Check out the audio for the details. Get your tickets at Here In The Valley.org
Willi Carlisle’s “Peculiar, Missouri” will be fully released in mid-July but we heard two of the three singles released on today’s show. We also talked about a myriad of things from punk to poetry, gay cowboy icons to masks and puppet theater. Along the way, we touched on pivotal events in Willi’s life including heading to the Ozarks to teach poetry, his discovery of square dancing, an intentional community called Meadowcreek, and we talked songwriting of course. Willi’s songs have stuck with me since I first heard him at 2021 Freshgrass Festival. His latest release confirms Willi’s claim that “folk music allows him to be as weird as wants to be” but listeners will hear the insanely clever turn of the phrase and imagery that remains long after the last note. We hear “Tulsa’s Last Magician” to open the segment and Willi dedicates the song to the many folks whose jobs and vocations are being phased out and replaced. “What the Rocks Don’t Know” from “To Tell You the Truth” is a spoken blues about many topics including Walmart, Conoco stations and “finding Jesus in a barbeque line”. The Ozarks that Willi has called home gets a reference in “Folk Art Masterpiece” and we finish with a dramatic personal song called “Life on the Fence”; a song about the difficulties of being a male bisexual in our culture. Willi Carlisle’s songs are personal yet universal; he just wants to love everybody. He’s a literate redneck with a heart. He always speaks his truth to anyone ready to listen. One of the most riveting and unique performers I’ve seen in many a year. Peculiar? Perhaps. But never Misery.
Perhaps you’ve encountered them with June and the Bee, Old Flame, Emma June or Ruby Mack; either way the creative crux is always Emma Ayres! One of our Valley’s most creative playwrights, actors, musicians and writers, Emma is a whirlwind of talent. Their latest release, “Hard Work”, made it’s premiere on WXOJ’s The Town Crier this week. The CD release party is at Easthampton’s Marigold Theater this Saturday night 6/18!
Our segment covers a lot of topics such as the recent Franklin County Pride event (that Emma performed at), their recent personal journey “coming out” as queer, the “hard work” of making a living as an artist in these times, and much more! Emma played two new tunes live in-studio; “Milktooth” and “Hungry Ghost”. We also featured songs from their previous band, Ruby Mack including “Jane”, “Odysseus” and “Breadwinner”. We also got a radio premiere of the title cut from the new CD, “Hard Work”.
The audio segment begins with Mary Gauthier’s “Mercy Now” and includes Cloudbelly’s “Whistling” as well. Cloudbelly will join Emme Ayres for the Marigold Theater show on Saturday 6/18.
Brandy Clark, a ten time Grammy nominated country singer, talks with me about the Art of the Story Song. We start (abruptly) with her answer to my question if writing that style of song is more satisfying and comes to her more naturally. Our topics include how autobiographical her songs tend to be or how fictional. Brandy Clark talks about her songwriting process and what techniques she uses to inspire her writing if she’s hit a block. She also shares a songwriting prompt which gets her in the right frame of mind; she imagines the “furniture in the room” which for her, is often a kitchen. Once she can set the scene and imagery that way, the characters walk in and out of that “room” in her song.
I asked Brandy Clark about the experience of “songwriting for others on the clock” for ten years before she began performing her own songs. This disciplined approach has helped her in establishing a routine and a structure to encourage her writing instead of “waiting for inspiration.” We finish the segment with Brandy’s commentary on Pride Month and the impact of being “out” for many years in the music business. She also talks about her mentoring in this area with others in the music scene.
We finish the segment with two songs one from her newest release, “Your Life is a Record”, which is a duet with Brandi Carlile called “Same Devil” and finish from her debut album “12 Stories” with a beautiful song called “Hold My Hand”.
Catch Brandy Clark, along with Valley duo High Tea, at Holyoke’s Race Street Live this coming Saturday 6/18!!
I had the pleasure of interviewing Jack Casady, bass player for the Jefferson Airplane and Hot Tuna, in advance of his acoustic set at Northampton’s Academy of Music on 4/28. Our conversation was plagued by some technical difficulties. We were using zoom over a tour buses sketchy wifi while traveling in a remote area on the way to Texas for a show. This situation made the audio difficult to use for radio but the chat was funny and informative so I will attempt a transcript below. Prior to getting started, Jack noted the huge amount of CD’s in our station’s collection. He showed me via zoom the large vinyl collection they have on the tour bus. He also mischievously showed me the sleeping compartment of Jorma catching a nap. Jokes about being over 80 commenced! Jack in a playful mood asked if I wanted his laptop to show his face horizontal or vertical! Zoom, indeed. As another aside, Jack reminds me that Jorma’s birthday will be celebrated at their NYC show at Carnegie Hall where the band will play the album, “Burgers”, itself celebrating 50 years since it’s release. Jack also will be turning 78 in mid April too.
Jack, Welcome to NineVolt Heart. Can we go back to the early days of your collaboration with Jorma Kaukenan? Tell us about the Triumphs?
JC: You know, Ed, when you’re young and I was 14 I had met Jorma (then called Jerry) through my older brother Charles Casady. We all loved music, we all had record collections. We would all go back to our homes which was right near the High School (in Washington DC), it was walking distance. Nobody took the bus. Anyway, we started hanging out and he played guitar, I played guitar and as I pointed out before, in normal times our age difference would have meant we couldn’t be friends. Back then, I was in Junior High while Jorma was finishing up High School. We probably wouldn’t have been buddies because the age gap would’ve been more severe at our younger years. Now, it isn’t an issue. We discovered our mutual interests around music and we both played together. One of our girlfriends at the time got us a gig playing a party in the basement. I think we got paid $6 which was big money and that started our career pretty much in earnest. We played a bunch in that year (Jorma’s last year of high school) we played all over DC where there were a whole series of bars that featured music, places you could play and not tell your parents what you were doing.
NVH: You might not have been old enough to even enter these places?
JC: No, I was fourteen at the time. You needed to be eighteen to play in these clubs! I believe I took my older brothers draft card (he had turned eighteen) and we went to Jorma’s house. His grandfather had a mimeograph machine, hand cranked. It would only print on one side. The draft card was just a plain white piece of paper, white with the form on the top, a form card. There was something new happening at the time. It was called lamination. I put this all together and that’s how I got into all these clubs for our gigs. But, of course, I have pictures of what I looked like then…I looked fourteen!
NVH: Ingenuity, at it’s best. Tell me about the Washington DC scene for music at this time. You had lots of clubs with jazz and some with bluegrass…
JC: It was fantastic! First of all, let me start at the top. You had the Library of Congress! I used to go down there early on, when I really started to get interested in a lot of folk music. I studied a lot of folk music including English and Irish ballads. I’d go to this facility and go to the music section. I’d pull out all these old records. You go into this little booth and listen to these ’78RPM records. Also, at our fingertips, I’d have access to all these great record stores like Waxy Maxy’s Record store, they had all the new singles. I started collecting all these old ’78s, now they were 45RPM, the great R&B singles, the blues singles. Those blues guys released all these great singles, the Chicago blues guys did. My older brother and I collected this kind of music. At the same time, all the clubs in Washington had all this music playing live. In the late 50’s early 60’s it was the beginning of the jazz revolution with the chance to see Charlie Mingus who I saw many times. Also Wes Montgomery, Ornette Coleman, Yusef Lateef, Roland Kirk, Eric Dolphy; all these jazz greats. It was an incredible opportunity. I’d go to the Howard Theater for a dollar fifty and see Ray Charles, Bobby Blue Bland, Jackie Wilson, Hank Ballard and the Midnighters. It was just great music. I had a couple of buddies of mine who all were going to Antioch for college (including Jorma where he learned his finger picking style). I had a good buddy Ronnie McDonald, drummer and singer, that we formed a band with just before Jorma went off to college. Ronnie and I would go to all of these clubs around Washington DC, they were primarily African American clubs, you know, and there’d be two teenage white guys walking in. But it was great opportunity on so many levels. In Washington DC a label was just rediscovering Mississippi John Hurt and that sound. Whereas, Jorma was getting into the music of Reverend Gary Davis out in Ohio (at Antioch). At sixteen I got a work furlough working at NYC, we would go up to Gerdes Folk City where we’d get a chance to see all these folk and blues guys like Reverend Gary Davis and Dave Van Ronk. It was the beginnings of a “blues revolution” on all these college campuses and folkies like Bob Dylan just beginning.
NVH: That must’ve been a pretty incredible experience; a musical education as well. When Jorma went to Antioch, you continued to play music in the DC area.?
JC: Well, he was going to college, remember I was still in high school preparing for college. Our musical career hadn’t been foretold. Our parents on both sides expected us to go to college and get a real job.
NVH: Like a dentist, like your Dad?
JC: My father was a dentist, his brother was a Doctor. My mother’s father and brother were in Civil Engineering.
NVH: I was curious about the conversation between you and Jorma when he invited you to join the Jefferson Airplane? He had gotten himself into this electric band and you were kind of skeptical (Jerry the purist!)
JC: He left as Jerry the flat picking strummer and he returned as Jorma the finger picking stylist! Earlier we would be doing these things like Buddy Holly songs, Johnny Cash but he came back as “a classical guitarist” playing melody with really interesting chord changes and singing folk blues. He was many steps away from where he was as a kid. When Jorma went to college, I was in a rhythm and blues band, this band was playing in adult clubs. This was before the british invasion thing happened. I had stepped into the adult world musically, we played Ray Charles stuff, R&B stuff like Bobby Blue Bland played and later on Kingston Trio and that kind of stuff. At this point, I was playing professionally in these clubs while I was still in high school. At that time I was working like five nights a week, getting home at like two thirty at night and then getting up to go to school at 8AM. In the last year of high school, I had this great situation, one of my teachers knew what I was doing. He said “You know Jack, I got a solution. If you join the school band, that class won’t start until 10:30AM”. The problem was the school band didn’t need a guitarist, so I had to take up the Trombone! I tried to blast my way through that but I was really atrocious. My band music teacher shook his head and said I couldn’t play and march at the same time. But he knew what I was doing and he took pity on me and passed me in the class. I never had to march. In the end I could sleep a little more in the morning coming in at 10:30 instead. It was a fun time.
But in the club work I really learned a lot. Those bands at that time had at least two horns, trumpets or saxaphones. So as a result, you learned a lot of these arrangements for big band in the late forties. Things had not got syncopated yet, so most of the stuff the bass players were doing was “walking basslines and stuff” almost always played on stand up bass. Jack tells about playing four sets a night of music a day for a couple of weeks and it paid $115!! He describes the plaid tuxedos and the whole scene. It was an adult scene, kind of like a LasVegas atmosphere. This was all pre-Beatles. It’s when I really got my chops on bass guitar. Our band leader said we’ve got this bass player, but he’s not working out. He doesn’t have a feel for this music. Would you consider playing bass.?? How hard could it be? I’ll give you fifty bucks! I said ‘You’re On”. I did the gig and I fell in love with the instrument. I think in retrospect, I could’ve made an OK guitar player but I think I made a pretty good bass player.
NVH: Bass Player Magazine agrees, Jack. They’ve awarded you a Life Time Achievement Award!!
JC: I just liked the register. When I think back about it, there was lot of classical music in Washington DC. I went to see a lot of ballets and I always loved the low end section. It just “said” something special. That Summer of 1960, Fender had just come out with the Fender Jazz bass that Summer. I had a couple of businesses going on; lawn cutting businesses in the neighborhood, I sold the “Evening Star” newspaper, so I saved up along with money I made in clubs. I remember that bass cost $270 which was a really expensive instrument at the time. The first bass I owned 1958 Telecaster was $115. I wish I kept that. The Fender I ended up purchasing had two pickups, I like that because it had more tone. I started approaching the instrument with two fingers on the right hand, it just felt really natural to me.
NVH: This entire time Jorma didn’t know you were playing bass. Or maybe He didn’t believe you! Did you feel when he asked you to join the Airplane that you were ready?
JC: We were young kids. But I had been playing professionally for some time. He asked me in 1965 and I’d been playing bass since 1960 and music for much longer than that. Don’t forget, when I joined that band out there (The early genesis of Jefferson Airplane), they were not professional musicians. As I’ve said before, if you were putting a band together, those players would not have come to mind. Paul Kantner came out of the folk twelve string scene, he was a strummer raised in the Weavers vocal tradition. Marty Balin was a pop singer who then got into folk groups like Peter, Paul and Mary. Jorma came out of the nitty gritty blues scene. Even Grace Slick came out her folk work in the Great Society. So when I came out to San Francisco to join the band, I had the most professional experience among all of them because I had worked steadily in that environment.
AFTER A Lost CONNECTION….Jack resumes. In Washington, I had lots of mutual friends who were in the Appalachian folk music as well as folks like Pete Seeger. I was very interested in that musical connection as well what I was doing playing my night time gig playing other people’s music. It was around this time in 1965 that I re-enrolled in college in the Fall because the Viet Nam war was gaining some steam and every young man had a draft card. You either went to school or you got drafted. So I was talking with Jorma and he said ,”you wouldn’t believe what I just did. I just joined this group, this folk rock group called the Jefferson Airplane.” And I laughed, “You, the purist! in a folk rock group!” That had just started to be a concept at that time. Dylan had gone electric and bands like the Lovin’ Spoonful were beginning to appear. This was a time of unrest and lots of African American riots and unrest, there was a lot of rebellion, all this was going on at the same time. Young people like Bob Dylan started writing about what was going on right around them. This was really becoming a way for artists to express themselves.
So Jorma says, “Hey Listen, we need a bass player here, what are you doing?” I said, “I’m in school, staying out of the Army, and playing a lot of bass. I don’t think he had remembered at this point that I’d been playing bass since I was sixteen. We hadn’t physically played together in that way with him as a guitarist and me as a bass player.” He said,” Listen, we got a manager who promises he’ll pay us $50 bucks a week whether we work or not! Why don’t you come out.” I said,” You’re On!” In any case, I flew out on the first plane I’d ever taken. Jorma picked me up at the airport and he looked at me and said,” You Better Be Able To Play the Bass”. I guess that worked out.
NVH: Sometimes a Jefferson Airplane set included an acoustic set with just you two. Was that the beginning of what you might have envisioned the Hot Tuna experience?
JC: I mean we always played that way when we got a chance. But let me back up a bit and tell you about the recording industry at that time. The tradition was a record company would hire a singer or a group of singers, they would hire someone to write a song, the singers would do the song, then they would hire players to record the instruments in a studio. Then, they would hire someone to go out and do that track live. At this time there was nobody who was writing their own music to record themselves. Even the Beach Boys didn’t play on all their songs, on some tracks it was studio musicians like Hal Blaine and Kenny Rodgers and all kinds of folks. But for the bands in San Francisco, they would die to have someone else play their guitar parts. With that in mind, once we gained some steam in the studio after we had a hit with “Surrealistic Pillow” we were able to call our shots in the studio at that point. Even with that recording, we approached it to let each song stand on it’s own, we didn’t go in to the studio with any pre-set idea that we would play it acoustic or a duo. This was happening with folks like the Beatles as well. They were moving from a rather strict studio experience to a different sound and even presentation that suited them better. We would spend weeks in the studio to try to capture that experience. Not a collection of singles but the album was a concept in itself. This was really a departure at the time. With that in mind, as we started to go through all the recordings trying to find enough material for the album, maybe five or six songs on a side. Jorma had played so brilliantly on “Embryonic Journey” just really sparkling. We all looked at each other and said, “Why Not”. It wasn’t like we had a discussion like that’s Great or that sounds fine. We didn’t sit down for like a half hour and hashed out whether or not it was going to be on the album. It just was. Some many years go by and so much stuff gets written, people want to know our conceptual thought process was, agonizing over something. At times we might fight over chord changes or something like that, but Jefferson Airplane, at it’s best ,we worked really well together and inspired us in the studio. The band had it’s moments and it’s run of over seven years. I think the strength of the Airplane was that despite some drastic differences over music, we all got along. We were still young and that’s why in the 70’s, 1972 or so, Jorma and I really wanted to concentrate on the direction of the kind of music we wanted to do together. It really wouldn’t fit in the format of the Jefferson Airplane. Marty was writing a lot and Paul too. It ended up being like a lot of groups with a lot of talent, that everyone would get like two songs on an album or something like that. But, in the beginning it was all organic how it all came together, that’s why it worked, that was the strength. Of course, the weakness was that everyone was still growing and wanted to try out new stuff. It all follows a course, like a river, the river flows.
NVH: When you and Jorma play as a duo, Is there something about his style, especially his finger picking style, that allows you to be more creative as a bass player?
JC: Oh, absolutely! We just had so much fun these last week of shows. It’s really something special for me, as a musician. Jorma composes on the guitar like a pianist at two ends. His thumb is like the left hand and he can move with contrapuntal bass lines moving up and down and his first two fingers with the melody; so it’s complete music. Jorma doesn’t need me to play this music. So my challenge is, as a bass player is mostly I think about it as an orchestral arrangement of how to bring this music together. Sometimes we’re playing stuff together, sometimes it’s working in a contrapuntal manner, sometimes it’s working inside and outside the melody. I work with phrasing a lot. That’s one thing I’ve always done with all my bands. I want to support the vocal anyway possible; not just with a drone bass but also with the phrasing, the meaning of the lyrics and all that stuff. So, it’s a great challenge for me to add something that makes us “Hot Tuna”. It’s also fun for me to figure out how to play, in the beginning, in the folk tradition like Reverend Gary Davis and others who are usually solo finger picking guitar works. How to incorporate my bass parts into that, I was approaching that as I would a piano. So, how to keep that music lively and nimble but not so anchored down in a rhythmic fashion. That kind of music is a real challenge for me. For me as a bass player, the music Jorma plays makes it possible for us to have a show each night that’s thoroughly exciting and fun to play. We’re playing stuff we’ve never heard before. That’s why every night, I’ve been asked you guys have been playing 66 years together, do you get bored. The answer is; Absolutely Not!
NVH: Jorma say’s you never play the same thing twice!
JC: That’s his way of complementing my playing my desire to channel a little “Eric Dolphy” into my playing. I try not to fall into the trap of “bettering yourself”; you play something tonight and then you don’t want to repeat it. I have to remind myself that every night is different. It’s not just trying to play different notes but tapping into different atmospheres. It’s more about, “how do I hear the music tonight.? How do I hear the melody in these sections tonight where I’m allowed to “set the stage” in a certain direction.?
NVH: Well Jack Casady, I want to thank you for your generosity and we are all looking forward to your duo show at the Academy of Music in Northampton on Thursday 4/28.
The rescheduled Mile Twelve show at the Parlor Room is now 4/30.
Isabella DeHerdt and Isaac Elliot have released their second album as High Tea. The latest is an acoustic EP called “Old Cowboy” and we begin our segment with the title cut from the 2022 disc.
High Tea has a gorgeous vocal harmony sound with an emphasis on DeHerdt’s lyrics. The songs explore the concepts of growing up, leaving home as well as nostalgia for the childhood comforts they’ve left behind. The duo play two songs from the “old Cowboy “release live in-studio, “Invincible” and “O’er My Skin”. The stripped-down versions feature an acoustic guitar by Isabella and twin vocals from the duo. The arrangement emphasizes the songwriting and stories within these songs and show DeHerdt’s maturation as a writer.
Our topics include the DIY nature of their debut, “Hell of a Ride” where the two spent extensive time writing, arranging, layers various instruments, adding up to a fuller denser rockier recording. Isabella and Isaac are mature and thoughtful about the lessons learned during these recordings; few live shows, moving toward live streams, all the while writing and creating new material. High Tea played a new song for us in-studio called ‘Love You Better” which opens the current shows.
“Old Cowboy” takes it’s sonic cues from the first live shows the duo, High Tea, performed. The live show could not replicate all the instrumentation they created in the studio. Instead, it’s two voices upfront with guitars and percussion underneath. They will bring these tunes and this acoustic approach to Greenfield’s Hawks and Reed tonight 4/3 and later in the month at Turners Falls The Voo on 4/29. Catch these talented young musicians for these local shows if you can. Follow the band at HighTeaBand.com
My guest on the Town Crier, Eveline MacDougall, founded the Amandla Chorus back in 1988 in the Greenfield area made up of multi-generational singers from our valley. The chorus, now named Fiery Hope, takes their mission of social justice and community building into schools, prisons, shelters and senior centers. They’ve performed for the likes of Nelson Mandela, Desmond Tutu, Malalla Yousafazai, Cesar Chavez and Pete Seeger.
Our conversation touches on the early chorus’ anti-apartheid mission. The evolution of the chorus’ work including during the pandemic. Our discussion includes early mentors like Wally and Juanita Nelson who founded Peacemakers way back in 1948! Locally, the Nelsons are credited for their work as anti-war activists, originators of the Greenfield Farmers Market, the Valley Community Land Trust and much more.
Eveline has written a book about her experiences called “Fiery Hope; Building Community With the Amandla Chorus”. Her appearance at Greenfield’s LAVA Center on 4/9 at 1PM will likely include some of the powerful stories from her 30 plus years with the Chorus. Eveline shared one such story with the Town Crier which gave our listeners the power and drama of these experiences. Give the interview a listen. We finish with a story of the Chorus’ work with Pete Seeger as a way to introduce a gorgeous version of “Ode to Joy” with lyrics co-written with Seeger.
LAVA Center (Local Access To Valley Arts) is located at 324 Main Street in Downtown Greenfield, MA. Attendance can be in person or virtual and is “pay as you can” basis. Detail at localaccess.org
Eveline MacDougall’s appearance is part of the center’s Series for Social Justice in Arts and Media on 4/9 at 1PM.
Hanneke Cassell is an award-winning fiddler now based in Boston. She will be performing with her trio at Whately’s Watermelon Wednesday this month on 4/27. Keith Murphy and Jenna Moynihan will be joining Hanneke for this show as well as a 4/25 Club Passim date prior to her Western Mass appearance.
Our conversation covers her early training as a Texas style fiddler growing up in Oregon. Her fiddle teacher’s association with Scottish fiddler Alasdair Fraser and Cape Breton fiddler Buddy McMaster led Hanneke to compete in a competition in this very different style of fiddling. The skeptical fourteen year old won the competition and her association with Scottish fiddling blossomed. We talk about the life changing visits to Isle of Skye in Scotland’s Inner Hebrides and the relationships she built there.
Hanneke’s latest release harkens back to those early days after winning the US National Scottish Fiddling Championships and studying under Fraser. The disc is called “Over The Sea to Skye”. It features many of the best known tunes from the canon with a nod to Buddy McMaster and Alasdair Fraser.
Our conversation covers the convergence of both Cape Breton style and Scottish styles in her work in Boston’s Berklee School of Music. We talk about the vibrant music scene in places like Club Passim and the Cantab as well as the new generation of fine fiddlers graduating from this roots music hotbed.
Of course, our segment includes a fine set of tunes from her discography including her personal introduction to “Trip to Walden Pond”.
Fans of lively and gorgeous string music are in for a treat when Hanneke brings her trio to Watermelon Wednesday on 4/27