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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. At around 1:00 on Sunday afternoon, clouds in the sky above the 2008 Falcon Ridge Folk Festival cast an ominous pall and the wind gathered strength. Wea€™ve never forgotten Phila€™s (and Jeffa€™s) buoyant spirit that day, coming hand-in-hand with his amazing voice and inspiring songs. With the advent of his new album Robots and Romance (folkier than the title might suggest), ita€™s time to give the man his props.
Phil was born in 1975 in Saranack Lake, New York, a part of the Adirondack mountain region.
Phil sang in school choir from 3rd grade on and additionally, picked up trumpet study in the 6th grade.
He describes himself at that time as a a€?closet writer.a€? Phil decided that, if he couldna€™t play songs on the radio, hea€™d write his own. After high school, Phil attended college at SUNY in Potsdam, New York, up near the Canadian border. After graduation, he taught chorus and a a€?general music classa€? at a middle school in Ticonderoga, New York. Back in New York someone had given him a tape by Martin Sexton, and later, in Burlington Vermont, he caught one of Martina€™s live shows. The lyrics to a€?Open Range,a€? one of the favorites for this author, contain the album title. No mere navel-gazer, Phil shows on this CD that he can generate stories a€?from the ground up,a€? using outside stimuli. While Phil continues to follow a career as a performer, he is also very proud of the job he does as a teacher in the Vermont school system, instilling the love of music in his students. Wea€™re guessing that Phila€™s innovative approach continues to pay dividends in helping him to build on his already-considerable performance talents. 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.
The last few performers to play their showcases at the Acoustic Live booth gathered inside as rain fell.
As hail, carried on a 70 mile-per-hour wind, buffeted our shelter, Phila€™s sideman, Jeff Kimball, sang a song about the Titanic. When the wind subsided, it was still raining, and Phil and Jeff announced that theya€™d play their set. Since 2005, hea€™s been a valued performer in every Falcon Ridge and NERFA showcase wea€™ve held. He played trumpet through high school in both the jazz and marching bands, thereby achieving full band geekdom (as opposed to the author, who achieved geek status while throwing spitballs in study hall). Crane School of Music, a part of SUNY at that location, is certified for Music Education, and that became Phila€™s major. While there, hea€™d drive one-and-one-half hours each way once a week to play the open mics at Caffe Lena, in Saratoga. In 2005, he was selected as one of the 25 a€?Emerging Artistsa€? at Falcon Ridge, picked to play two songs at the Friday afternoon showcase. Around the campfires, into the wee hours of the morning, he soaked up the songs of players, many with hundreds more miles on their tire treads. While the themes deal with contemporary issues, theya€™re expressed with the traditional tools of acoustic guitar, banjo and mandolin.
The opening track, a€?Drive-ina€?(and cover art) is a call to remember the pleasures of a now-disappeared form of recreation. After a robbery occurred a few blocks from where he lives, he wrote a€?Hold Upa€? from the viewpoint of a desperate man needing to care for a sick wife. Another fascinating song-profile is a€?Annie Hold On,a€? an ode to photographer Annie Liebovitz.
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. In my t-shirt, I was chilled to the bone, but I wasna€™t about to run out to the car for a sweatshirt. At each showcase he played for us, in addition to his stellar voice, wea€™d invariably hear a melody that seemed ready for radio airplay, a cut above our average showcase performer. There was instrument training, enabling students to teach different instruments and weekly vocal lessons. In Martin, he saw a€?folk music with a rock attitude.a€? After this, he began writing in earnest. Or a crash in a rented DeVille.a€? The central figure tells the listener to look for his demise in an old cowboy film on TV during a couch-potato Saturday afternoon. Phil had noticed that the photo in the newspaper looked a lot like him (his co-workers did also, generating a lot of teasing). Almost a doo-wop number, ita€™s done a capella in harmony with hand claps as the only accompaniment. As he states: a€?One big thing that I offer my students that many schools dona€™t is that we put on a coffeehouse concert twice a year with my Middle School and High School chorus students. Or a crash in a rented DeVille.a€?A  The central figure tells the listener to look for his demise in an old cowboy film on TV during a couch-potato Saturday afternoon. 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. The performers played their songs under one canopy while the sparse audience spread out under that one and a second canopy tethered to the first. Renown jazz pianist Dave Brubeck visited and played a new piece of music he had written, with the choir accompanying him.
He spent time alone, a€?woodshedding.a€? Phil recorded each song he wrote into a tape recorder. He finishes with, a€?I thought Ia€™d follow in the gunslingera€™s path, but theya€™re all in some Hollywood grave. They get experience choosing a song, rehearsing it with guitar or piano players, using microphones, talking to an audience a€¦ These are skills I didna€™t learn until I was out of college, and ones that I use all the time. 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. We sang along to the Titanic song, laughing as the situation (we hoped) seemed like a miniature version of a sinking ship.
More often than not, his smiling face would be the first to greet us on day one, when we pulled into the parking lot at the festival, as he directed cars into the proper lane. Hea€™d practice on an acoustic guitar at home but would play an electric when he jammed with his friends.
Never a huge fan of classical music, Phil said he felt a€?out of place.a€? Nevertheless, Phil graduated with a degree in Music Education in 1997. Phil came to my attention that year, as someone to watch, after he asked to play a showcase slot at the Acoustic Live booth at Falcon Ridge. 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.
Suddenly the rain turned to hail and the wind ferociously pushed and pulled at our shelter, threatening to yank it out of the ground. For his closer, in a clear, high tenor, Phil sang his song "WQRZ,a€? about a radio station in Hancock, Mississippi, devastated by Hurricane Katrina, manned by a DJ who stayed behind to give out needed information, while others fled. 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. It carried some resonance given our own (much less dire) situation and very typical of Phila€™s propensity to see larger societal issues and craft songs about them to sing in his clarion voice. Phil has played at every one of the Acoustic Live Falcon Ridge and NERFA guerilla showcases ever since.
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.
She tinkered around with some acoustic fingerstyle guitar while in high school, copying selected songs by Randy Rhodes and the band, Heart. At 1:55, a blurry picture I took shows audience members gripping the struts of the canopy to keep our structure from blowing away. Another photo, also marked 1:55, focussed outside shows other vendor booths totally closed, their sidewalls violently billowing and rippling in the wind.
Another photo, also marked 1:55,A  focussed outside shows other vendor booths totally closed, their sidewalls violently billowing and rippling in the wind.



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