching band. Everything else dwindles in comparison.a€? If religion has something to offer society outside of individual comfort in our darkest hours, that would be it. Songwriting requires a commitment to doing it and not getting it right for a long timea€¦ expecting it all to work right away is a mistake in any endeavor. The male of the species got off easy this time, but that doesna€™t mean she hasna€™t been watching. Then Ia€™d tell someone to re-boot their computer, which is usually the solution to every problem.
Shea€™d only heard him doing pop and rock on synthesizer at the gig and was flabbergasted to hear him playing a€?gorgeous acoustic jazza€? on a piano. Thata€™s what theya€™re supposed to doa€¦ keep those kids marching, keep them organized, doing something as a group.
You have to give yourself a long runway to take offa€¦like a big plane,a€? she said, laughing. They really want to be surprised, engaged, a little scared or uncomfortablea€¦ or deeply moveda€¦ or surprised at how deeply moved they are. She tinkered around with some acoustic fingerstyle guitar while in high school, copying selected songs by Randy Rhodes and the band, Heart. Theya€™ve been married 25 years now and Daniel has produced both of Ina Maya€™s solo albums.
While he immediately felt at home with the guitar, he kept that promise for four more years. He sent me home with some Count Basie records, some Ella Fitzgerald, Joe Williams, Carmen McRae, some Sarah Vaughn. Thata€™s where all discovery is at.a€? She has also tried ballet and a few other disciplines outside her comfort zone. Then you wona€™t be bored.a€™ [laughs] Thata€™s the first obligation of a show that it not be boring! Then you wona€™t be bored.a€™ [laughs] Thata€™s the first obligation of a show that it not be boring!A  If I want boring, I can stay at home and put on background music and vacuum! His mother approvingly noticed that he was enthusiastic about guitar a€” the violin, not so much. This really tilted my head - a€?What is THIS?a€? I worked on jazz chords that I heard on the records, from, like, Freddy Green Style Guitar Comping [a book on swing rhythm strumming].



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