Noam and Friends, 12.15.11

Progressive bluegrass. Nu-grass. Country. Americana. All of the above? No matter the labels, there is something about "that" music that I can not get enough of, especially in a live setting. It isn't a type of music I listen to every day, or even every week, but when I do it never hesitates to put a smile on my face. And in a live setting, the smile is often accompanied with my jaw on the floor.

I tend to define this family of music in a pretty broad spectrum, and it has been with me for quite some time. David Grisman's music does it for me, ever since those first few times seeing him over 15 years ago. The time I got to see Bela, Edgar Meyer, and Mike Marshall in Columbus -- the show moved me so much that one of the featured songs became our wedding song. Playing Strength In Numbers only CD on repeat, over and over. Bela and Edgar bringing the rain at the first Bonnaroo. Two of my favorite shows from this year, Alison Krauss and Gillian Welch, could even be thrown in there. And then those wonderful collaborations between Yo-Yo Ma and these musicians, most recently the Goat Rodeo Sessions with Edgar, Chris Thile, and Stuart Duncan. And speaking of Thile, this love of mine has grown to include the Punch Brothers and what sounds to my ears to be "baroque bluegrass."

This past year, the Brothers' banjoist Noam Pikelny released his second solo record, Beat the Devil & Carry a Rail. And it has lived up to all expectations -- from great guests to wonderful originals and new takes on traditional songs. When I saw that he was playing some intimate shows at the Rockwood Music Hall, I didn't want to get shut out. So I got a pair for last night's early set, which started at eight. We walked in about 8:10 and the band was wrapping up the opening track off of the album, "Jim Thompson's Horse." Now, this was my first time to Rockwood, and it is quite the small space. I should say that there seem to be two venues, or rooms, at Rockwood. (It is a bit odd, as it seems to be in the first floor of a more contemporary building, although the interior is made to look a bit old. Thank god it wasn't made into a bank or another drug store.) By the time we arrived, the venue was simply packed, and we never made it past the small set of stairs that led to the "floor."

Along with Noam, the band consisted of two of his Punch Brothers bandmates, Gabe Witcher on fiddle and vocals along with Chris Eldridge on guitar (and one vocal). Jesse Cobb was on mandolin and "genre" stalwart Mark Schatz was on bass. And guesting on vocals as well as some guitar was the lovely singer Aoife O'Donovan (who I was recently turned on to through the above-mentioned Goat Rodeo Sessions; it was a treat to hear her in person, especially on her original songs). All of the musicians were rather incredible. I am not familiar with Jesse Cobb, but I would like to be as his mandolin playing was top-notch. Gabe stood out quite a bit to my ears -- such effortless fiddle playing (and a good singer as well). The band moved through songs off of the album as well as a few well-placed standards (Buck Owens, for one). They even got Chris Eldridge to sing a song of his father's, the banjo player for the bluegrass band Seldom Scene. (Chris also shown playing Jerry Douglas's parts from "Boathouse on the Lullwater.") One of the highlights of the night was the Irish-sounding Milford's Reel, as the band handed off solo from one to the other.

Throughout the night, Noam was affable and funny, mixing great little commentary between the songs. And the humor only grew with the first encore, when he invited out Steve Martin for the duet "Cluck Old Hen." Now, I knew Steve was on the album, but it never occurred to me that he would show up. But there he was, cracking jokes ("Congratulations on selling out Madison Square, I mean, Rockwood Hall." "The show really was great. Now it is only going to get worse."), before launching into a tight and well played song. Such a great treat! After the song, Steve left the stage and the rest of the band came up and closed gathered around
one mic.

All in all, a wonderful night. We left smiling, as it was just what we needed that Thursday night. And we also wanted to figure out what might be next in that intimate space for us . . . It certainly won't be the last time we go to Rockwood. I am quite excited for the next time I see Noam -- maybe it will be with the Punch Brothers. Maybe it will be with Goat Rodeo after Aoife invites him on stage as he asked last night. No matter where or when, I know it will be music to fill me with joy.

#MMJatMSG

My ears are still ringing a bit from last night's My Morning Jacket concert at MSG.

To be quite frank, I thought the show started off rather "standard." I had decided to go a bit spur-of-the-moment, as a friend had an extra; so for a bit I was sitting alone up to the right of the stage. The sound was a bit fuzzy probably due to the volume, and I just wasn't feeling it. I really love Victory Dance, but it just seemed to be slightly one-note for the next few songs. (Needless to say, I was not as excited as Aaron was following his Tweets.)

But somewhere around Steam Engine or Out of My System, I took a walk, met my friend, and joined him and his wife in Section 2 just off the floor in the back. The sound improved, I was around friends, and the band seemed to pick up speed (to my ears). Dancefloors really marked when the show took off for me -- loved the Magheeta, wish I could have heard Bryan Jackson on flute for Dondante, and the closing five songs were just about perfect and set me into another level (Smokin From Shootin, Run Thru, Touch Me I'm Going To Scream Pt. 2, Off The Record, Gideon).

I like the lyrics to Bermuda Highway, so that was nice to hear for an encore, just Yim and an acoustic. As soon as I started to hear Bottle, by Gil Scott Heron, I became the most animated fan in Section 2. And this time, you could hear Jackson on flute (along with the horn section)! I had last listened to the song after hearing of Gil's passing a few months ago, but I recognized it almost immediately. (On the way home, I realized he played on Gil's original studio version, which made the event even cooler). Black Metal > Holiday was the perfect way to end the night (I'll Be Home for Christmas was so-so musically, but a fun walk-out).

All in all, a great night, and I am quite happy I went. The show had a nice arc for me, and I actually don't mind the slow start as it made the end even that much better. Seeing MMJ fill MSG with their music would not have been expected when I saw them at a small venue called Rosebud in Pittsburgh over eight years ago. But fill it they did.