Around this time last year, I bought In Time,
the debut album of Celtic Thunder’s Ryan Kelly, from the folks at CD
Baby, an online music store focusing on indie artists. Because of this, I
started getting e-mails from them, and one that I received late last
year caught my attention. Although I’d never heard of Ricky Fitzpatrick,
I was intrigued by their description of him as a James Taylor
sound-alike, and since his MP3-format-only album was being offered for a
mere three dollars on Black Friday, I decided to check him out. Acoustically Christmas
is a nice, mellow collection of songs that make for pleasant Christmas
listening, especially since Fitzpatrick does indeed sound remarkably
like James Taylor.
Fitzpatrick,
a devout Baptist based in Georgia, focuses on the spiritual side of the
season with quiet guitar-based arrangements of traditional carols. Ten
of the tracks feature familiar favorites presented in a reflective
manner, several with choral elements. What Child Is This is slow-paced with a gentle chorus mingling with the guitar in the background; O Come Emmanuel, a pure a cappella track, is even slower and plays with the melody a bit as the deep voices blend, almost chant-like.
Other songs are more upbeat, like the warmly cheerful Joy to the World and the strummy Little Drummer Boy. I love the guitar work and some of the harmonies on God Rest Ye Merry Gentlemen, and the largely instrumental Silent Night has a rather unusual sound to it. The First Noel,
the only purely instrumental track, is up-tempo with a bit of a jazzy
flavor, and Will Taylor (no relation to James) joins in on Angels We Have Heard on High. It Came Upon a Midnight Clear and Little Town of Bethlehem are pretty straightforward without any really distinguishing features.
Whenever
I pick up a Christmas album, I’m especially interested in songs that
are unique to it. We have three tracks like that here. Fitzpatrick wrote
O What A Song, a song of praise imagining the celestial and
earthly chorus greeting Christ’s birth. This duet with Nathan Sheppard,
who, like Will Taylor, is a Georgia musician, has a very joyful quality
to it. The tone in Lullaby for a King, also by Fitzpatrick, is
quieter and almost a bit muffled; it’s a little hard to catch all the
words the first couple of times around. Similar in theme to O What a Song but more on the contemplative side of things.
God's Song
- Twice as long as any of the others, this final track isn’t actually a
song but is rather a reflection on the idea of God singing: “The song
of God is a simple song; it starts with God and it ends with Jesus.” As
Fitzpatrick gives what amounts to a sermon that turns into an altar call
of sorts, guitar plays in the background. There’s no particular melody;
it’s just rambly ambient music that acts as a nice mellowing agent,
though at times it’s a bit distracting. Overall, it’s a nice message
that closes with a Merry Christmas greeting. It’s neat to hear where he
is coming from, though it’s probably good that he put this track on the
end, since you probably don’t really want to listen to a nearly
nine-minute-long meditation every time you’re in the mood for some
acoustic Christmas carols.
The album’s liner notes are a bit
vague, so I’m not sure in what respect some of the musicians he mentions
were involved in the recording process, but he acknowledges several,
including Michael Card, my favorite singer-songwriter in the Contemporary Christian Music genre, and Livingston Taylor, the brother of James Taylor. Acoustically Christmas
doesn’t offer a whole lot of variety, but if you’re looking for a
reverent collection of Christmas Eve service standards, this is a great
collection.
Showing posts with label James Taylor. Show all posts
Showing posts with label James Taylor. Show all posts
Tuesday, October 18, 2011
Monday, November 16, 2009
James Taylor at Christmas Is a Warm, Jazzy Retread
I love James Taylor and have been a particular fan of his since about a
decade ago, when I discovered the kinship between him and Art Garfunkel.
His warm, expressive voice is ideally suited to Christmas standards,
and with James Taylor at Christmas, he offers a batch of old favorites, most with a jazzy twist.
1. Winter Wonderland - Smooth and slightly seductive, with the wee bit of whistling at the end my favorite personal touch.
2. Go Tell It on the Mountain - Piano-driven, with a slightly minor tone to it. The melodica adds a nice Celtic flavor.
3. Santa Claus Is Coming to Town - This song is as much a chance to show off the skills of pianist Dave Grusin, who produced and arranged the songs on this album, as James’ vocals. Fun song, though James’ barking “Now this is serious!” toward the end of the song is a tad grating.
4. Jingle Bells - This bluesy, electric guitar-heavy version is almost unrecognizable, but that makes it one of my favorite tracks, since it’s so unique. I’m a little surprised the verse about crashing into a snowbank is omitted, since the rather oppressive flavor of this version makes that outcome especially easy to imagine here.
5. Baby, It's Cold Outside - This duet with Natalie Cole is rather fun, with James speaking every once in a while in addition to his sung lines of protest. I have mixed feelings about the song in general, finding the banter rather clever but also borderline annoying, and the end of the song, with James’ rambling little speech about how people are too suspicious, is a little hokey.
6. River - I heard this Joni Mitchell song for the first time a couple of years ago. It’s a pretty low-key rendition, with light percussion, guitar and rippling piano that occasionally includes hints of Good King Wenceslas. James sounds contemplative here, but not particularly mournful; I’ve heard much more wrenching versions. Then again, I don’t mind it being merely pensive instead of downright depressing.
7. Have Yourself a Merry Little Christmas - A gentle rendition perfect for James’ tender voice. His vocal timbre is just right to convey both the warmth and the twinge of sadness in this song. A serious contender with John Denver and the Muppets: A Christmas Together for my favorite version.
8. The Christmas Song (Chestnuts Roasting on an Open Fire) - A straightforward version of this classic. Like John Denver, his voice has just the right warmth for this cozy tune.
9. Some Children See Him - This one has a soft, sincere air about it. It conveys the idea that there are many different thoughts concerning Jesus’ physical appearance and that He is a Savior to one and all. “Some children see Him lily white, / with tresses soft and fair. / Some children see Him bronzed and brown, / The Lord of heav'n to earth come down.” One of my favorite tracks.
10. Who Comes This Night - Another reflective song focusing on Jesus. Grusin wrote this one, which reminds me very much of something Michael Card would write, partly because James’ gentle delivery. Dan Fogelberg always makes me think of Card, but this is the only James Taylor song in which I see a striking similarity. The choir that joins in on the chorus adds just the right touch of harmony on this, probably my favorite track on the album. “Brother Joseph bring the lamb / For they are asking for him / The children come this starry night / To lay their hearts before him.”
11. In the Bleak Midwinter - A quiet carol that allows James to occasionally show off his lower register. This isn’t one that tends to make it onto a lot of Christmas albums, so this calm track is an especially nice inclusion. It definitely has a flavor of antiquity about it, but the electric guitars showcased toward the end make it feel more contemporary.
12. Auld Lang Syne - There’s an appropriately Celtic flavor to this song, especially in the later, little-heard verses. A fitting way to end the album.
All in all, a solid album. A word of warning, though; it’s almost identical to James Taylor: A Christmas Album, which was released in Hallmark stores in 2004. That album includes the track Deck the Halls, while River and Have Yourself a Merry Little Christmas are new to this one. I’m disappointed in the misleading marketing surrounding this album’s release. Get one or the other, not both; I’d probably recommend this one, since it has one more track overall and River is a fairly uncommon song. Anytime you want to grace us with a legitimate second Christmas album, James, feel free...
1. Winter Wonderland - Smooth and slightly seductive, with the wee bit of whistling at the end my favorite personal touch.
2. Go Tell It on the Mountain - Piano-driven, with a slightly minor tone to it. The melodica adds a nice Celtic flavor.
3. Santa Claus Is Coming to Town - This song is as much a chance to show off the skills of pianist Dave Grusin, who produced and arranged the songs on this album, as James’ vocals. Fun song, though James’ barking “Now this is serious!” toward the end of the song is a tad grating.
4. Jingle Bells - This bluesy, electric guitar-heavy version is almost unrecognizable, but that makes it one of my favorite tracks, since it’s so unique. I’m a little surprised the verse about crashing into a snowbank is omitted, since the rather oppressive flavor of this version makes that outcome especially easy to imagine here.
5. Baby, It's Cold Outside - This duet with Natalie Cole is rather fun, with James speaking every once in a while in addition to his sung lines of protest. I have mixed feelings about the song in general, finding the banter rather clever but also borderline annoying, and the end of the song, with James’ rambling little speech about how people are too suspicious, is a little hokey.
6. River - I heard this Joni Mitchell song for the first time a couple of years ago. It’s a pretty low-key rendition, with light percussion, guitar and rippling piano that occasionally includes hints of Good King Wenceslas. James sounds contemplative here, but not particularly mournful; I’ve heard much more wrenching versions. Then again, I don’t mind it being merely pensive instead of downright depressing.
7. Have Yourself a Merry Little Christmas - A gentle rendition perfect for James’ tender voice. His vocal timbre is just right to convey both the warmth and the twinge of sadness in this song. A serious contender with John Denver and the Muppets: A Christmas Together for my favorite version.
8. The Christmas Song (Chestnuts Roasting on an Open Fire) - A straightforward version of this classic. Like John Denver, his voice has just the right warmth for this cozy tune.
9. Some Children See Him - This one has a soft, sincere air about it. It conveys the idea that there are many different thoughts concerning Jesus’ physical appearance and that He is a Savior to one and all. “Some children see Him lily white, / with tresses soft and fair. / Some children see Him bronzed and brown, / The Lord of heav'n to earth come down.” One of my favorite tracks.
10. Who Comes This Night - Another reflective song focusing on Jesus. Grusin wrote this one, which reminds me very much of something Michael Card would write, partly because James’ gentle delivery. Dan Fogelberg always makes me think of Card, but this is the only James Taylor song in which I see a striking similarity. The choir that joins in on the chorus adds just the right touch of harmony on this, probably my favorite track on the album. “Brother Joseph bring the lamb / For they are asking for him / The children come this starry night / To lay their hearts before him.”
11. In the Bleak Midwinter - A quiet carol that allows James to occasionally show off his lower register. This isn’t one that tends to make it onto a lot of Christmas albums, so this calm track is an especially nice inclusion. It definitely has a flavor of antiquity about it, but the electric guitars showcased toward the end make it feel more contemporary.
12. Auld Lang Syne - There’s an appropriately Celtic flavor to this song, especially in the later, little-heard verses. A fitting way to end the album.
All in all, a solid album. A word of warning, though; it’s almost identical to James Taylor: A Christmas Album, which was released in Hallmark stores in 2004. That album includes the track Deck the Halls, while River and Have Yourself a Merry Little Christmas are new to this one. I’m disappointed in the misleading marketing surrounding this album’s release. Get one or the other, not both; I’d probably recommend this one, since it has one more track overall and River is a fairly uncommon song. Anytime you want to grace us with a legitimate second Christmas album, James, feel free...
Wednesday, May 9, 2007
Number 1200: Carly Simon Serves Up Tender, Folksy Goodness With Into White
It's been a great year for new albums. Last May, I snatched up Paul Simon's Surprise; in the fall, it was Clay Aiken's A Thousand Different Ways and Weird Al's Straight Outta Lynwood, and January brought Art Garfunkel's Some Enchanted Evening. Then along came my birthday, and with it a gem I'd overlooked: Carly Simon's Into White.
I've always enjoyed her music but never included her in my list of
indispensable artists. Having had an opportunity to fall in love with
this gentle, folksy album - the most tender I've encountered since
Garfunkel's Songs From a Parent to a Child - I may just have to amend that...
Into White - This Cat Stevens title song is a sleepy anthem to simple beauty. Simon's husky vocals are complemented by the harmonization of Jimmy Parr and rich instrumentals that occasional seem to betray a Celtic influence.
Oh! Susanna - One of those songs just about everybody in America probably knows. The mystical-sounding flute and persistent kalimba add a unique flavor to a song whose familiarity and simplicity could make for a dull track. Instead, it's ideal for both singing along or just sitting back and listening appreciatively.
Blackbird - A smooth, heartfelt rendition of a Lennon and McCartney classic. The guitar provides a nice undertone, and the chorus of "ooooh"s works well as a bridge, but it's Simon's vocals that really carry this empowering melody.
You Can Close Your Eyes - A gorgeous piano-driven track, penned by James Taylor, Simon's ex-husband. Their children Ben and Sally harmonize with her on this one, and they sound gorgeous together. I'm struck by how much Ben sounds like his father; I'm powerfully reminded of James' rendition of this song, which closed out his concert in Erie last year. It's a very intimate moment on the album.
Quiet Evening - A new composition for this album, it's a contemplative, slightly sultry song. It doesn't grab me as much as some of others, but it's a nice ode to the need for a little personal time now and then, and Simon says in her liner notes that it's her favorite song on the album to sing.
Manha de Carnaval - A Brazilian guitar-driven track in which the only lyrics are "la la la". Despite the lack of words, it's emotionally affecting, with her deft vocals mostly evoking wistfulness.
Jamaica Farewell - One of my favorite tracks on the album, it's a breezy number whose tone is slightly regretful but mostly one of golden nostalgia. Simon's voice is especially quiet here, though never to the point that it is overpowered by the guitar and other instruments, and she and Ben harmonize nicely as a segue into the next song.
You Are My Sunshine - Another of those camp song favorites. This version is much slower than I'm used to, giving it a soulful vibe. The piano, which reminds me a bit of Lean on Me, is what really sets this apart for me, along with the barely audible guitar on the outro, which is reminiscent of waves lapping upon a shore.
I Gave My Love a Cherry - Another very slow arrangement of a famous folk song. I've never been that crazy about this one, but Simon does a nice job with it, and I like the strings that offset the vocals.
Devoted to You / All I Have to Do is Dream - I wasn't familiar with the first song, which makes up the main part of the medley, but it's a very simple, lovely song, which Simon delivers with great gentleness. When the second song, which I know quite well, kicks in atop the remnants of the first, it's a beautiful meshing of voices, with Ben once again complementing his mother beautifully.
Scarborough Fair - Simon and Garfunkel! Yay!! This gorgeous Celtic arrangement of the song they made famous doesn't include their counter-melody. Rather, it has a lovely selection of woodwinds and a couple of verses Simon (Carly, that is) added to the mix. In her liner notes, she credits not only my favorite duo but also the often overlooked Martin Carthy, who showed Paul the song in the first place. Nice gesture, and very nice arrangement of a song I love.
Over the Rainbow - Fairly straightforward and piano-driven, and I think I like it better than the version in The Wizard of Oz. Then again, I never was a big fan of Judy Garland...
Love of My Life - This is the only Simon original of the album, a quiet ode to love with guitar backing. The lyrics are cute, as she lists all sorts of rather random, silly things that she loves, from avocados to Lucy, but none of them as much as the addressee of the song.
I'll Just Remember You - Written by David Saw, who also wrote Quiet Evening, and Ben Taylor, it's a charming, simple song that closes out the album on a note of appreciation. It's a love song, but it could also work as a message of thanks to her fans, helping keep her afloat through the troubles that come with being a famous singer-songwriter. At any rate, it's a pleasant end to the album.
A nice bonus with Into White is the fact that Simon comments on each of the tracks in the liner notes, which isn't something I see a lot. It's fascinating to get a little idea of what she was thinking as she chose and recorded these songs, and her comments are insightful and often very funny. The whole album has a humble feeling to it, as she's setting out to do justice to music she admires, shining the spotlight on others as much as herself. It's a far cry from You're So Vain, but Into White is most definitely an album worth embracing.
Into White - This Cat Stevens title song is a sleepy anthem to simple beauty. Simon's husky vocals are complemented by the harmonization of Jimmy Parr and rich instrumentals that occasional seem to betray a Celtic influence.
Oh! Susanna - One of those songs just about everybody in America probably knows. The mystical-sounding flute and persistent kalimba add a unique flavor to a song whose familiarity and simplicity could make for a dull track. Instead, it's ideal for both singing along or just sitting back and listening appreciatively.
Blackbird - A smooth, heartfelt rendition of a Lennon and McCartney classic. The guitar provides a nice undertone, and the chorus of "ooooh"s works well as a bridge, but it's Simon's vocals that really carry this empowering melody.
You Can Close Your Eyes - A gorgeous piano-driven track, penned by James Taylor, Simon's ex-husband. Their children Ben and Sally harmonize with her on this one, and they sound gorgeous together. I'm struck by how much Ben sounds like his father; I'm powerfully reminded of James' rendition of this song, which closed out his concert in Erie last year. It's a very intimate moment on the album.
Quiet Evening - A new composition for this album, it's a contemplative, slightly sultry song. It doesn't grab me as much as some of others, but it's a nice ode to the need for a little personal time now and then, and Simon says in her liner notes that it's her favorite song on the album to sing.
Manha de Carnaval - A Brazilian guitar-driven track in which the only lyrics are "la la la". Despite the lack of words, it's emotionally affecting, with her deft vocals mostly evoking wistfulness.
Jamaica Farewell - One of my favorite tracks on the album, it's a breezy number whose tone is slightly regretful but mostly one of golden nostalgia. Simon's voice is especially quiet here, though never to the point that it is overpowered by the guitar and other instruments, and she and Ben harmonize nicely as a segue into the next song.
You Are My Sunshine - Another of those camp song favorites. This version is much slower than I'm used to, giving it a soulful vibe. The piano, which reminds me a bit of Lean on Me, is what really sets this apart for me, along with the barely audible guitar on the outro, which is reminiscent of waves lapping upon a shore.
I Gave My Love a Cherry - Another very slow arrangement of a famous folk song. I've never been that crazy about this one, but Simon does a nice job with it, and I like the strings that offset the vocals.
Devoted to You / All I Have to Do is Dream - I wasn't familiar with the first song, which makes up the main part of the medley, but it's a very simple, lovely song, which Simon delivers with great gentleness. When the second song, which I know quite well, kicks in atop the remnants of the first, it's a beautiful meshing of voices, with Ben once again complementing his mother beautifully.
Scarborough Fair - Simon and Garfunkel! Yay!! This gorgeous Celtic arrangement of the song they made famous doesn't include their counter-melody. Rather, it has a lovely selection of woodwinds and a couple of verses Simon (Carly, that is) added to the mix. In her liner notes, she credits not only my favorite duo but also the often overlooked Martin Carthy, who showed Paul the song in the first place. Nice gesture, and very nice arrangement of a song I love.
Over the Rainbow - Fairly straightforward and piano-driven, and I think I like it better than the version in The Wizard of Oz. Then again, I never was a big fan of Judy Garland...
Love of My Life - This is the only Simon original of the album, a quiet ode to love with guitar backing. The lyrics are cute, as she lists all sorts of rather random, silly things that she loves, from avocados to Lucy, but none of them as much as the addressee of the song.
I'll Just Remember You - Written by David Saw, who also wrote Quiet Evening, and Ben Taylor, it's a charming, simple song that closes out the album on a note of appreciation. It's a love song, but it could also work as a message of thanks to her fans, helping keep her afloat through the troubles that come with being a famous singer-songwriter. At any rate, it's a pleasant end to the album.
A nice bonus with Into White is the fact that Simon comments on each of the tracks in the liner notes, which isn't something I see a lot. It's fascinating to get a little idea of what she was thinking as she chose and recorded these songs, and her comments are insightful and often very funny. The whole album has a humble feeling to it, as she's setting out to do justice to music she admires, shining the spotlight on others as much as herself. It's a far cry from You're So Vain, but Into White is most definitely an album worth embracing.
Tuesday, February 27, 2007
79th Oscars Post-Mortem: It's an Inconvenient Truth That I Don't See Enough Oscar Nominees
I'm becoming quite the movie buff, so when the Academy Awards roll
around, I'm eager to watch, even though I've usually (being a movie buff
of modest means) seen only a few of the films in the running an award,
usually in technical categories. I fared little better with this year's
nominees, having watched Little Miss Sunshine, Pirates of the Caribbean: Dead Man's Chest, Superman Returns, Cars... Gee, is that all? I need to get out more.
Anyway, I never got around to seeing The Queen, Dreamgirls or, top of my list despite the inevitably required face-shielding, The Last King of Scotland. I almost saw Pan's Labyrinth just in time to have some basis for enthusiastically predicting it would win in all its nominated categories except Best Screenplay. I have a feeling it may be the first of the bunch I see.
I don't know why I was so looking forward to the Oscars this year. It certainly wasn't like 2004, when I got to bask in the glory of Return of the King, up for - and eventually winning - half the awards of the night. I wasn't particularly passionate about any of the potential winners, though Forrest Whittaker has always impressed me and the idea of a recent American Idol alum getting an Oscar was pretty intriguing.
Ellen Degeneres had something to do with it; back in nineties, I'd never watched her show and had only the vaguest notion of who she was. A wildly incorrect notion that was amended the first time I saw her do a stand-up routine on The Late Show and realized how incredibly funny she is, and how refreshingly devoid of crudeness her humor is. I've enjoyed her a great deal ever since, so I was interested in seeing her as the host.
Certainly she wasn't as over-the-top as some, and her whole approach was very low-key, with the exception of that Gospel choir, whose jubilant singing just gave her an excuse to do some of her trademark dancing. The up-close-and-personal moments with the various stars were nice - passing off a screenplay to Martin Scorcese, posing for a picture with Clint Eastwood. And bidding the audience goodnight half an hour before the show was over. Classic.
I got a big kick out of the trio performance of big-haired Will Ferrell, scathing Jack Black and inspirational John C. Reilly. Melissa Etheridge's performance of what ended up being the Best Song winner was powerful, and the Dreamgirls "reunion" was flashy and fun. My favorite of the Best Song performances, however, was Randy Newman, looking mighty classy behind that piano, and James Taylor, his voice rippling with warmth as he crooned the gorgeous Our Town, his face alight with a gentle joy that put the focus on the beauty of the memory rather than the sting of loss. Poor Cars, thwarted at both turns by global warming. Because if there was one man in the crowd Sunday night who was a bigger deal than Martin Scorcese, it was Al Gore. Hollywood says Al's going to save the world, and to help him do it, they're going to vote for whatever complements their green theme.
Not to say that Etheridge didn't deserve the win, and for all I know the slyly political Happy Feet was fantastic. But I sure love Cars, and that song was phenomenal. Still, it's nice to see America getting serious about the environmental issues that have been creeping up on us, largely thanks to a combination of industrialism and apathy. Though heavy-handed An Inconvenient Truth was high on my list of movies not to see, because global warming gives me enough sleepless nights without Al Gore drumming it into my head for two hours, I'm glad he was recognized for his valiant efforts to increase awareness.
On a lighter note, aren't Oscar commercials fun? JC Penney's, Diet Coke and Mastercard were really falling all over themselves to produce epic, inspiring commercials, which was grand, except it made me afraid to leave the room for fear I'd miss something. There were many wonderful ads with movie tie-ins, but my favorite commercial was the one for Mastercard with the elephant going to the store to buy a care package for his under-the-weather zookeeper. Soooo sweet...
I didn't make out a list ahead of time of who I thought would win. I made my predictions as the nominees were announced for each award, and I was right exactly half of the time. Pan's Labyrinth certainly did well, and if I was intrigued before, now they've really got me hooked. The short films got my attention; it's a shame those are always so hard to come by. I was surprised by Alan Arkin, but good for him. I like him, and his character in Little Miss Sunshine was a lot of fun.
Jennifer Hudson seemed truly overwhelmed, and really, what an amazing thing for her, to get on American Idol, make it halfway through the top 12, and then get cast in a movie and end up with an Oscar. Awesome. Helen Mirren seemed surprised too, though from all the buzz surrounding them I figured both of them for shoo-ins. I thought her speech was nice, especially the bits about the queen. And Forrest Whittaker was much more collected here than at the Golden Globes and gave one of the most powerful speeches of the evening.
The response for Martin Scorcese was thunderous. Poor Peter O'Toole... But I'm glad Scorcese got his due. Obviously a lot of people felt it was past time. They must have given him a little extra time to talk because it seemed like his speech was longer than most, and just the standing ovation should have taken up about half his time. I hate it when they play them off the stage. I like the gentle So Long, Farewell outro they played this year, though - much less abrasive than that loud band music they usually have, and still struck up a couple times, which was strange. Why doesn't everybody get the lullaby?
The special awards and the video tributes were nice, especially the composing award with the speech that seemed so much more moving because it was not given in English. Clint Eastwood didn't seem like he was in top form as he presented the award and translated the speech, but maybe he was just emotionally overcome. He seemed to have very great respect for this man.
We sure saw a lot of Jack Nicholson. When did he shave his head? And must he always wear those sunglasses? Leo DiCaprio was another face that showed up a lot. They must have had a hunch that The Departed would take home top honors...
Anyway, those dancers who came together to form symbols of different movies... way cool. The Snakes on a Plane thing was hilarious, and all of them were just really clever. Just as amazing: the sound effects choir. I never heard of such a thing, but it sure was fun to watch them work. It's a hundred Fred Newmans - or maybe Fred Newman split into a hundred pieces... At any rate, I was most impressed.
Were the 79th Oscars too long? Of course. But I didn't really care. I snuggled up under my blanket on the couch and absorbed the warmth of movie magic for four hours. And vowed that somehow, come this time next year, I will have seen more of the nominees...
Anyway, I never got around to seeing The Queen, Dreamgirls or, top of my list despite the inevitably required face-shielding, The Last King of Scotland. I almost saw Pan's Labyrinth just in time to have some basis for enthusiastically predicting it would win in all its nominated categories except Best Screenplay. I have a feeling it may be the first of the bunch I see.
I don't know why I was so looking forward to the Oscars this year. It certainly wasn't like 2004, when I got to bask in the glory of Return of the King, up for - and eventually winning - half the awards of the night. I wasn't particularly passionate about any of the potential winners, though Forrest Whittaker has always impressed me and the idea of a recent American Idol alum getting an Oscar was pretty intriguing.
Ellen Degeneres had something to do with it; back in nineties, I'd never watched her show and had only the vaguest notion of who she was. A wildly incorrect notion that was amended the first time I saw her do a stand-up routine on The Late Show and realized how incredibly funny she is, and how refreshingly devoid of crudeness her humor is. I've enjoyed her a great deal ever since, so I was interested in seeing her as the host.
Certainly she wasn't as over-the-top as some, and her whole approach was very low-key, with the exception of that Gospel choir, whose jubilant singing just gave her an excuse to do some of her trademark dancing. The up-close-and-personal moments with the various stars were nice - passing off a screenplay to Martin Scorcese, posing for a picture with Clint Eastwood. And bidding the audience goodnight half an hour before the show was over. Classic.
I got a big kick out of the trio performance of big-haired Will Ferrell, scathing Jack Black and inspirational John C. Reilly. Melissa Etheridge's performance of what ended up being the Best Song winner was powerful, and the Dreamgirls "reunion" was flashy and fun. My favorite of the Best Song performances, however, was Randy Newman, looking mighty classy behind that piano, and James Taylor, his voice rippling with warmth as he crooned the gorgeous Our Town, his face alight with a gentle joy that put the focus on the beauty of the memory rather than the sting of loss. Poor Cars, thwarted at both turns by global warming. Because if there was one man in the crowd Sunday night who was a bigger deal than Martin Scorcese, it was Al Gore. Hollywood says Al's going to save the world, and to help him do it, they're going to vote for whatever complements their green theme.
Not to say that Etheridge didn't deserve the win, and for all I know the slyly political Happy Feet was fantastic. But I sure love Cars, and that song was phenomenal. Still, it's nice to see America getting serious about the environmental issues that have been creeping up on us, largely thanks to a combination of industrialism and apathy. Though heavy-handed An Inconvenient Truth was high on my list of movies not to see, because global warming gives me enough sleepless nights without Al Gore drumming it into my head for two hours, I'm glad he was recognized for his valiant efforts to increase awareness.
On a lighter note, aren't Oscar commercials fun? JC Penney's, Diet Coke and Mastercard were really falling all over themselves to produce epic, inspiring commercials, which was grand, except it made me afraid to leave the room for fear I'd miss something. There were many wonderful ads with movie tie-ins, but my favorite commercial was the one for Mastercard with the elephant going to the store to buy a care package for his under-the-weather zookeeper. Soooo sweet...
I didn't make out a list ahead of time of who I thought would win. I made my predictions as the nominees were announced for each award, and I was right exactly half of the time. Pan's Labyrinth certainly did well, and if I was intrigued before, now they've really got me hooked. The short films got my attention; it's a shame those are always so hard to come by. I was surprised by Alan Arkin, but good for him. I like him, and his character in Little Miss Sunshine was a lot of fun.
Jennifer Hudson seemed truly overwhelmed, and really, what an amazing thing for her, to get on American Idol, make it halfway through the top 12, and then get cast in a movie and end up with an Oscar. Awesome. Helen Mirren seemed surprised too, though from all the buzz surrounding them I figured both of them for shoo-ins. I thought her speech was nice, especially the bits about the queen. And Forrest Whittaker was much more collected here than at the Golden Globes and gave one of the most powerful speeches of the evening.
The response for Martin Scorcese was thunderous. Poor Peter O'Toole... But I'm glad Scorcese got his due. Obviously a lot of people felt it was past time. They must have given him a little extra time to talk because it seemed like his speech was longer than most, and just the standing ovation should have taken up about half his time. I hate it when they play them off the stage. I like the gentle So Long, Farewell outro they played this year, though - much less abrasive than that loud band music they usually have, and still struck up a couple times, which was strange. Why doesn't everybody get the lullaby?
The special awards and the video tributes were nice, especially the composing award with the speech that seemed so much more moving because it was not given in English. Clint Eastwood didn't seem like he was in top form as he presented the award and translated the speech, but maybe he was just emotionally overcome. He seemed to have very great respect for this man.
We sure saw a lot of Jack Nicholson. When did he shave his head? And must he always wear those sunglasses? Leo DiCaprio was another face that showed up a lot. They must have had a hunch that The Departed would take home top honors...
Anyway, those dancers who came together to form symbols of different movies... way cool. The Snakes on a Plane thing was hilarious, and all of them were just really clever. Just as amazing: the sound effects choir. I never heard of such a thing, but it sure was fun to watch them work. It's a hundred Fred Newmans - or maybe Fred Newman split into a hundred pieces... At any rate, I was most impressed.
Were the 79th Oscars too long? Of course. But I didn't really care. I snuggled up under my blanket on the couch and absorbed the warmth of movie magic for four hours. And vowed that somehow, come this time next year, I will have seen more of the nominees...
Saturday, May 6, 2006
James Taylor Concert
James Taylor gives a warm and wonderful concert. Just wish our seats had been a little closer!
Monday, October 6, 2003
Livingston Taylor Lives Up to the Family Name in Erie, PA October 4
I am a big fan of James Taylor, but I had never heard of his brother Livingston before this week. That was when I read that he would appear in concert this past Saturday with the Erie Philharmonic. Unfamiliar as I was, I had a hunch that the talent ran in the family. The article certainly presented Taylor as the type of artist I would enjoy seeing perform. So on Saturday night, my dad and I headed over to First Assembly of God and bought last-minute tickets for $10.
While I would have expected the cheapest tickets to land us somewhere in the nosebleed section, they weren't marked with a particular seat assignment so we were told we could sit anywhere except the "A" section. That landed us eight rows from the stage. A pleasant surprise, but this was a church after all, and "the last shall become first" was true in this case! The Erie Philharmonic generally performs at the Warner Theater, but it is under renovations so First Assembly offered its space as a replacement. It worked very nicely as a concert hall.
I have been to concerts of this type before, most notably when I saw Art Garfunkel in Pittsburgh and Buffalo. In both of those cases, the Philharmonic performed alone during the first half, and Art came out for the second half. That was the plan for this show, but they decided to change it up a bit. The Philharmonic, under the direction of Jeff Tyzik, performed a number of hymns and spirituals; I wonder if the location had anything to do with that? The orchestra played Tyzik's arrangement of Amazing Grace, which he said was supposed to present a feeling of unity. The Mercyhurst College Choir lent their vocals to Jesu, Joy of Man's Desiring, John Williams' Hymn to the Fallen, and a spiritual by Erie native Harry Burleigh.
Livingston came out to do a couple of songs before the intermission. He wore a vest and a blue bow tie and bore quite a resemblance to James, an impression that was only strengthened when I heard him sing. His voice is lower than his brother's but very similar in tone. He sang I Will Be In Love With You and Glad I Know You Well before the break; both were very nice songs, and his guitar picking skills were impressive.
From the start, he seemed like a very down-to-earth and friendly person, bantering back and forth easily with Tyzik as though they were old friends and grinning throughout. He commented that he is generally used to playing for audiences half the size of the orchestra so that was taking some getting used to! I got the impression that he does most of his gigs on his own. He didn't have a band with him on this night.
The Philharmonic's performance of Aaron Copeland's Rodeo was moved to the beginning of the second half, leaving Livingston time to grab a bite to eat after the intermission crowd had died down. My dad and I bumped into him on our way back and directed him towards the concessions, assuring him that they had coffee. The Copeland movements were fun, culminating in the familiar soundtrack for the "Beef: It's What's For Dinner" commercials. After this, Livingston was ready to take the stage once again.
He started out with Somewhere Over the Rainbow, including a little-heard introductory verse to the song. From there, he sang When Sunny Gets Blue, getting down off the stage at one point to dance with a woman in the front row. He gave a nod to his famous brother by singing Carolina On My Mind and let the brass section shine on Blind, a song he had written as a teenager.
Perhaps the most entertaining performance of the evening was the Railroad Medley, including I've Been Working on the Railroad, Chattanooga Choo Choo, Atcheson, Topeka & Santa Fe, and The Trolley Song. He was incredibly animated throughout this performance, acting out the songs from chugging along like a locomotive for the first song to panicking over the attentions of a girl in the last. I wonder if this is a medley he usually performs or if it was specific to this concert, as he noted that our city is right in the rust belt and that railroads have played a big part in Erie's development.
The regular set ended with Banjo Extravaganza, which he introduced by playing Jesu, Joy of Man's Desiring on the banjo and commenting on his love of the instrument. He said he was going to play a little something that he didn't expect the Philharmonic to know but that they should feel welcome to fill in should they feel so inclined. He began playing, and gradually more and more of the orchestra joined in, starting with percussion and branching out. When he ended the song, the orchestra kept on playing, so he had to work himself back into the song for a grand finale. This was also a very entertaining performance that reminded me a lot of Eric Weissberg and Warren Bernhardt's Dueling Banjos at Art Garfunkel's concert in Erie.
After receiving a standing ovation, Livingston came back for one a capella encore, a spiritual-like tribute entitled Grandma's Hands. All in all, it was a very enjoyable evening, well worth the ticket price. I only wish he had sold some albums there, because I would have bought one. I now have another Taylor to add to my list of admired musicians. Livingston is not as widely known as his brother, but from what I saw at this concert he shares many of the qualities that I admire in James. His discography is also quite impressive, so finding an album or two of his shouldn't be very difficult. I imagine that the concerts he usually does, without a backing orchestra, have a very different feel to them but are also very enjoyable. I would certainly recommend him to any fans of his brother or of mellow music in general.
Tuesday, May 15, 2001
Art Garfunkel Sings for America
In 1984, Art Garfunkel began a walk across America. Twelve years and 40
installments later, he completed it. This exquisite televised concert
commemorates the occasion. Filmed in Ellis Island, with additional
footage from Astoria, Oregon, Across America is a tribute to our country through the words and music of one of our national treasures, Art Garfunkel.
The special begins with footage of Garfunkel walking. As the introductory written narration fills the screen, explaining Garfunkel’s journey, Garfunkel’s a capella version of America plays in the background. The concert itself begins in the Ellis Island Registry Hall, where Garfunkel sings A Heart in New York.
Most of the songs in this programme are followed by a personal reflection by Garfunkel, often accompanied by a hand-lettered journal entry. After this first song, Garfunkel reflects upon the fact that his ancestors came here, evidently staying in New York because they knew people there. The camera shows us the names of his family members on the wall, and Garfunkel notes that he is very moved by this location, feeling the presence of three generations as he sings.
Next up is Poem on an Underground Wall, which, although lacking the memorable introduction preserved on the Old Friends album, is more intense than ever, growing faster and more urgent until the very end, when it slows down dramatically for the last two lines and the instrumentalists drop off before finishing the song themselves. Garfunkel compares the song with The Sound of Silence, explaining that both contain images of "urban weirdness" and carry the message that “something is not quite right here.”
Scarborough Fair follows, with the instrumentalists playing the Canticle portion. After this soothing song from medieval England, Garfunkel explains that his “contribution is to be that kind of singer...to remind people that breath is a greater thing than telecommunications.” In the age of technology and speed, we need to take the time to slow down and enjoy life.
Garfunkel introduces Homeward Bound by giving a nod to “one of America’s greatest songwriters, Paul Simon.” That doesn’t stop him from inserting the gentle jab of “tonight I’ll sing his songs again, I’ll play the game and pretend. But all his words come back to me in shades of mediocrity...”
Following this song, Garfunkel quotes Sol Lenowicz, saying, “Those of us for whom the extraordinary promise of America has become a reality are obliged to find suitable forms by which to express their gratitude.” Although he has worked hard to get to where he is, he acknowledges that “it’s a charmed life” and he is blessed by “the extraordinary amount of good fortune that has fallen into [his] lap.” He revisits this sense of gratitude extensively in the concert’s final selection, Grateful.
In the energetic Cecilia, Garfunkel’s wife, Kim Cermak, looking like a Greek goddess with her flowing golden hair and long pink gown, shares the spotlight with her husband. She adds gorgeous harmonies to most of the songs, but in this number she stands right up front, dueting with Garfunkel. When they are not singing, the two are dancing together, and singing or silent they both seem to be having a wonderful time throughout.
The next song is also a duet, but it comes without the band...indeed, without the concert hall. Garfunkel introduces the song by expressing his admiration for James Taylor, describing him as an “accuracy freak.” In fact, he prepares for his concerts by singing along to his James Taylor tapes. The ensuing duet in the park, accompanied only by Taylor on guitar, is a special treat for fans of James Taylor. Their rendition of Crying in the Rain is fabulous, and their voices are beautifully suited to one another.
In the next segment, Garfunkel explains, “my other half is echo.” He recalls that as a young child, he would remain after school to sing in the empty stairwells and hear his voice echo off the tiles. He would sing Unchained Melody and You’ll Never Walk Alone, developing an early appreciation for those goosebump-inducing inspirational songs. He remembers, as a six-year-old, “loving these songs and loving this gift that God gave me.”
El Condor Pasa comes next, complete with a very elaborate introduction which bathes the stage in red light and cats a psychedelic aura on the old favorite which Garfunkel sings beautifully. Percussionist Tommy Igoe and synthesizer player Davis Biglin are especially essential to the instrumentation here.
The mathematician in Garfunkel is evident in the next segment, in which he notes that there is a particular viaduct in New York that he likes to stand under to get a nice echo. Pondering why it is that he seems to get the most perfect echo in that particular spot, he wonders if it might be because the shape of the roof of his mouth matches the shape of the roof of the viaduct, so that roof is a larger version of that first chamber of his mouth. “I’m a little nutty that way,” he shrugs.
Two of his biggest solo hits follow, the first segueing directly into the second. All I Know, replete with the astounding pianism of Warren Bernhardt, is gorgeous, and although Garfunkel does not sing the dramatic bridge (“It’s a fine line between the darkness and the dawn...”) Bernhardt and the others play it perfectly. Bernhardt surrenders the instrumental spotlight to guitarist Eric Weissberg for Bright Eyes, the haunting theme song of the animated film Watership Down. This particular tune is quite possibly my favorite from Garfunkel’s solo repertoire, though several others compete for that honor.
In the segment before Garfunkel’s trademark, he references Plato, noting how Plato believed that in Heaven was the model of perfection for everything on Earth. Accordingly, Garfunkel has an image in his mind of the perfect performance of Bridge Over Troubled Water, and he chases after it each time he sings it, always keeping in mind the basic idea of a friend being there during a difficult time. The audience is certainly appreciative of his efforts, and his amazing rendition of the song he has some to be most known for is rewarded with a standing ovation from teary-eyed fans.
Now it’s time to bring up Paul again, addressing that ever-looming question of why the two ever broke up. Garfunkel doesn’t provide much of an answer, but his witty explanations provide clues to the tension that existed within the duo. Could it be because, in the beginning, Garfunkel wanted to call the group Garfunkel and Simon? Could it be because Garfunkel suggested a slight change to Mrs. Robinson, from “Jesus loves you more than you may know, whoa, whoa, whoa” to “Jesus loves you more than you ever knew, woo, woo, woo”? I guess we’ll never know, but the audience is happy to indulge Garfunkel as he changes the lyric in his own performance.
Feelin’ Groovy is an extra special treat because of the young man who appears to assist Garfunkel in the singing of the song. Six-year-old James Garfunkel, wearing a look of apparent utter befuddlement that most likely is merely an attempt to see under the bright glare of the stage lights, joins his father in the second verse, already demonstrating that his physical appearance is not all he inherited from his dad. He may not quite have mastered controlling his voice on those high notes, but he comes awfully close. Something tells me that when he joins his dad for concerts today, the pitch is perfect throughout and he doesn’t waver much at all. I look forward to seeing whether James decides to follow in Art’s footsteps; from what I’ve seen, I’d say it’s entirely possible.
As the concert winds down, Garfunkel introduces April, Come She Will as “pure nostalgia, back to the days when Paul and I were kicking around London,” and calls it “one of Paul’s sweetest poems about time.” This, like For Emily, Wherever I May Find Her, was always an Art-intensive song, and it sounds as perfect here as it did when it first hit the LP.
Garfunkel’s next segment continues to talk about Paul, recalling that when he crossed the Mississippi River he was thinking about Paul and imagining the two of them as Huckleberry Finn and Tom Sawyer crossing the river on a raft. “Our development as teenage kids had so much to do with each other,” he continues, “that we became the people we are through that friendship.” The Sound of Silence is the final Paul Simon song in this concert, and Garfunkel and the band perform it masterfully, building up to a dramatic ending.
Before the final stage performance, Garfunkel reads his poem Durations, which appeared in his 1988 book of poetry, Still Water. Finally, Grateful wraps up a wonderful evening by expressing the sentiments of having been blessed and feeling God’s presence throughout life. As the chorus says, “Grateful, grateful, truly grateful I am. Grateful, grateful, truly blessed and duly grateful.”
The final image to fill the screen before the credits roll is another Garfunkel poem, also included in Still Water: “Write the poem out loud / Authorize the heart / Burn the Bridge / And be the work of art!” The credits then roll down the screen to the background of Art Garfunkel singing Goodnight, My Love, which is complemented especially well by the smooth playing of saxophonist Michael Brecker.
I own Across America on DVD, which provides the bonus of a discography and biography. Other than that, I believe the video and DVD are the same. I would heartily recommend this to any Art Garfunkel fan. It feels like you’re right there at the Registry Hall, watching him live. And although there is nothing quite like the thrill of actually being in attendance at a concert, this video does offer one advantage that the concert cannot; you get close-ups of his face.
Garfunkel is a very expressive person, so sit back and observe his facial expressions as he sings. I especially enjoy watching his mouth as he hits the high notes and as he finishes singing. Additionally, there is some lovely footage of New York and Oregon, and this enhances the experience as well.
My only complaint is that three of my favorite songs from the two concerts I attended are absent. As far as I know, Art Garfunkel has yet to record American Tune solo. Both the Paul Simon version and the Simon and Garfunkel version are wonderful, but I’d love to have a recording of Garfunkel’s solo version. It honestly moved me as much as Bridge Over Troubled Water. Also missing is Skywriter, the autobiographical masterpiece written by Jimmy Webb and, like All I Know, featuring gorgeous piano music. The third song is The Things We’ve Handed Down, the beautiful song featured on Songs From a Parent to a Child about the traits handed down through the generations. How about a second concert when the Walk Across Europe is finished?
I’ve been itching to review this ever since I got it, and now I finally have the time. I hope that all of you Art Garfunkel and Simon and Garfunkel fans out there will check it out, and maybe even a few of you who never really listened to their music. He may not sing American Tune, but does sing 17 tunes that all Americans can appreciate.
*** Addendum September 2001: I have experienced varying degrees of distress ever since the attack on the 11th, and now, as I begin to attempt the return to normal life, I've tried to find ways to remember what we've lost. In addition to the horrendous toll on human life which was the most heinous part of this tragedy, we also lost the most prominent members of the New York City skyline. I've been to New York once, and then only briefly to see the Statue of Liberty. I was desperate to see the twin towers, which I had never really taken the time to notice before on movies or television.
And I turned to this DVD. What I found were two beautiful scenes. One features the New York skyline lit up at night as Art Garfunkel sings All I Know and Bright Eyes. The World Trade Center is featured in prominence. Even more impressive was the entire scene of Art Garfunkel and James Taylor singing Crying in the Rain, because throughout the Twin Towers are located directly between them. I found this view incredibly comforting as I watched it yesterday, and it reminds me of the strength of America and our power to overcome even this most horrific tragedy.
The special begins with footage of Garfunkel walking. As the introductory written narration fills the screen, explaining Garfunkel’s journey, Garfunkel’s a capella version of America plays in the background. The concert itself begins in the Ellis Island Registry Hall, where Garfunkel sings A Heart in New York.
Most of the songs in this programme are followed by a personal reflection by Garfunkel, often accompanied by a hand-lettered journal entry. After this first song, Garfunkel reflects upon the fact that his ancestors came here, evidently staying in New York because they knew people there. The camera shows us the names of his family members on the wall, and Garfunkel notes that he is very moved by this location, feeling the presence of three generations as he sings.
Next up is Poem on an Underground Wall, which, although lacking the memorable introduction preserved on the Old Friends album, is more intense than ever, growing faster and more urgent until the very end, when it slows down dramatically for the last two lines and the instrumentalists drop off before finishing the song themselves. Garfunkel compares the song with The Sound of Silence, explaining that both contain images of "urban weirdness" and carry the message that “something is not quite right here.”
Scarborough Fair follows, with the instrumentalists playing the Canticle portion. After this soothing song from medieval England, Garfunkel explains that his “contribution is to be that kind of singer...to remind people that breath is a greater thing than telecommunications.” In the age of technology and speed, we need to take the time to slow down and enjoy life.
Garfunkel introduces Homeward Bound by giving a nod to “one of America’s greatest songwriters, Paul Simon.” That doesn’t stop him from inserting the gentle jab of “tonight I’ll sing his songs again, I’ll play the game and pretend. But all his words come back to me in shades of mediocrity...”
Following this song, Garfunkel quotes Sol Lenowicz, saying, “Those of us for whom the extraordinary promise of America has become a reality are obliged to find suitable forms by which to express their gratitude.” Although he has worked hard to get to where he is, he acknowledges that “it’s a charmed life” and he is blessed by “the extraordinary amount of good fortune that has fallen into [his] lap.” He revisits this sense of gratitude extensively in the concert’s final selection, Grateful.
In the energetic Cecilia, Garfunkel’s wife, Kim Cermak, looking like a Greek goddess with her flowing golden hair and long pink gown, shares the spotlight with her husband. She adds gorgeous harmonies to most of the songs, but in this number she stands right up front, dueting with Garfunkel. When they are not singing, the two are dancing together, and singing or silent they both seem to be having a wonderful time throughout.
The next song is also a duet, but it comes without the band...indeed, without the concert hall. Garfunkel introduces the song by expressing his admiration for James Taylor, describing him as an “accuracy freak.” In fact, he prepares for his concerts by singing along to his James Taylor tapes. The ensuing duet in the park, accompanied only by Taylor on guitar, is a special treat for fans of James Taylor. Their rendition of Crying in the Rain is fabulous, and their voices are beautifully suited to one another.
In the next segment, Garfunkel explains, “my other half is echo.” He recalls that as a young child, he would remain after school to sing in the empty stairwells and hear his voice echo off the tiles. He would sing Unchained Melody and You’ll Never Walk Alone, developing an early appreciation for those goosebump-inducing inspirational songs. He remembers, as a six-year-old, “loving these songs and loving this gift that God gave me.”
El Condor Pasa comes next, complete with a very elaborate introduction which bathes the stage in red light and cats a psychedelic aura on the old favorite which Garfunkel sings beautifully. Percussionist Tommy Igoe and synthesizer player Davis Biglin are especially essential to the instrumentation here.
The mathematician in Garfunkel is evident in the next segment, in which he notes that there is a particular viaduct in New York that he likes to stand under to get a nice echo. Pondering why it is that he seems to get the most perfect echo in that particular spot, he wonders if it might be because the shape of the roof of his mouth matches the shape of the roof of the viaduct, so that roof is a larger version of that first chamber of his mouth. “I’m a little nutty that way,” he shrugs.
Two of his biggest solo hits follow, the first segueing directly into the second. All I Know, replete with the astounding pianism of Warren Bernhardt, is gorgeous, and although Garfunkel does not sing the dramatic bridge (“It’s a fine line between the darkness and the dawn...”) Bernhardt and the others play it perfectly. Bernhardt surrenders the instrumental spotlight to guitarist Eric Weissberg for Bright Eyes, the haunting theme song of the animated film Watership Down. This particular tune is quite possibly my favorite from Garfunkel’s solo repertoire, though several others compete for that honor.
In the segment before Garfunkel’s trademark, he references Plato, noting how Plato believed that in Heaven was the model of perfection for everything on Earth. Accordingly, Garfunkel has an image in his mind of the perfect performance of Bridge Over Troubled Water, and he chases after it each time he sings it, always keeping in mind the basic idea of a friend being there during a difficult time. The audience is certainly appreciative of his efforts, and his amazing rendition of the song he has some to be most known for is rewarded with a standing ovation from teary-eyed fans.
Now it’s time to bring up Paul again, addressing that ever-looming question of why the two ever broke up. Garfunkel doesn’t provide much of an answer, but his witty explanations provide clues to the tension that existed within the duo. Could it be because, in the beginning, Garfunkel wanted to call the group Garfunkel and Simon? Could it be because Garfunkel suggested a slight change to Mrs. Robinson, from “Jesus loves you more than you may know, whoa, whoa, whoa” to “Jesus loves you more than you ever knew, woo, woo, woo”? I guess we’ll never know, but the audience is happy to indulge Garfunkel as he changes the lyric in his own performance.
Feelin’ Groovy is an extra special treat because of the young man who appears to assist Garfunkel in the singing of the song. Six-year-old James Garfunkel, wearing a look of apparent utter befuddlement that most likely is merely an attempt to see under the bright glare of the stage lights, joins his father in the second verse, already demonstrating that his physical appearance is not all he inherited from his dad. He may not quite have mastered controlling his voice on those high notes, but he comes awfully close. Something tells me that when he joins his dad for concerts today, the pitch is perfect throughout and he doesn’t waver much at all. I look forward to seeing whether James decides to follow in Art’s footsteps; from what I’ve seen, I’d say it’s entirely possible.
As the concert winds down, Garfunkel introduces April, Come She Will as “pure nostalgia, back to the days when Paul and I were kicking around London,” and calls it “one of Paul’s sweetest poems about time.” This, like For Emily, Wherever I May Find Her, was always an Art-intensive song, and it sounds as perfect here as it did when it first hit the LP.
Garfunkel’s next segment continues to talk about Paul, recalling that when he crossed the Mississippi River he was thinking about Paul and imagining the two of them as Huckleberry Finn and Tom Sawyer crossing the river on a raft. “Our development as teenage kids had so much to do with each other,” he continues, “that we became the people we are through that friendship.” The Sound of Silence is the final Paul Simon song in this concert, and Garfunkel and the band perform it masterfully, building up to a dramatic ending.
Before the final stage performance, Garfunkel reads his poem Durations, which appeared in his 1988 book of poetry, Still Water. Finally, Grateful wraps up a wonderful evening by expressing the sentiments of having been blessed and feeling God’s presence throughout life. As the chorus says, “Grateful, grateful, truly grateful I am. Grateful, grateful, truly blessed and duly grateful.”
The final image to fill the screen before the credits roll is another Garfunkel poem, also included in Still Water: “Write the poem out loud / Authorize the heart / Burn the Bridge / And be the work of art!” The credits then roll down the screen to the background of Art Garfunkel singing Goodnight, My Love, which is complemented especially well by the smooth playing of saxophonist Michael Brecker.
I own Across America on DVD, which provides the bonus of a discography and biography. Other than that, I believe the video and DVD are the same. I would heartily recommend this to any Art Garfunkel fan. It feels like you’re right there at the Registry Hall, watching him live. And although there is nothing quite like the thrill of actually being in attendance at a concert, this video does offer one advantage that the concert cannot; you get close-ups of his face.
Garfunkel is a very expressive person, so sit back and observe his facial expressions as he sings. I especially enjoy watching his mouth as he hits the high notes and as he finishes singing. Additionally, there is some lovely footage of New York and Oregon, and this enhances the experience as well.
My only complaint is that three of my favorite songs from the two concerts I attended are absent. As far as I know, Art Garfunkel has yet to record American Tune solo. Both the Paul Simon version and the Simon and Garfunkel version are wonderful, but I’d love to have a recording of Garfunkel’s solo version. It honestly moved me as much as Bridge Over Troubled Water. Also missing is Skywriter, the autobiographical masterpiece written by Jimmy Webb and, like All I Know, featuring gorgeous piano music. The third song is The Things We’ve Handed Down, the beautiful song featured on Songs From a Parent to a Child about the traits handed down through the generations. How about a second concert when the Walk Across Europe is finished?
I’ve been itching to review this ever since I got it, and now I finally have the time. I hope that all of you Art Garfunkel and Simon and Garfunkel fans out there will check it out, and maybe even a few of you who never really listened to their music. He may not sing American Tune, but does sing 17 tunes that all Americans can appreciate.
*** Addendum September 2001: I have experienced varying degrees of distress ever since the attack on the 11th, and now, as I begin to attempt the return to normal life, I've tried to find ways to remember what we've lost. In addition to the horrendous toll on human life which was the most heinous part of this tragedy, we also lost the most prominent members of the New York City skyline. I've been to New York once, and then only briefly to see the Statue of Liberty. I was desperate to see the twin towers, which I had never really taken the time to notice before on movies or television.
And I turned to this DVD. What I found were two beautiful scenes. One features the New York skyline lit up at night as Art Garfunkel sings All I Know and Bright Eyes. The World Trade Center is featured in prominence. Even more impressive was the entire scene of Art Garfunkel and James Taylor singing Crying in the Rain, because throughout the Twin Towers are located directly between them. I found this view incredibly comforting as I watched it yesterday, and it reminds me of the strength of America and our power to overcome even this most horrific tragedy.
Subscribe to:
Comments (Atom)