Hoodoo voodoo / Chooka chooky choochoo

I went into Monday night's Wilco show at Keyspan Park without any real expectations. The only thing that I was anxious about was getting out to Coney Island in time to see as much of Yo La Tengo's opening set as possible. I had listened to their newest album a few times when it had first surfaced, and it enjoyed it well enough. And I have found that with Wilco, it is easier not to expect much -- setlists will be similar, banter might have the same ring, but no matter, what, they always have a way of making me leave with a huge grin on my face. Last year at McCarren Park, they did it with horns and Kingpin. This year, I need to thank Nels and friends I think.

Met Jake in SoHo and we jumped on an N, then Q, and headed out to Coney Island. It sure is way out there . . . After running into two friends, we joined the throng of people and made our way around to the back of Keyspan Park, where they were letting in those of us with Field Tickets. As tickets were getting checked, I could hear the sound of Autumn Sweater wafting through the air. It only heightened my desire to get in.

Unlike Fenway Park for Phish, concert goers were allowed on the infield at Keyspan Park. Actually, that is where the standing-room area was, on the infield (covered by this plastic "floor"). The stage was somewhere behind second base, facing home plate and the stands. We worked our way around the crowd and found a spot pretty close to the left and in front of the soundboard (maybe 20 people back?).

Due the early start, the crowd was still relatively thin for YLT. Everyone else missed out, in my opinion. I quite enjoyed what I saw of the set, which covered the breadth of their catalog, with couple of new songs (Periodically Double or Triple and Nothing to Hide, I think) and oldies. Nothing stood up, though, to the stadium-shattering monster that was The Story of Yo La Tengo. When Ira wants to wrestle notes out of his guitar, there is nothing that is going to get in his way. And boy did he wrestle -- spinning the tuning pegs, hunched over, upside down, stretching and coaxing . . . Couldn't have asked for a better closer to their set, even though it might have scared a few in attendance.



Yo La Tengo ended their set at 8:00 on the dot, and exactly 30 minutes later, as the crowd continued to fill out, Wilco took the stage. If I would have glanced at some of the earlier setlists, I am sure I would not have been too surprised with what they had played. Wilco (the song) opener should have been expected -- debuted on The Colbert Report, I believe, a few months earlier? I thought that the older songs were played a well as I have heard live, and the new songs stood out if only for their "lightness." They just didn't, well, rock as hard as the older songs. Maybe that had something to do with my unfamiliarity, or just the overall tone of Wilco (the album). (The only standout might have been Bull Black Nova, which I think I read was described as a mini Spiders. Kaz?)

Since we were Stage Right, my focus was primarily on Nels -- I have been a fan of his for some time now, both as a member of Wilco and with his jazz work (especially with Jenny Scheinman). It is always enjoyable to watch his focus and mastery of the guitar, switching out each song to get just the right sound or tone. At one point, he was playing this miniature twelve-string guitar while he held a lap guitar in front of him, changing within the same song (Deeper Down?).

I remember Handshake Drugs rocked quite hard. And as to be expected, the one two of Impossible Germany and Jesus Etc. in the middle of the set was just about perfect. Nels' solo in Impossible Germany was longer than I remembered it -- and was just perfect. Solo of the night. And, well, Jesus Etc. is possibly my favorite song ever. I'm Always In Love is a fun crowd pleaser, as is Hate It Here. To close, Jeff put down his guitar and strolled the front of the stage singing Hummingbird, like a crooner. It was a nice touch.



Heavy Metal Drummer was to be expected as an encore -- the rest of the two encores, for me, was completely unexpected. It started with Feist coming out to sing You and I. (I later found out she sang that song with them the following night on Letterman.) It might be easy to say that Feist makes everything, well, sweeter. I think it would be hard to admit that You and I isn't simply a wonderfully sweet song. It was great seeing her sharing smiles with Jeff and John Stirratt. Now, it was a nice novelty to have her and Ed play tambourines and sing back-up to California Stars and You Never Know -- I sadly couldn't hear their contributions all that clearly. (The best part of having Feist play percussion on Hoodoo Voodoo was seeing the perpetually sweaty Glenn Kotche grinning ear to ear as she stood on his riser over his left shoulder.)





In my mind, as I walked into the venue Monday night, I quickly played with the idea of Yo La Tengo sitting in on Spiders (Kidsmoke). Honestly. I thought it was far fetched, mind you, but it seemed the be the song with the best fit. So as Jeff invited all of Yo La Tengo on stage for Spiders, I just about flipped. James McNew joined Mikael Jorgensen on keys, Georgia grabbed some maracas and stood next to Pat Sansone, and Ira took a spot on the far corner of the stage. And we were off. Now, it probably was a little unreasonable to expect some sort of 20-minute freak-out. And while the version wasn't all that different, it certainly had a much fuller sound with everyone pitching in (was just waiting for Ira to step up slightly; he appeared to let Nels handle most of the crazy build in the middle.) Certainly worth a few relistens.

The Late Greats was an expected second encore. And the acknowledgement of Wood Guthrie's neighborhood and the writing of Hoodoo Voodoo just down the street was a nice touch to end the night. And the little duel between Nels and Pat was fun to watch -- it is like a big dog just toying with the little puppy. You know he could crush him with the slightest move, but he enjoys the play.

If I was to relisten to the show, I am sure I could be a bit more critical. But sometimes that just isn't worth the effort. I enjoyed the hell out of the show Monday night. And the guests were just icing on the Coney cake. It will be hard not to get my hopes up for Saturday night at Dutchess Stadium -- but hey, I am sure they will do something that will keep me smiling all the way home . . .

My photos can be found here.

Yo La Tengo:
(walked in)
Autumn Sweater
Periodically Double Or Triple
From A Motel 6
Nothing To Hide
Tom Courtenay
The Story of Yo La Tango

Wilco:
Wilco (the song)
I Am Trying to Break Your Heart
Shot in the Arm
At Least That's What You Said
Bull Black Nova
You Are My Face
One Wing
Handshake Drugs
Deeper Down
Impossible Germany
Jesus Etc.
Sonny Feeling
I'm Always in Love
Can't Stand It
Hate it Here
Walken
I'm the Man Who Loves You
Hummingbird

1st Encore:
Heavy Metal Drummer
You And I*
California Stars**
You Never Know**
Misunderstood
Spiders (Kidsmoke)$

2nd Encore:
The Late Greats
Hoodoo Voodoo**

* with Feist on vocals
** with Feist and Ed Droste (Grizzly Bear) on backup vocals and percussion
$ with Yo La Tengo

Medicine for Melancholy (thumbs up)

I went to BAM last night with my sister to see Medicine for Melancholy (part of their AfroPunk festival). While I do enjoy small movies like this one, my interest was initially piqued simply because of Wyatt Cenac. I have been a fan of Wyatt's since he joined the Daily Show (didn't realize he earlier wrote for King of the Hill) and was excited to see his range in a movie. And he did not disappoint in the least. I thought he was convincing as his character and sprinkled in just enough of his humor. And there was definite chemistry with the beautiful Tracey Heggins, his co-star in the movie. The concept certainly isn't new, but I don't think that held the movie back. And I absolutely loved the way the filmmaker shot San Francisco -- lots of great views of that beautiful City, both in the day and at night, in an over-saturated light (almost black and white). There is a clear emphasis on "what it means to be Black in San Francisco," but I do not think it weighs down the film too much.

I should mention that Emme and I had a great dinner at The Smoke Joint. Very tasty pulled pork, mac'n'cheese, good beer . . . Nice way to start the night. Have always wanted to try the Ft. Greene restaurant, and it certainly did not disappoint.

A Recovery Week and the Long Weekend

After the focus that I attempted to give the LEED exam last week, and then the unfortunate/disappointing/disrupting movement of my test from Monday to Sunday, then not passing by only a few points, I didn't enter this week in the greatest of moods. Maybe if the US soccer team was able to hold on against Brazil in the Confederations Cup Final, I might have been a bit lighter on my feet. But they couldn't even help. So, it is nice to have a Friday "off" if only because it means that L is home and we can just hang out this morning. Eating, making salads for the Park this afternoon, watching tennis . . .

I did have a good Wednesday with Emme, though. I wanted to make sure I saw the Gustave Caillebotte show at the Brooklyn Museum before it closed this weekend. He has ranked up at the top of my favorite painters list for some years now -- I quite enjoyed the urban focus to his Impressionist paintings. He had a nice mix of reality and ease, showing a changed Paris or glimpses of industry with a bit of a light brush. I first met Emme on the Lower East Side where she was getting fitted for a bridesmaid dress -- unfortunately, the shop was an hour late. It didn't dampen our spirits, though, and we made our way to Brooklyn. The museum was quite quiet on a Wednesday afternoon -- compared to, say, the closing of the Annie Leibovitz exhibit, when the line to get in wrapped outside on that cold January day. There wasn't even anyone waiting to pay. We made our way through the odd and unfortunate entry sequence at the museum (after all that they paid, and the nice design of the entrance, you would think they could have hired a space planner) up to the fifth floor.

While the exhibit did not feature Caillebotte's three most famous works, I found it to be quite extensive, ranging from a few urban scenes, to landscapes I was not familiar with, to some great paintings of rowers that captured incredible light on the water. Most of the paintings were from private collections (not, say, the Musee d'Orsay or the Chicago Art Institute, where you can find his well-known pieces). What I enjoyed the most, I think, was the background into Caillebotte, especially into his life as a yachtsman. Paired with some paintings of boats were actual models of hulls that Caillebotte designed, yachts that were graceful and sleek, beautiful curves of wood (one of the yachts was even a medal winner in the 1900 Olympics). You are so used to hearing about troubled artists -- it was refreshing to read about someone who filled his years doing things that made him happy. He was a patron to his friends and fellow Impressionists, he sailed, painted what moved him regardless of the critics.

(I have photos on Facebook of some of the paintings; I will try relink here)

We ate a late lunch at a good burrito restaurant on Flatbush, and Emme headed off to her second-to-last Graduate school class of the year.

Today, we are planning to go to Central Park for Lunch. Tomorrow, a trip to the Jersey Shore. Stay tuned!