SOUNDTRACK: GroundUP FAMILY DINNER-Tiny Desk (Home) Concert #103 (October 27, 2020).
This is a sort of family affair Tiny Desk (multiple Home) concert. The family is the GroundUP label.
This three-act, 18-person Tiny Desk (home) concert was conceived by Michael League, Snarky Puppy’s composer and bandleader. He and his cadre of artists on the GroundUP record label believe in two important points: that music and politics are inextricably linked, and the best way to connect people is through song.
The first song, “Heather’s Letters To Her Mother.” is a beautiful folk song that’s mostly Becca Steven and her guitar. But there’s some beautiful subtle piano from Brad Mehldau and simple but very effective bass from Chris Tordini. I really liked this song with its ever so true refrain “This is not the America I know” and I liked it even more when I heard what it was all about.
The concert features three distinct ensembles, beginning with Becca Stevens and her song “Heather’s Letters To Her Mother.” “I wrote this for Heather Heyer, who was killed on August 12, 2017, while peacefully protesting the Unite the Right rally in Charlottesville,” she says. “In my heart this song has always been a rallying cry to come from a place of compassion in our actions and reactions. It’s a reminder to continue the fight for equality from a determined and compassionate stance regardless of what is happening around us. And it’s a reminder to stay grounded in love because without a foundation of love we are truly lost.”
I was surprised that the second song was in a language I didn’t know.
The second song features League’s world music group Bokanté performing the Creole song “Réparasyon,” meaning “reparations.” Bokanté vocalist Malika Tirolien wrote the song, which appears on the band’s Grammy-nominated album What Heat. “With the rise of black liberation movements around the world, this is a crucial time to remind everyone that people of African descent need the slave trade officially recognized as a crime against humanity and need reparations and restitutions of stolen goods,” Tirolien says. “Getting justice is the only way we can begin a process of forgiveness and healing.”
This song is amazing with some absolutely fantastic solos throughout. The song starts out with four, yes four, percussionists playing a pumping rhythm: Keita Ogawa, Jamey Haddad, André Ferrari, and Weedie Braimah.
Then bassist Michael League follows the same rhythm making it a melody. Three guitars join in. A lap steel from Roosevelt Collier and more guitars from Kurt Rosenwinkel, Bob Lanzetti and Chris McQueen one of whom plays a fantastic ethereal solo in the middle of the song. It’s followed by a hand drum solo After a little bass solo one of the frummers (the one with the full kit) amusingly hits a tiny cymbal to get the song moving again.
Alina Engibaryan introduces the final song “We Are.” She explains that the song
strives to bring people together, “I wanted to write a song that has a message about people, where regardless of our beliefs, our political views, our race, color, we are all human beings and made of the same thing,” Engibaryan says. “I hope people will understand that one day and will learn to love, respect and accept one another.”
It’s a time when hate has reached its limits.
It opens with gentle piano from Taylor Eigsti and some soft but complex drumming from Eric Harland. Chris Potter plays an introductory saxophone melody. Alina Engibaryan playing Rhodes and Moog bass sings the first verse (and is backed up by Michael League). Then in a surprise, Gregory Porter jumps in to sing the middle verse.
Whether or not this was meant as an introduction to the bands on the label, it is a terrific way to experience them in a short time with great songs.
[READ: December 5, 2020] “Fast Hands, Fast Feet”
This year, S. ordered me The Short Story Advent Calendar. This is my fifth time reading the Calendar. I didn’t know about the first one until it was long out of print (sigh), but each year since has been very enjoyable. Here’s what they say this year
You know the drill by now. The 2020 Short Story Advent Calendar is a deluxe box set of individually bound short stories from some of the best writers in North America.
This year’s slipcase is a thing of beauty, too, with electric-yellow lining and spot-glossed lettering. It also comes wrapped in two rubber bands to keep those booklets snug in their beds.
As always, each story is a surprise, so you won’t know what you’re getting until you crack the seal every morning starting December 1. Once you’ve read that day’s story, check back here to read an exclusive interview with the author.
It’s December 5. Maurice Carlos Ruffin, author of We Cast a Shadow, refuses to part with his cassette collection. [Click the link to the H&O extras for the story].
This is the kind of story that I knew I wouldn’t like because of the way it started.
Sentences like “Who still on cassettes, anyway? What year they think this is, 1980?” made me knew it wasn’t really meant for me.
But still, the story was engaging.
A young girl (woman?) has been breaking into cars, looking for something valuable. A man spies her and tells her it’s cool, but she’s not about to wait and see what he’s all about.
She runs (“fast feet”) for the underpass where she and Queen Elizabeth Two call home. But while she is settling in, a hand grabs her. It’s the same man. She panics but he calms her down. (more…)
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This was my twelfth Phish show (thus making it the most I have seen any band). I usually don’t mind going t o see bands by myself but Phish shows are the weird outlier because I never get good seats (it’s always lawn) and because everyone seems to be with a bunch of people and I don’t want to gate crash. Phish fans are pretty friendly but can also be a bit much, so it’s risky to tie yourself to a group for an evening.
I Just Read About That... 