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admin | How To Get Even With Your Ex | 28.06.2015
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. 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. 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. 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. 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. 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. 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.
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.
Theya€™ve been married 25 years now and Daniel has produced both of Ina Maya€™s solo albums.




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