A video from that impromptu showcase session, taken by Dennis DaCosta, is posted on Youtube and can also be viewed on her website. So, a€?Wowa€? being the operative term, when the opportunity to feature her presented itself, we jumped at it. Layah grew up in the east end of Toronto in an area called a€?The Beaches,a€? near Lake Ontario.
This was the point at which Layah connected with long-time friend, Oliver Johnson, to handle the studio end of making the demo.
As Oliver recounts it, he was lucky to have gotten supportive parents in both his father and stepdad. When he was at his fathera€™s house, theya€™d jam till the wee hours and sometimes the police would come. In order to learn musical theory, Oliver approached a guitarist, Wayne Cass, to show him what he needed to know to get into the Humber jazz program. Toward the end of his first year at Humber, he damaged his hand while moving a heavy table. At a certain point, the road started to wear Oliver down and he decided to focus on production. At this point, Layah approached Oliver to produce the demo for which shea€™d gotten a grant.
In the statement that follows, we can see the wheels turning as she weighed her options: a€?I came home knowing that I really wanted to pursue music and I made my first recording.
Layah enrolled in and completed a three year program at The Toronto School of Homeopathic Medicine and received a DSHomMed, Homeopathic Certification. While involved with her studies she was pursuing music as well, performing quite a bit with Oliver.
Not strictly a purist, she believes that a mixture of alternative and traditional Western medicine, a€?the best of both worlds,a€? according to each patienta€™s needs is the best solution.
For two or three years, Layah and Oliver remained friends while they played music together. Layah says that Oliver has influenced her, injecting some jazz, R & B, soul and funk, given that he had gone on tour with some of the better Canadian players in that realm. Ita€™s easy to see why The Ontario Arts Council, and the Foundation to Assist Canadian Talent on Records (FACTOR) came through with grants at critical moments.
Additionally, Acoustic Live will be hosting its own annual guerrilla showcase at the Northeast Regional Folk Alliance and wea€™ll get to watch Layah and Oliver play a set in our own room.
The new CD, Honey, from Layah and Oliver is just about ready for release and wea€™ve gotten to hear a few sample songs.
When Oliver was 9, his mother married a Canadian folk artist, a childrena€™s songwriter, and he then split his time between Toronto and New Hampshire. After high school, following her year of touring and playing, the artistic and practical sides of Layah collided. We here in the Northeast can thank our lucky starsA  for a number of chances to see her live. In 1965, while working as a waiter that summer in the Catskills, a folkie came through and stopped at our little hotel to visit a friend on the staff.
Upon my return to Connecticut, I promptly sought out Will Tressler, my folk-singing Industrial Design professor. We were also getting off on rock staples like the Beatles and Stones and our homebred establishment bashers, The Jefferson Airplane. His father had seen Jorma pick up and fail to continue with other instruments, so he agreed that if Jorma could learn two songs on his friend's guitar, he could get a brand-new one. In high school he became friends with Jack Casady, also a guitarist, and together they went to concerts and clubs. A subsequent work-study program through Antioch allowed him to live in New York City and strengthen his chops further. He played at open mics at Folk City, and got to watch the Reverend play live there, as well as people like Sonny Terry and Brownie McGee and John Lee Hooker. In 1962, Jorma moved to the San Francisco Bay area and enrolled at Santa Clara University where he finished getting his degree in Sociology. He was teaching guitar in a small music store in San Jose during this time, playing as a solo act in coffee houses and backing up a young, promising blues singer on the acoustic scene by the name of Janis Joplin.
Old friend Barry Mitterhoff (left), mandolinist extraordinaire (a member of Silk City when Acoustic Live featured them in our December 2000 issue) has joined Jorma (center) and Jack Casady in the present version of Hot Tuna. When the band went on tour, at first, shows weren't as long as they would later become, and Jorma and Jack still had plenty of energy afterward.
In 1972, the Airplane disbanded and Jorma performed and recorded both solo and with Hot Tuna. In 1988, while playing a gig with Hot Tuna in Key West, Jorma took notice of a woman from the stage. In addition to guitar, there is also instruction on bass guitar, lap steel guitar, mandolin, percussion, vocals and songwriting. There is also a concert hall at the ranch where national touring artists look forward to playing. Life is full for Jorma these days between touring and teaching and being a husband and father (he has a 10-year old son and 18-month-old daughter). A subsequent work-study programA  through Antioch allowed him to live in New York City and strengthen his chops further.
These elements seem fused together as we listen to a woman breathe in and breathe out of a blues harp, its reedy voice alternately sobbing, wailing and crying out in ecstasy. Audience members taking first notice of Trinaa€™s big voice will be struck by her prodigious lung capacity and her talent for blowing blues harp better than any guy theya€™ve ever heard. Continuing an august tradition, Trina came east from the Minnesota north, echoing Bob Dylan. In junior high, she was part of a select group of students chosen to participate in an improvisational theater group, started by a speech teacher, Ert Jones-Hermerding.
A series of formative experiences occurred when Trinaa€™s Improv group teacher encouraged her to audition for the Minnesota State Fair. After high school, she attended the prestigious Berklee School in Boston and received a degree in Professional Music. Around 1997, events swirled around her and the insecure and changing nature of the music business turned life into a winding hairpin-turn-laden path. Through her association with the managers of Sine, Trina became friends with Jody Klein, the son of Allen Klein (ABKCO, the Rolling Stones, the Beatles).
Then, Von Freeman, who did marketing and promotions for a top 40 station in Cinncinnati, Ohio, saw her play at Sidewalk and was impressed. In 2008 Trina collaborated on one track on Vicki Gelfana€™s album Uncovered, a€?Long Train Running,a€? that old Doobie Brothers chestnut. Brixton Boogie, an album made in Germany, released in 2009, came about in a typical a€?Trina Hamlina€? manner.
Ever the independent, Trina prides herself on not having a a€?Berklee stampa€? on her music. To try to define Trinaa€™s style, just for fun, a friend who was in advertising did a marketing study on Trina, using fans whoa€™d known her since she was a child and those whoa€™d come to know her as an adult artist. Your information may be shared with other NBCUniversal businesses and used to better tailor our services and advertising to you. 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.
I saw Lois Morton play a Northeast Regional Folk Alliance (NERFA) showcase, then reviewed her debut CD, As I See It, for our December 2011 NERFA wrapup issue.
I listened to a€?Side Effectsa€? about those TV ads for drugs and learned how perfectly Lois could encapsulate their lunacy. The wonder of all of this was that I was listening to a grandmother who had, for a number of decades, been a teacher of English as a Second Language (ESL), an administrator and a therapist.
She was a little prodigy, always performing for the family and picking out songs on the piano.
Lois was a voice major at the Music and Art High School (There were two coexisting schools, Performing Arts High School and Music and Art High School on West 46th Street. At age 16 or 17, she could perceive how high the level of talent was at the school a€” television and stage actress and singer Diahann Carroll (Carol Diahann Johnson then) was in her senior chorus. She had taken piano lessons for two years in junior high school, but had such a good ear that shea€™d fake it a lot of the time and didna€™t practice.
Lois played basic guitar and sang in a program called The Musicians Emergency Fund, which sent performers into hospitals to play for patients. After he died, Lois began to explore other avenues of coping and expression, entering several programs. Lois described how the song gained exposure: a€?I was involved in a community theater group and we were doing a show at that time. In a€?The Cell Phone Song,a€? another of my favorites, written about two months after the Clutterholic song, she skewers egocentric, obsessive cellphone users perfectly with: It doesna€™t seem to matter, youa€™re assailed with noisy chatter when you only want a quiet, peaceful walka€¦ Pretty much everything I despise about those people is in that song a€” but humorous. Lois began playing open mics on Long Island and found that she could cross over into the folk arena.
A big component in driving Lois to embark on a new career was having a source of purpose and income taken away from her. As she perused her earlier resume as a teacher, therapist and author, she looked at what she was doing as a performer and thought, a€?Who is this woman?a€? At first glance, nothing seemed relevant. During the 2009 Northeast Regional Folk Alliance Conference, he said, a€?Youa€™ve got to head over to the DJsa€™ afternoon meeting. He played Bruce Cockburn, Joni Mitchell, Dire Straits, The Pointer Sisters, Bruce Springsteen, The Beach Boys, Cyndi Lauper, Kate Bush a€¦ I never did any rebelling against my parentsa€™ choice of music. The question concerning what direction to take with her life still hung in the air and she appears to have approached it with a calm deliberation in incremental stages. Although music was primarily a hobby, he had an array of musical instruments in the living room, including a drum kit. Hea€™d jam with friends at his dada€™s all summer and then spend the school year with his mother and stepdad in Toronto.
Hea€™s still amazed at the way his father would cajole the officers, claiming the sound wasna€™t all that bad. He never really studied a€¦ until he went to Humber College in Toronto, which has a program similar to Berklee College of Music in Boston.
Cass was a€?a great guitar player and a great teacher,a€? a favorite that Oliver would watch play in clubs.
He found a partner and opened up a studio that, today, works predominately on television projects.
She got the grant for her first demo and began recording, but decided that she wanted to pursue a degree in homeopathy as well. In addition, some readers might remember the Dove Self Esteem Funda€™s 2006 a€?True Colorsa€? TV Campaign. Each time Layah had any doubts about music as a chosen path, every time she needed it, a grant would come through. Layah had to put the guitar aside and let Oliver provide the instrumental accompaniment solo. When I touched on this, Oliver demurred, saying that Layah had brought her own wide range of influences for him to have had all that much effect on her sense of style. Layah and Oliver will be playing Music on 4 in Manhattan on November 18th and Our Times Coffeehouse on Long Island on November 19th. Theya€™ll also play a formal Tricentric showcase and numerous other showcases (see the performance list below). Layah will always have a keen ear for the vagaries of love and relationships, but she has her eye on the fate of humankind as well.


During the 2009 Northeast Regional Folk Alliance Conference, he said, a€?Youa€™ve got to head over to the DJsa€™A  afternoon meeting. TheA  question concerning what direction to take with her life still hung in the air and she appears to have approached it with a calm deliberation in incremental stages.
Hea€™d jam with friends at his dada€™s all summer andA  then spend the school year with his mother and stepdad in Toronto. He never really studiedA  a€¦ until he went to Humber College in Toronto, which has a program similar to Berklee College of Music in Boston. Her soaring, pitch-perfect vocals and melodic sense are mesmerizing.A  Then, therea€™s the writing. Layah and Oliver will be playing Music on 4 in Manhattan on November 18th and Our Times Coffeehouse on Long Island onA  November 19th.
The first six or seven years, I spent bouncing around academia, pitching fitfully toward a B.A. He rocked his head back and forth, flinging long hair side to side while his foot plied a wah-wah pedal. Sufficiently toked, we decided to take in some music at a local venue that presented two or three nationally touring acts per evening (Paul's Mall?
He remembers learning Louvin Brothers songs and he was able to make that trip to the music store.
There he met Ian Buchanan, who turned him on to fingerstyle guitar, specifically the music of the Reverend Gary Davis. Perhaps it stemmed from the time that Ian Buchanan helped him learn how to play finger style, or simply to pass along the torch of the old craft, down from the Reverend, to new generations of players. Besides Jorma, the pantheon of great teachers includes, at various times, Jack Casady, Chris Smither, Little Toby Walker, Happy Traum, Bob Margolin, John McEuen, Barry Mitterhoff, Woody Mann, David Lindley, David Jacobs-Strain, Beppe Gambetta, Tommy Emmanuel, Guy Davis, Rory Block and a host of others. In between harp passages, her massive vocal instrument surges, the melody and beat strong and steady, accompanied only by her hand beating against a tambourine.
While shea€™s too young to be the prototype for the a€?Girl from the North Country,a€? she could serve as its archetype.
On her live album, One NightStand, Seattle, WA, for the first time, I heard her play some terrific boogie-woogie licks, some soaring ballad accompaniment, and as a jokey aside, a few bars of classical piano passage. So, shortly after winning the talent show, Trina started taking piano lessons, from a woman from Sri Lanka, who taught out of her house and used the Montessori method. A contest was held each year and the winner would play the following year with a 36-piece orchestra.
The extent of her professional musicianship can get lost on the casual listener who might get immersed in her ability to belt out acoustic versions of southern rock and blues. She sang classical as well as pop and learned sound engineering, which she enjoyed, and even did some classical conducting. She moved to New York and sang with bands, providing mainly harmonica, accordion and tambourine accompaniment, still noodling around at home.
Island Records brought her aboard and she made demos that found their way to producers of the TV show a€?Dawsona€™s Creeka€?. She began working with ABKCO as a a€?development deal,a€? making demos and recording with people like Jimi Zhivago (Ollabelle) and Fernando Saunders (Jeff Beck, Lou Reed). He gave her his business card and later had Trina flown out to Ohio and featured her on a€?One Earth Partya€? radio-sponsored live shows where she performed with pop icons like Paula Cole, Duncan Sheik and the Goo Goo Dolls. Shea€™d met drummer Bill Dobrow and bassist Jeff Hill at the club the Living Room (both of them later played with Rufus Wainwright). In our August feature article on Susan Werner, we mentioned how much Trinaa€™s back-up harp work can raise the level of excitement in a song. That said, however, she admits, a€?I probably dona€™t realize how much I draw from my experience at college when Ia€™m in a musical situation.
The overall opinion went beyond folk, blues, pop or acoustic rock (she certainly encompasses all of those).
The overall opinion went beyond folk, blues, pop or acoustic rock (she certainlyA  encompasses all of those).
Online - Your source for entertainment news, celebrities, celeb news, and celebrity gossip. 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.
Both times I was confronted with a sly, satiric commentary on the idiocies of human nature.
She had as keen a mind in viewing modern foibles as anybody Ia€™d ever heard and had only been pursuing this avenue of performance for a couple of years.
Her father died when she was an infant, so her mother moved to The Bronx to live with her parents.
She decided to go into education, something a€?with a greater chance of successa€? than she foresaw in performing. She also advertised as an international songstress, doing a few shows she called a€?Around the World in Song.a€? Lois was in a Broadside concert during that time.
After teaching school in Manhattan full time for five years, Lois took a maternity leave and she and her husband, son and daughter moved to Long Island. The following year, 2007, she attended a conference of organizers in Minneapolis and got a standing ovation from 900 professional organizers a€” a€?Me, the client!a€? she exclaimed. She got her biggest response when she played the open mic at the Mansion at Acoustic Long Island in St. Shea€™s been using French in her songs for some time including the conclusion of a€?The Last Goodbye.a€? In 2009, an audience member, hearing her sing in French, asked her if she could do an Edith Piaf show, Lois asked, a€?How much time would I have to prepare?a€? The woman said shea€™d need it the following year. Therea€™s a new CD coming (one of her new songs deals with GPS users a€” whata€™s she going to say about that GPS womana€™s voice?) and a new concept show in the works a€” a show in Yiddish using a Jewish theme. She decidedA  to go into education, something a€?with a greater chance of successa€? than she foresaw in performing. It began with a€?Confessions Of a Clutterholic,a€? rising from her experience working with a professional organizer. When I started taking piano lessons at home at 8 years old, I started studying show tunes, so I could sing along with what I was playing, and I got into musicals. Their families were close friends and theya€™d have various holiday dinners, celebrating a variety of spiritual doctrines together as they saw fit. During those 3 months, he got a job in a computer store that sold software for digital recording. During the first few years of pursuing music, I had some questions about how it would pan out and whether this really was a good spot for me. The sound of the metal picks against the bronze strings blew everything else out of the water. Around that time, I learned that the Reverend Gary Davis, an inspiration to many 50's and 60's folk-era fingerstyle guitarists, was playing one evening at a church coffeehouse in the area.
Not sure -- the 60's had finally kicked in.) Among the people appearing over two nights running were Pentangle, Livingston Taylor anda€¦ Hot Tuna. When Jorma was 17 years old, he and Jack (then 15 years of age) formed a band called the Triumphs.
When Paul Kantner asked Jorma to be in a new band, he demurred at first, having reservations about going electric.
Soon, they were doing acoustic sets in the middle of Airplane concerts to enormous audience enthusiasm. On a whim, Vanessa Lillian, a civil engineer, had accepted an invitation to attend the concert. There are lessons in guitar, from Jorma, Woody Mann, David Wolf (includes beginner level), bass from Jack Casady and Oteil Burbidge and mandolin from Barry Mitterhoff. Papa John Creach, violinist for theA  Airplane, also joined the band for a couple of years.
In the clatter of the train wheels, the chanting in the churches and the classrooms, the cadence of our footfalls as we run, the bellows of our breathing, the hammering of our heartbeats, we live our song. Her words describe personal passion and doubt, but the undercurrent of musical expression seems primitive, reaching back to a time when drumbeats carried our messages on the wind.
Tallish, maybe 5 feet-9 or 10, shea€™s beautiful and has that magnificent instrument for a voice. Money was scarce and the family had no piano, but she saved her money, drew a piano keyboard to practice with, and took lessons anyway. Trina would listen to what her brother was trying to play from a book, and walk over and play it by ear. The first thing they did was to sit on the floor and play games with flash cards and sticks to learn rhythm. She was the lead singer for the band Blue Leaves until around 1994, when the band broke up and she started to go solo. She got some additional people on guitars and recorded the album at the home of producer Marilyn Da€™Amato who operated an a€?in-housea€? recording studio. Although she broke a guitar string during her first song, she played harp until her friends backstage replaced the string and got the guitar back to her. She describes the song, like many others, as one that came upon her by itself one morning and was finished by evening. Her house concert in Seattle was changed to a beautiful old theater with a recording studio at the back of the hall. She asked when it was happening, and he said, a€?August.a€? This was not far off, and she needed to check her schedule to see if she could do it. The consensus centered on the phenomenon of Trinaa€™s musical ability to funnel emotions for her listeners.
The relationship with Island ended.A  Trina had been performing as a solo act since the fall of 1994, and wanted to tour and develop. 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. As I See It is categorized by iTunes as a€?Easy Listening.a€? This is true only if youa€™re not paying attention. As I See It went on to lampoon a range of topics such as rude cellphone use, pack rat clutter, the weirdness of digital communication and kooky dieting.
Her grandfather, a€?a little Jewish tailor from Russiaa€? had a voice like operatic tenor Jan Peerce. In junior high, a€?The Ballad of Rodger Young,a€? a song about a martyred World War II infantry hero, was one of her strongest pieces.
In 2009, she did another cabaret show in Manhattan and included the a€?Dieta€? and a€?20th Century Girla€? songs. New York state licensing laws changed in 2006 and, uninformed about required paperwork, she was left unable to practice professionally. We have home videos of me prancing around in my diapers, singing along with the music that he loved.
He learned about the software and about producing and, as an employee, was able to purchase the software at an affordable price. The a€?lemonade-from-lemonsa€? character of both accidents might lead one to believe that a certain magic guided them. For anyone who harbored a fondness for fingerstyle guitar, this was an inclusive jewel of life-changing proportions. Hot Tuna took a hiatus in 1977, leaving Jorma to do solo work, both solo acoustic and electric, with bass and drum backup. As if following a Hollywood script, they talked all night, and then got together the next day, then again the following night. That dream has come to fruition in Fur Peace Ranch, a guitar camp in Pomeroy, in the hilly farmland of southeast Ohio, about two hours drive from Columbus. The site allows the student to contact the instructor and receive specific help to smooth out any rough spots with the lessons. It would make him furious, when Trina would effortlessly mimic what he was struggling to learn.


While she never felt that she wanted to be in theater, she a€?enjoyed the whole process of it.a€? a€?I guess I was on the path at an early age, of being some kind of an entertainer,a€? she states. The first time, still in junior high, she played piano and sang one of her own songs a€¦and wasna€™t chosen. The words and music came together, and she played chords on that song that she didna€™t know she had in her.
Everyone in her audience makes contact with the particular emotions they need to feel when they listen to her.
While she never felt that she wanted to be in theater, she a€?enjoyed the whole process of it.a€?A  a€?I guess I was on the path at an early age, of being some kind of an entertainer,a€? she states. Shea€™d bounced between three clubs in the East Village: Sine, The Sidewalk Cafe (where we first saw her) and CBGBa€™s Gallery (next to the original CBGBa€™s and catering to acoustic acts). 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 torrent of descriptive terms dealing with the less attractive activities of homo sapiens demands complete concentration. She was supposed to teach drama to 6-year-olds, but the music counselor turned out to only play the tuba, a€?and he hadna€™t even brought it!a€? she said. Pete wrote back and encouraged her to keep writing and told her to send her songs to Sis Cunningham at Broadside Magazine. She decided not to do that after conferring with her husband, telling me cautiously, a€?It was not something that would have worked out. To date, shea€™s done about 25 Piaf shows, accompanied on a number of songs by Larry Moser on accordion. Although she might have chosen to give herself another title in order to practice, Lois had already made a conscious decision to commit to a career path as a performer.
A genre that I had not written in before came popping up, that was very Gilbert and Sullivan with some Tom Lehrer thrown in.a€? Because she and her husband never threw anything away, after he died, she began the process of letting go of clutter. Their style is what might be termed a€?jazzy folk.a€? I asked if shea€™d be singing for the DJs and she responded that it had already taken place.
In 3 months, Oliver learned everything he needed to know to get into Humber, entering at age 22.
When it came time to re-enroll in school, he was tapped to play for a group that toured all over Canada. Stepping off the stage during a pause, she fell when the overturned plastic bin that was placed as a makeshift step collapsed [too late for a lawsuit at this point, I suppose]. Vanessa's engineering background and her organizational skills enabled the dream to achieve reality.
In the two samples which show Jorma, a song is broken down into sections and demonstrated throughly.
She finally bought a piano and tried taking lessons as an adult, but as it turned out, her love of music was not accompanied with a matching talent. As it became apparent that her brother wasna€™t cut out for music, it was finally Trinaa€™s turn. A couple of years later, at the age of 16, she played and sang a combination of two covers, one fast and one slow.
There was one available in the house that she shared, but it took 2 years for her to pick it up and learn it. Trina describes her management experiences as a€?very free form,a€? people guiding her, but in an undirected sort of way. It was a blast.a€? Because the album was not completed at the time her songs first appeared on Dawsona€™s Creek, she was unable to garner much publicity from the TV exposure.
If you remember that song all too well and think you were burned out on its excessive presence on FM airwaves in the a€?70s, think again. And ita€™s this underlying understanding of whata€™s happening that I dona€™t always give myself credit for. Most were pass-the-bucket a€?tip houses,a€?A  where performers were not paid, and made their money from the collection at the end of each performance. 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. Granted, there are some ballads that mean only to entertain, but theya€™re outweighed by tongue-twisting rhymes laced with brilliant sarcasm. She had an aunt with a a€?wonderful singing voicea€? and an uncle who played a€?at least six instruments.a€? Like Lois, many in the family a€” her aunt and her cousins a€” thought easily in rhyme.
The camp administration a€?put him in a canoe,a€? she said, a€?and I became the music counselor.a€? She played the morning sing-alongs. One of the places was Queens College, where her husband was chairman of the Political Science Department. In early 2010, Lois screwed up her courage and asked Dave Dircks, the director, for a slot in the regular performance schedule.
She got involved with making a CD and putting together promotional materials and getting them sent out.
He learned a lot of theoretical things that allowed him to communicate ideas, rather than hashing them out by demonstrating on the guitar. He chose that and, between playing on the road and producing when he got home, he never went back to school. Even though Ia€™m primarily pursuing music at this point, it enriched my life in such a great way, in terms of being able to help myself and my family and friends and broadening my understanding of the human body. Their acoustic blues set reinforced the cross-pollination between the folk and rock worlds.
Jorma developed a fondness for blues and bluegrass.His early influences included The Carter Family and Flatt and Scruggs.
She began with a fast song, a€?Ia€™ve Got the Music in Me,a€? segued into the slow one (a Kim Carnes song) and then finished up with the fast one, and she won. Additionally, she did a few gigs there, and was noticed by a man named Krisz Kreuzer who asked her to write words to some songs he was recording for an urban blues album. Part of that is because I always felt a little bit off-kilter as a kid because I could hear, but I didna€™t always know what I heard. 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 in 2010, she made her first trip to the Northeast Regional Folk Alliance (NERFA) conference, staying briefly, since she had Piaf shows scheduled that weekend. She had to develop a mindset in which she did not fret about every cent it was costing her. A couple of other interested presenters showed up, as I suggested we go to my own guerrilla showcase room. I didn't know then that Jorma had already paid homage at the shrine of the Reverend Gary Davis, genuflecting numerous times.
When he was 15, he decided he wanted to learn guitar and play bluegrass and old-timey music.
She dedicated it to her Uncle Murray, who used to coax her to sing that song impromptu in some of the tonier restaurants in New York City.
This is where she picked up the harmonica, purely by accident.A  Two college friends were in a blues band, a€?The One Eyed Jacks,a€? that shea€™d go to see after she got out of school.
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. In 2011, she was sponsored for a DJ showcase at NERFA by Barbara and Graham Dean of radio station WBCR-lp in Great Barrington, Mass. Thus, about six of us got our very own private Layah Jane showcase performance a€” about 3 songs. It wasna€™t like one day it occurred to me, a€?Oh, I could do this.a€™ It just naturally grew, I think. She was asked to pick some songs, which were then arranged for her and she sang without playing piano (a€?weird for me,a€? she said). Using overdubs, Trina provided back-up harp throughout the entire song, as well as the harp solos that are in the forefront along with her lead vocal. Working with Susan [Werner] has been amazing because she talks in those terms a lot and I know that I understand it.a€? All that Trina has experienced prepared her well for her supporting role with Susan. She was asked to pick some songs, which were then arranged for her and she sang without playing piano (a€?weird for me,a€? she said).A  She performed with the orchestra for 11 straight days in front of an audience of a€?about five thousand peoplea€? each time. She thinks that perhaps watching the leader play harp gave her some insight into playing it. 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. As Lois described it, theya€™d role-play and her opening words to the person playing the patient were: a€?Hello! She characterized this opening phase as a€?a different path on the mountain.a€? She wondered if she could write more like these. So, in May 2012, Lois did her own show and considers it her first successful gig in a folk venue The huge following she already had from the Mansion open mic was there for her. I worked with the organizer for about a year and a half, not so much in throwing things out, but in organizing it.a€? While they organized, she wrote a song about it.
Dionne Warwick was supposed to play at the final a€?Grandstanda€? show, but couldna€™t make it, so Trina filled in, along with Michael Johnson, a pop singer, the showa€™s opening act. When another singer songwriter friend, for whom Trina sang backup vocals, asked Trina to play harp on a song, she demurred at first, but gave in. Theya€™ve been married 25 years now and Daniel has produced both of Ina Maya€™s solo albums. In grade school she was, as she put it, a€?a big fish in a small pond.a€? This changed when she got to high school. Although the Montessori method eventually leads its students to sight reading, Trina refused.
A couple of months later, the consultant got back and said that Susan needed a band during her Gospel Truth tour. The stage was bigger than anything shea€™d ever seen, and when the lights were turned on, she couldna€™t see the audience - just a a€?black wall.a€? These days, the audiences are a lot smaller in the clubs, and when she plays festivals, large audiences dona€™t faze her.
Her friend taught her how to a€?benda€? a note, it gave it more of a a€?voice.a€?A  Trina did it and liked it, then started a€?fooling arounda€? with harmonica.
In concert, sometimes she sings solo with just Oliver on guitar and on some songs, she and Oliver both play guitar.
Finally, her teacher forced her to leave, saying she had to study with someone who would force her to read music. She listened to albums by harp players, but that didna€™t help, so she just kept experimenting on her own. These days when she plays for Alzheimera€™s patients or older ailing people, without using sheet music, she just asks what their favorite songs are and she always knows them. I wrote in the following montha€™s NERFA wrap-up issue: a€?Shea€™s like Diana Krall with a guitar.
She was fascinated by the rhythms she was getting - different than the ones she was singing. No matter what I throw at you, you land on your feet.a€? Given that Susan constantly needs to change things up to keep it interesting for herself, Trina is the perfect band mate for her.
Layah Jane would be the result.a€? On paper, that might not seem like much, but seen live, it packs quite a wallop. Additionally, it happens that Oliver is a brilliant, seasoned guitarist, having toured Canada with top-of-the-line acts.



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