From: owner-joni-digest@smoe.org (JMDL Digest) To: joni-digest@smoe.org Subject: JMDL Digest V2013 #811 Reply-To: joni@smoe.org Sender: owner-joni-digest@smoe.org Errors-To: owner-joni-digest@smoe.org Precedence: bulk Unsubscribe:mailto:joni-digest-request@smoe.org?body=unsubscribe Website:http://jonimitchell.com JMDL Digest Friday, June 21 2013 Volume 2013 : Number 811 ========== TOPICS and authors in this Digest: -------- Re: Behind The Scenes with Joni Mitchell - CBC Music [Catherine McKay ] Joni tribute report [Catherine McKay ] Re: Joni tribute report [Michael Paz ] ---------------------------------------------------------------------- Date: Fri, 21 Jun 2013 12:35:02 -0700 (PDT) From: Catherine McKay Subject: Re: Behind The Scenes with Joni Mitchell - CBC Music and we'll always have each other! tee hee hee. It was such fun hanging out with you! - ----- Original Message ----- > From: Susan E. McNamara > To: Catherine McKay > Cc: Joni Mitchell > Sent: Friday, June 21, 2013 1:16:07 PM > Subject: RE: Behind The Scenes with Joni Mitchell - CBC Music > >T hat actually makes me glad that we attended Tuesday, because I'll have > Tuesday always in my memory and the Wed show on disc! :-) > > > Susan McNamara > email: sem8@cornell.edu > ________________________________________ > From: owner-joni@smoe.org [owner-joni@smoe.org] on behalf of Catherine McKay > [anima_rising@yahoo.ca] > Sent: Friday, June 21, 2013 7:53 AM > To: Anita G; Jody Johnson > Cc: jonipeople LIST > Subject: Re: Behind The Scenes with Joni Mitchell - CBC Music > > It seems that all of us went on Tuesday. Except for John Calimee who went on > Tuesday AND Wednesday. Herbie Hancock and Esperanza Spalding were only there on > Wednesday. Of course, when we were ordering our tickets, we didn't know this > yet. But the Wednesday one is the one that CBC will broadcast. > > > > > >> ________________________________ >> From: Anita G >> To: Jody Johnson >> Cc: jonipeople LIST >> Sent: Friday, June 21, 2013 5:52:48 AM >> Subject: Re: Behind The Scenes with Joni Mitchell - CBC Music >> >> >> Fantastic, Jody. many thanks. Who'd have liked to have been in on THAT >> sound check? I still don't seem to know what Herbie did with Joni that >> night. Maybe I missed it? I don't think I've missed a post these > last >> few days, but perhaps I did. >> Anita >> >> On 21/06/2013, Jody Johnson wrote: >>> Hi Anita, >>> >>> Try this. Sorry about that. >>> >>> Jody >>> >>> > http://music.cbc.ca/blogs/2013/6/Behind-the-scenes-with-Joni-Mitchell-at-Luminato-Festival-2013 ------------------------------ Date: Fri, 21 Jun 2013 19:24:18 +0100 From: Anita G Subject: Re: This rain. BIGGGG sigh....John, why don't you post more often? What you say is full of thought and, I would say, insight. I am glad you mention Joni's health and well being which must surely be a factor in anyone's ability to be creative. I also take from your post something about the space between words and music and how that manifests in a creative process - when do the words come? When does a tune come in? At what point is the purpose of the song clear? Where does it come from? What is the composer trying to communicate? I love your post for making me think - but so many do on the great JMDL list. Thank you peeps for being in my life, Anita On 21/06/2013, johncalimee@frontier.com wrote: > Hi Jamie, > > Assuming her health continues to progress to a better place, I'm certain you > will hear "This Rain" as a song. In fact, it is already half way in song > form since the musicians behind her ran with a concrete score. Although if > this score wasn't written by her, I'm sure she would lift it or stretch it > to make it her own. What we have here is very much in keeping with other > songs she's written. Lead Balloon started a brief riff of a few chord > progressions. 'If' absolutely started as a poem. And we know her ability to > weave a melody to the written word is off the charts spectacular. As > witnessed by Yvette in English, among countless others. > > Then we have her own comments during the Luminato Interview where she says > the words NEED melody because singing would allow her to put a kind of > emphasis on certain words, and in the right place. And because of that she > said she might try to sing a bit of it to achieve that effect. So certainly > I think she looks at this as a song in its formative state. On Tuesday she > had a more energy for the thing, I think because she was determined not to > bomb. The drama of the first night was more clearly defined by her. And she > took the daring to scat something. Very much like where we got a glimpse of > Joni's creative process with Two Grey Rooms. > > I believe the same to be true of the 'poem' she's written about her mother. > Given Joni's long time feelings about poetry I don't think she's keen on > doing 'stand alone' prose. And I also have a feeling that when she does > write a song/music/melody, whatever, she's not the type to let it sit > unused. Just as she did not let One Week Last Summer simmer in a vault. So > if she's health, and that's a big if, I think Brian Blade and company will > not let her fade away beneath some pool table. ------------------------------ Date: Fri, 21 Jun 2013 13:38:19 -0700 (PDT) From: Catherine McKay Subject: Joni tribute report My Joni report - long, maybe overdue, but possibly overload. Save it for later, or delete it without reading, because I'll never know! BEFORE THE SHOW My Luminato night began with a dinner at Sambuca's restaurant on Church Street, along with fellow jmdlers and their spouses or families. There were sixteen of us altogether, including John Calimee and Richard from Chicago; Lu and Bill Lancton from Indianapolis; Rache and her mum Karen from Kitchener and Hamilton; Michael O and Rene from Quebec City; Patti Parlette from Connecticut; Jody Johnson from New Hampshire; Sue Tierney from Ithaca, NY; and Pat Moseley, Anne Madden, my kids Sarah and Matthew and me, all from Toronto. My kids didn't come to the show itself but went home after, since neither is really anywhere close to appreciating Joni as I do (and I honestly couldn't afford the extra costs anyway, and neither of them is employed at the moment. Even though I offered last-minutish to get them tickets, since there were a few cheap ones in the gallery remaining a week or so before the show, they both declined, and they were really in it only for a free dinner out and a change to meet my Joni-friends.) We then made our separate ways on foot or by car to Massey Hall. I waited with Bill and Lu in a very LOOOOONNG line to pick up tickets and to get information for Sue T and me on how and where to access the after-party. Luminato fell down on that part, because I've never seen such a huge on-call line anywhere before. It might have to do with the fact that many people seem to wait until almost the last minute to buy tickets and then to show up at a venue, but several people waiting in line with us said that this seems to happen a lot with Luminato and/or Massey Hall. That has never been an issue for me before, since I've always either had tickets mailed to me, or else printed them directly. But printing them yourself wasn't an option this time and Luminato was very slow at mailing out tickets, to the point where some people who had asked to have them mailed didn't receive them on time. As a result, the show started a bit late, in order to get everyone in on time and people from Massey and Luminato came down the queue to let us know, so we didn't get anxious and start a riot. I had barely made it to my seat when Jorn Weisbrod came on to give a (thankfully) very short speech thanking the sponsors, which is a requirement when big money is sponsoring an event, and then the lights dimmed and the show began. THE SHOW The show opener was a mostly a capella version of "The Fiddle and the Drum" by Lizz Wright. She is someone I had never even heard of before, but I was an instant fan. She is gorgeous to look at, wearing a lacy mostly white dress and bare feet. She has a voice like melting chocolate and holds you in the palm of her hand as she takes you along a magical path of song. She is focussed and intense but also gentle and uses her hands and arms and body language to accompany herself as she sings. Next up was Glen Hansard with "Coyote." I was already a fan of his before knowing he was also a Joni-interpreter, so I will tell you right now that both he and Lizz Wright were my very favourites of the night, both in their wonderful interpretations and in their choice of material. If you don't believe a straight man can sing "Coyote" and make you believe it, then you haven't heard Glen Hansard! Following Glen was Kathleen Edwards with "You turn me on, I'm a radio," which she sang as, "You turn me on, like a radio." I have no problem with that, since it makes sense to me. I do like Kathleen but this wasn't, in my opinion, her best song ever. I can only imagine how daunting it must be to sing Joni in front of the Queen herself, when you might be perceived as another "girl with a guitar," especially when you are a girl with a guitar, and maybe if the arrangement had been a bit different, then it might have been Kathleen's very own version, and I also think it might be difficult to change the arrangement too much, since it is supposed to be "a country station, a little bit corny." Then came Liam Titcomb with his version of "If." I'm sure that he is not a well-known name, even in Canada, but I did enjoy his cover of "If" and think that he was the bravest of all to cover such a recent song that many people might not be familiar with. Next on stage was Cold Specks, also known as Al Spx, which is not her real name either. She says, of her name, "[It's] the only name I'm willing to give out because it's absolutely ridiculous." (http://www.interviewmagazine.com/music/discovery-cold-specks/) She began with a cover of "Black Crow" and my immediate first thought was, "This is really weird," which then transformed into, "This is really weird... and I like it!" She describes her singing style as "doom soul," and that is a perfect way to phrase it. Kathleen Edwards then returned to do "Big Yellow Taxi" as an audience singalong, explaining somewhat apologetically that this had been a last-minute addition to the concert. We all sang along with the chorus and the "Shoo-bop-bops" or "Ooo-ba-bas" or however anyone wanted to sing it. Then the magnificent Lizz Wright returned with both "Shades of Scarlet conquering" and "The wolf that lives in Lindsey," the latter accompanied with flappy-string guitar by Marvin Sewell and beatnik-thumpy bongos and all by Jeff Haynes, and wolf-calls by invisible wolves. Along came Rufus Wainwright, looking a bit like Elvis in sequined black tight pants, a black cowboy shirt, a silver sequined tie and sunglasses. He said that his mother, Kate McGarrigle, "being human" was always jealous of Joni and that, as a result, she didn't get played in their house. He then launched into a joyful version of "All I want," followed by a soulful, "A case of you," proving that Joni's songs are universal, whether you're male or female, gay or straight. Then, my boyfriend (but only if I were Jocasta and he Oedipus, which could only end tragically) Glen Hansard returned with "The Boho Dance." (Did I mention how much I love Glen Hansard?) Kathleen Edwards was up next with one of my all-time favourite songs, "Cold blue steel and sweet fire." She really didn't need to bring her guitar, since she didn't play it on this song, so I'm guessing she might be one of those performers who feels naked without a prop of some kind. Too bad if so, because, even though I get that, she is a lovely lady with a lovely voice and she doesn't need to hide. Glen Hansard came back on with his cover of "Carey," proving once again that a straight man can sing a song about some guy, and make us believe him. Rufus Wainwright returned with a joyous and raucous cover of "Free man in Paris," and then a more sombre and mostly a capella, with minor instrumental additions at appropriate moments, "Slouching toward Bethlehem," that he said he wanted to sing as a "Scottish folk song." Then a brief intermission, and Act II began. Lizz Wright came back on stage to sing "Jericho". So many of the song choices for all of these artists were perfect and I was so happy to see some of the not-quite-as-well-known songs covered along with the obvious hits. "Jericho" was a big hit for me. From where we were seated, we could see Joni in the audience. She was sitting on an aisle seat about eight rows back on the centre-left, with Kenny Hotz and Kilauren next to her. Kenny accompanied her in and out at appropriate times just after or just before the show started, so that it was dark and the audience was less likely to notice her. I could see (through my camera lens) that she was obviously enjoying herself, as she moved her hands to the rhythms or mouthed the words, or smiled or laughed.) After "Jericho," the Lady herself came on stage to thank everyone and to say that she wanted to recant what she had said earlier in interviews about "honour dying in World War II." She praised the performers and talked about how she had been in British Columbia during a period when it never seemed to stop raining (which is fairly typical for B.C.), then treated us to her poem-to-music "This rain, this rain," based on the writings of Emily Carr. We were happy just to hear that, but then Joni, after saying she wasn't sure whether she could sing or not anymore and that she had maybe four or five notes left in her singing voice, gave us a story of how she had gone around trying to flirt with police officers to get their badges. In Memphis, one officer wouldn't give her his badge, but did take her down to old Memphis where she met Furry Lewis. She then began to sing "Furry sings the blues" in her now limited-range but still emotionally powerful voice. Not just a poem and one song though! She then went on to sing "Don't interrupt the sorrow" and then, with the rest of the night's singers, "Woodstock." Despite the audience's clapping for Joni to do an encore, there were to be no more songs that night, although Joni did come back to take another bow, and to thank us all with a great big smile on her face. I do hope that she heard "Happy birthday" being sung to her, instigated, so I'm told, by our own Michael O'Malley. AFTER THE SHOW Sue T and I made our way down to the basement where the bar is and my name was on the list for jonimitchell.com (YAY! and thanks to Les for being so thorough), so in we went. A few minutes later, Patti Parlette and Jody Johnson showed up, since Patti was given access through Lisa, the editor for "Gathered Light." So, it was four of us ladies of the canyon hoping to catch a glimpse of Joni, but afraid she wouldn't show. Which, as it happens, she did not. Sue and I did speak to Liam Titcomb and Rufus Wainwright, as well as with Jon Cowherd, keyboardist for the band, and Marvin Sewell, guitarist. We also saw, but didn't get a chance to speak to Kathleen Edwards and Christopher "CT" Thomas, the bass player, who left soon after with his wife or girlfriend. We also saw Kilauren and Marlin and Brad McMath. We weren't sure if Daisy was there or not and decided not to approach Kilauren since she was pretty busy with other people and since we wanted to keep it about the music and not about things that are really not our business, thinking that we wouldn't want complete strangers to walk up to us and ask us personal things. We did think of many inappropriate questions that we would never dare to ask anyone, but were fun to think up anyway. Sue has already mentioned that Marvin Sewell said that he often uses the guitar pages on jonimitchell.com to find guitar tunings and so on, so chalk one up for jonimitchell.com and the people, including Sue, who created it and who keep it going. After enough time had passed and the crowd was thinning and we had had our fill of free drinks and hors d'oeuvres and I had scooped up all the free capos (yellow with SunLife Financial inscribed on them) I could, it became obvious that Joni wouldn't show, despite our best hopes. And, while we were talking to Rufus Wainwright, Jorn Weisbrod came and said to him that he was "going up" to see Joni. Soon after, all four of us left and joined our friends Anne and Pat who were hanging out at Fran's Restaurant across the street, loading up on caffeine. And now it's over! THE SET LIST FIRST ACT: Lizz Wright: The fiddle and the drum Glen Hansard: Coyote Kathleen Edwards: You turn me on, I'm a radio Liam Titcomb: If Cold Specks (AI SPx): Black Crow Kathleen Edwards: Big Yellow Taxi, with audience Lizz Wright: Shades of Scarlett; The wolf that lives in Lindsey Rufus Wainwright: All I want; A case of you Glen Hansard: The Boho dance Kathleen Edwards: Cold Blue Steel and Sweet Fire Glen Hansard: Carey Rufus Wainwright: Free man in Paris; Slouching toward Bethlehem SECOND ACT Lizz Wright: Jericho Joni: This rain, this rain; Furry sings the blues; Don't interrupt the sorrow; Woodstock THE BAND: Brian Blade: drums/musical director Jon Cowherd: keys/musical director Ambrose Akinmusire: trumpet Melvin Butler: sax Bill Frisell: guitar Jeff Haynes: percussion Marvin Sewell: guitar Christopher "CT" Thomas: bass ARTIST'S WEBSITES: Lizz Wright:http://www.lizzwright.net/ Glen Hansard:http://www.glenhansardmusic.com/songofgoodhope/ Kathleen Edwards:http://kathleenedwards.com/ Liam Titcomb:http://www.liamtitcomb.com/#5a0/custom_plain Cold Specks:http://coldspecks.com/ and might I recommend you check out this song: http://www.youtube.com/watch?v=RR9VbmIh1Rs Rufus Wainwright: http://www.rufuswainwright.com/ Brian Blade: http://www.brianblade.com/ https://www.facebook.com/BrianBlade Jon Cowherd:http://www.joncowherd.com/ Ambrose Akinmusire:http://www.ambroseakinmusire.com/ Melvin Butler: http://melvinbutler.net/ Bill Frisell: http://www.billfrisell.com/ Jeff Haynes: http://jeffhaynesmusic.com/Home.html Marvin Sewell: http://marvinsewell.com/ Christopher "CT" Thomas, bass:I couldn't find a web page that was his, but he is a member of the Brian Blade Fellowship, as are Melvin Butler and Jon Cowherd. Thanks to Curtis Ray Smith on Youtube for his help (unbeknownst to him) with my remembering the set list and who sang what! http://youtu.be/-VluSIQsCOE ------------------------------ Date: Fri, 21 Jun 2013 17:19:59 -0400 From: Michael Paz Subject: Re: Joni tribute report Thanks for such and entertaining and thoughtful review. I am so glad you guys got to go and had such a great time. I am in Gatineau tonight for a show and on to St Eustache tomorrow. Love Paz Michael Paz michael@thepazgroup.com On Jun 21, 2013, at 4:38 PM, Catherine McKay wrote: My Joni report - long, maybe overdue, but possibly overload. Save it for later, or delete it without reading, because I'll never know! BEFORE THE SHOW My Luminato night began with a dinner at Sambuca's restaurant on Church Street, along with fellow jmdlers and their spouses or families. There were sixteen of us altogether, including John Calimee and Richard from Chicago; Lu and Bill Lancton from Indianapolis; Rache and her mum Karen from Kitchener and Hamilton; Michael O and Rene from Quebec City; Patti Parlette from Connecticut; Jody Johnson from New Hampshire; Sue Tierney from Ithaca, NY; and Pat Moseley, Anne Madden, my kids Sarah and Matthew and me, all from Toronto. My kids didn't come to the show itself but went home after, since neither is really anywhere close to appreciating Joni as I do (and I honestly couldn't afford the extra costs anyway, and neither of them is employed at the moment. Even though I offered last-minutish to get them tickets, since there were a few cheap ones in the gallery remaining a week or so before the show, they both declined, and they were really in it only for a free dinner out and a change to meet my Joni-friends.) We then made our separate ways on foot or by car to Massey Hall. I waited with Bill and Lu in a very LOOOOONNG line to pick up tickets and to get information for Sue T and me on how and where to access the after-party. Luminato fell down on that part, because I've never seen such a huge on-call line anywhere before. It might have to do with the fact that many people seem to wait until almost the last minute to buy tickets and then to show up at a venue, but several people waiting in line with us said that this seems to happen a lot with Luminato and/or Massey Hall. That has never been an issue for me before, since I've always either had tickets mailed to me, or else printed them directly. But printing them yourself wasn't an option this time and Luminato was very slow at mailing out tickets, to the point where some people who had asked to have them mailed didn't receive them on time. As a result, the show started a bit late, in order to get everyone in on time and people from Massey and Luminato came down the queue to let us know, so we didn't get anxious and start a riot. I had barely made it to my seat when Jorn Weisbrod came on to give a (thankfully) very short speech thanking the sponsors, which is a requirement when big money is sponsoring an event, and then the lights dimmed and the show began. THE SHOW The show opener was a mostly a capella version of "The Fiddle and the Drum" by Lizz Wright. She is someone I had never even heard of before, but I was an instant fan. She is gorgeous to look at, wearing a lacy mostly white dress and bare feet. She has a voice like melting chocolate and holds you in the palm of her hand as she takes you along a magical path of song. She is focussed and intense but also gentle and uses her hands and arms and body language to accompany herself as she sings. Next up was Glen Hansard with "Coyote." I was already a fan of his before knowing he was also a Joni-interpreter, so I will tell you right now that both he and Lizz Wright were my very favourites of the night, both in their wonderful interpretations and in their choice of material. If you don't believe a straight man can sing "Coyote" and make you believe it, then you haven't heard Glen Hansard! Following Glen was Kathleen Edwards with "You turn me on, I'm a radio," which she sang as, "You turn me on, like a radio." I have no problem with that, since it makes sense to me. I do like Kathleen but this wasn't, in my opinion, her best song ever. I can only imagine how daunting it must be to sing Joni in front of the Queen herself, when you might be perceived as another "girl with a guitar," especially when you are a girl with a guitar, and maybe if the arrangement had been a bit different, then it might have been Kathleen's very own version, and I also think it might be difficult to change the arrangement too much, since it is supposed to be "a country station, a little bit corny." Then came Liam Titcomb with his version of "If." I'm sure that he is not a well-known name, even in Canada, but I did enjoy his cover of "If" and think that he was the bravest of all to cover such a recent song that many people might not be familiar with. Next on stage was Cold Specks, also known as Al Spx, which is not her real name either. She says, of her name, "[It's] the only name I'm willing to give out because it's absolutely ridiculous." (http://www.interviewmagazine.com/music/discovery-cold-specks/) She began with a cover of "Black Crow" and my immediate first thought was, "This is really weird," which then transformed into, "This is really weird... and I like it!" She describes her singing style as "doom soul," and that is a perfect way to phrase it. Kathleen Edwards then returned to do "Big Yellow Taxi" as an audience singalong, explaining somewhat apologetically that this had been a last-minute addition to the concert. We all sang along with the chorus and the "Shoo-bop-bops" or "Ooo-ba-bas" or however anyone wanted to sing it. Then the magnificent Lizz Wright returned with both "Shades of Scarlet conquering" and "The wolf that lives in Lindsey," the latter accompanied with flappy-string guitar by Marvin Sewell and beatnik-thumpy bongos and all by Jeff Haynes, and wolf-calls by invisible wolves. Along came Rufus Wainwright, looking a bit like Elvis in sequined black tight pants, a black cowboy shirt, a silver sequined tie and sunglasses. He said that his mother, Kate McGarrigle, "being human" was always jealous of Joni and that, as a result, she didn't get played in their house. He then launched into a joyful version of "All I want," followed by a soulful, "A case of you," proving that Joni's songs are universal, whether you're male or female, gay or straight. Then, my boyfriend (but only if I were Jocasta and he Oedipus, which could only end tragically) Glen Hansard returned with "The Boho Dance." (Did I mention how much I love Glen Hansard?) Kathleen Edwards was up next with one of my all-time favourite songs, "Cold blue steel and sweet fire." She really didn't need to bring her guitar, since she didn't play it on this song, so I'm guessing she might be one of those performers who feels naked without a prop of some kind. Too bad if so, because, even though I get that, she is a lovely lady with a lovely voice and she doesn't need to hide. Glen Hansard came back on with his cover of "Carey," proving once again that a straight man can sing a song about some guy, and make us believe him. Rufus Wainwright returned with a joyous and raucous cover of "Free man in Paris," and then a more sombre and mostly a capella, with minor instrumental additions at appropriate moments, "Slouching toward Bethlehem," that he said he wanted to sing as a "Scottish folk song." Then a brief intermission, and Act II began. Lizz Wright came back on stage to sing "Jericho". So many of the song choices for all of these artists were perfect and I was so happy to see some of the not-quite-as-well-known songs covered along with the obvious hits. "Jericho" was a big hit for me. From where we were seated, we could see Joni in the audience. She was sitting on an aisle seat about eight rows back on the centre-left, with Kenny Hotz and Kilauren next to her. Kenny accompanied her in and out at appropriate times just after or just before the show started, so that it was dark and the audience was less likely to notice her. I could see (through my camera lens) that she was obviously enjoying herself, as she moved her hands to the rhythms or mouthed the words, or smiled or laughed.) After "Jericho," the Lady herself came on stage to thank everyone and to say that she wanted to recant what she had said earlier in interviews about "honour dying in World War II." She praised the performers and talked about how she had been in British Columbia during a period when it never seemed to stop raining (which is fairly typical for B.C.), then treated us to her poem-to-music "This rain, this rain," based on the writings of Emily Carr. We were happy just to hear that, but then Joni, after saying she wasn't sure whether she could sing or not anymore and that she had maybe four or five notes left in her singing voice, gave us a story of how she had gone around trying to flirt with police officers to get their badges. In Memphis, one officer wouldn't give her his badge, but did take her down to old Memphis where she met Furry Lewis. She then began to sing "Furry sings the blues" in her now limited-range but still emotionally powerful voice. Not just a poem and one song though! She then went on to sing "Don't interrupt the sorrow" and then, with the rest of the night's singers, "Woodstock." Despite the audience's clapping for Joni to do an encore, there were to be no more songs that night, although Joni did come back to take another bow, and to thank us all with a great big smile on her face. I do hope that she heard "Happy birthday" being sung to her, instigated, so I'm told, by our own Michael O'Malley. AFTER THE SHOW Sue T and I made our way down to the basement where the bar is and my name was on the list for jonimitchell.com (YAY! and thanks to Les for being so thorough), so in we went. A few minutes later, Patti Parlette and Jody Johnson showed up, since Patti was given access through Lisa, the editor for "Gathered Light." So, it was four of us ladies of the canyon hoping to catch a glimpse of Joni, but afraid she wouldn't show. Which, as it happens, she did not. Sue and I did speak to Liam Titcomb and Rufus Wainwright, as well as with Jon Cowherd, keyboardist for the band, and Marvin Sewell, guitarist. We also saw, but didn't get a chance to speak to Kathleen Edwards and Christopher "CT" Thomas, the bass player, who left soon after with his wife or girlfriend. We also saw Kilauren and Marlin and Brad McMath. We weren't sure if Daisy was there or not and decided not to approach Kilauren since she was pretty busy with other people and since we wanted to keep it about the music and not about things that are really not our business, thinking that we wouldn't want complete strangers to walk up to us and ask us personal things. We did think of many inappropriate questions that we would never dare to ask anyone, but were fun to think up anyway. Sue has already mentioned that Marvin Sewell said that he often uses the guitar pages on jonimitchell.com to find guitar tunings and so on, so chalk one up for jonimitchell.com and the people, including Sue, who created it and who keep it going. After enough time had passed and the crowd was thinning and we had had our fill of free drinks and hors d'oeuvres and I had scooped up all the free capos (yellow with SunLife Financial inscribed on them) I could, it became obvious that Joni wouldn't show, despite our best hopes. And, while we were talking to Rufus Wainwright, Jorn Weisbrod came and said to him that he was "going up" to see Joni. Soon after, all four of us left and joined our friends Anne and Pat who were hanging out at Fran's Restaurant across the street, loading up on caffeine. And now it's over! THE SET LIST FIRST ACT: Lizz Wright: The fiddle and the drum Glen Hansard: Coyote Kathleen Edwards: You turn me on, I'm a radio Liam Titcomb: If Cold Specks (AI SPx): Black Crow Kathleen Edwards: Big Yellow Taxi, with audience Lizz Wright: Shades of Scarlett; The wolf that lives in Lindsey Rufus Wainwright: All I want; A case of you Glen Hansard: The Boho dance Kathleen Edwards: Cold Blue Steel and Sweet Fire Glen Hansard: Carey Rufus Wainwright: Free man in Paris; Slouching toward Bethlehem SECOND ACT Lizz Wright: Jericho Joni: This rain, this rain; Furry sings the blues; Don't interrupt the sorrow; Woodstock THE BAND: Brian Blade: drums/musical director Jon Cowherd: keys/musical director Ambrose Akinmusire: trumpet Melvin Butler: sax Bill Frisell: guitar Jeff Haynes: percussion Marvin Sewell: guitar Christopher "CT" Thomas: bass ARTIST'S WEBSITES: Lizz Wright:http://www.lizzwright.net/ Glen Hansard:http://www.glenhansardmusic.com/songofgoodhope/ Kathleen Edwards:http://kathleenedwards.com/ Liam Titcomb:http://www.liamtitcomb.com/#5a0/custom_plain Cold Specks:http://coldspecks.com/ and might I recommend you check out this song: http://www.youtube.com/watch?v=RR9VbmIh1Rs Rufus Wainwright: http://www.rufuswainwright.com/ Brian Blade: http://www.brianblade.com/ https://www.facebook.com/BrianBlade Jon Cowherd:http://www.joncowherd.com/ Ambrose Akinmusire:http://www.ambroseakinmusire.com/ Melvin Butler: http://melvinbutler.net/ Bill Frisell: http://www.billfrisell.com/ Jeff Haynes: http://jeffhaynesmusic.com/Home.html Marvin Sewell: http://marvinsewell.com/ Christopher "CT" Thomas, bass:I couldn't find a web page that was his, but he is a member of the Brian Blade Fellowship, as are Melvin Butler and Jon Cowherd. Thanks to Curtis Ray Smith on Youtube for his help (unbeknownst to him) with my remembering the set list and who sang what! http://youtu.be/-VluSIQsCOE ------------------------------ End of JMDL Digest V2013 #811 ***************************** ------- To post messages to the list, sendtojoni@smoe.org. Unsubscribe by clicking here: mailto:joni-digest-request@smoe.org?body=unsubscribe -------