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admin | Want My Ex Back | 28.08.2013
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. This amount includes seller specified US shipping charges as well as applicable international shipping, handling, and other fees. Estimated delivery dates - opens in a new window or tab include seller's handling time, origin ZIP Code, destination ZIP Code and time of acceptance and will depend on shipping service selected and receipt of cleared payment - opens in a new window or tab.
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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.
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You have read and agree to the Global Shipping Program terms and conditions - opens in a new window or tab. Import charges previously quoted are subject to change if you increase you maximum bid amount. 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 you reside in an EU member state besides UK, import VAT on this purchase is not recoverable. 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. 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.
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.
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.
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.
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. Intimate moments shared between a husband and wife occur in the bedroom.A Although the husband and wife love their children in nearly every other sphere of their lives, this isA one sphere that isna€™t available to anyone else. This does not literally mean you must pray in the bedroom any more than it means you must pray in a closet. The concept of a bedroom is only used to convey the idea of an isolated and solitary place where you can be alone with the Lord.A When we enter into a time of prayer, it should be done at a place and time when we are not interrupted so the Holy Spirit can speak to our hearts and we can bare our hearts to Him.
Each of us should make it a daily priority to have this special time of communion with the Father through the Holy Spirit. It doesna€™t matter where you and I spend this private time with God; it just matters that we actually do it.
He often prayed on a mountaintop or out in the wilderness, far fromA the hustle and bustle of the city. There is nothing in the Bible that says the early morning hours areA more holy than other hours of the day, and nowhere does the Bible teach that praying on a mountaintopA is somehow better than other places.
Jesus chose those early morning hours because it was aA moment when He could find solitude and quietness with God. So if you really want to be with the Lord, you will find time for that as well.A Think about it.
But with all the distractions of modern life we often find ourselves living on spiritual snack food instead of a healthy diet of God's Word. Here are seven suggestions that may help you have a better quiet time in a noisy world.A 1.
If you want to have a more meaningful quiet time, view Bible reading and prayer as a daily dialog with God, a daily meeting.A 3. DON'T FEEL GUILTYHave you ever heard someone confess, "I'm having trouble keeping a regular quiet time. FIND A PLAN THAT FITS YOUMany people say, "I love to cook but I hate to decide what's for dinner." The same principle is true when it comes to a daily quiet time.
There are manyA good Bible reading guides available from other publishers or your church denomination. Then you won't have to spend your quiet time in "menu planning" and you can experience "the joy of cooking."A 5. Put into practice some of these ideas and soon you'll discover that those few quiet time minutes may become the most meaningful part of your day.A A So select a quiet place where you wona€™t be disturbed. Once you go to that place, shut the doorA to outside interference and to the voices that are constantly calling out for your attention. Focus onA only one thing: this very intimate and private time with the Father.A This is so important that you shouldna€™t delay in acting on it!
The truth is, IA havena€™t made my prayer time a priority in my life; therefore, I havena€™t been consistent inA prayer. So I am asking You to help me locate a time and place where I can be alone and uninterrupted with You.
I am faithful to pray, to fellowshipA with the Father, to bare my heart before Him, and to listen to what His Spirit has toA say to me.
What time of the day have you found to be best for you to really pray without being interrupted by other people or business?A 2. When you do spend time in prayer, what is the average amount of time you stay in the Presence of God? Can you honestly say you linger in His Presence, or do you have a a€?rush-in, rush-outa€? experience with the Lord?A 3. If you examine your prayer time, what do you find that you pray about more than anything else?
But with all the distractions of modern life we often find ourselves living on spiritual snack food instead of a healthy diet of God's Word. IT'S A MEETING, NOT A HABITPeople refer to the habit of daily Bible reading and prayer.
Don't focus so much on the mechanics of the process that you miss the Person behind it.



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Comments »

  1. lovely — 28.08.2013 at 18:40:49 Some people ??must do plenty of work to keep.
  2. AlyoskA_LovE — 28.08.2013 at 14:59:51 Again together still, do strict find yourself beginning a dialog and you get a neutral response i m not even.