Leonard Cohen in “The Palace of Caesar”
November 14, 2009
“I did my best, it wasn’t much, I couldn’t feel, so I tried to touch,
I told the truth, I didn’t come to The Palace of Caesar just to fool you”
–Leonard Cohen, November 12, 2009
Words cannot describe seeing Leonard Cohen in concert at Caesar’s Palace in Las Vegas. To get an idea, watch Cohen’s Live In London video. You will see the same lineup (Neil Larseon, keyboards; Bob Metzer, guitar; Javiar Mas, various stringed instruments; Dino Soldo, winds and keys; Roscoe Beck, bass, Rafael Bernardo Gayol, percussion; Hattie and Charley Webb (The “Sublime” Webb Sisters, vocals, guitar and harp; Sharon Robinson, vocals.), and a similar set list.
The arrangements differ, however. I noticed some subtle differences, including some different vocal harmonies, and violin and cello patches that Dino Soldo used on his wind synthesizer. Using the sensitive mouthpiece of his electronic instrument, he was able to soulfully and convincingly approximate the sounds of bowed string instruments, including the “burning violin” on the opening number, “Dance Me to the End of Love.” He also added soprano saxophone to several tunes, including “So Long, Marianne.”
The show lasted 3 1/2, with only one 20 minute intermission. Cohen, at 75 years old, sings in a deep, quiet, gravelly bass, but occasionally hits clear notes in the register heard on his first few albums, recorded over 40 years ago. He seems to have more energy and his voice seems to be getting better, especially when one compares it to the “voice from the grave” that is heard of his most recent studio albums Ten New Songs and Dear Heather.
While Cohen his band played through mostly old favorites–one would not dare call them “hits”, with the exception of maybe “Hallelujah” and “Suzanne”–but he also added a couple of songs from 2001’s Ten New Songs, a collaboration with Sharon Robinson. He stepped off stage to let her take lead vocals on “Boogie Street.” His other “angels,” the Webb Sisters, sang a duet on the transcendental “If It be Your Will,” accompanying themselves on acoustic guitar and vocals.
While there were many holy moments during this show, the one that stands out for me was when Cohen and Hattie Webb sang a duet on the last verse of “Take This Waltz.” I cried. Thinking about it almost brings me to tears as I write this.
Surprises? He included two new songs, which indicates that we could possibly see a new album. That would truly be a blessing for Cohen fans. He also played “Waiting for a Miracle” from his 1992 album The Future.
Music critics all over the world have lavished praise on Cohen’s recent tour. I can’t do any better than they have. All I can say is that I hope to see him live again someday. The first time was a dream come true, the second would be the “miracle” that I’m waiting for.
Ooh, Las Vegas!
November 12, 2009
My friend Doug and I are in Las Vegas to see Leonard Cohen. We drove from Salt Lake City, leaving yesterday morning at about 8:30 and arriving at about 3:00 PM. We’re staying at Bill’s Gambling Hall and Saloon, which is just across the street from Caesar’s, the concert site.
Last night we were fortunate enough to have dinner with members of the Leonard Cohen Forum, where we received name tags and lanyards.
It seems ironic to see an such a mindful, thoughtful artist such as Cohen in a city full of such mindless tack and sensory overload. But it doesn’t matter. Caesar’s Palace is supposed to be a great venue and we have got some really good seats.
I will report after the show.
Dylan and Me: Part One
October 23, 2009
“. . .can you tell me where we’re headin’?
Lincoln County Road or Armageddon?”
A few nights ago I saw Bob Dylan play for the first time. This, despite the fact that I’ve been listening to him for over 20 years, since my mid teens. It was not a life-changing performance. It was not better than I hoped it would be, nor was it a disappointment. He certainly is not at the top of his game, but as some suggest, he’s far from a has-been. His new albums are still relevant: each one, his best album since Blood On the Tracks.
His voice was shot, but I understood that when I paid $56 for my ticket. It was kind of like listening to a garbage disposal full of rotten vegetables backed up by a really hot blues band. There was no chance of the crooning tenor heard on Nashville Skyline, or no chance of any raspy talking blues from his early “acoustic” albums.
As I said, the concert was about what I expected it to be. I knew he would play “Stuck Inside of Mobile With the Memphis Blues Again,” “Like a Rolling Stone,” and “All Along the Watchtower” (Charlie Sexton’s guitar was luminous”, you could almost feel the heat from the tubes in his amp). The pleasant surprises for me were “Señor (Tales of Yankee Power) and “I Don’t Believe You (She Acts Like We Never Met).”
He also played a very strange up-tempo version of “Desolation Row,” as well as some newer songs from his last few albums, including my favorite newer song: “Thunder on the Montain.”
“I was thinkin’ about Alicia Keyes
couldn’t keep from cryin’
When she was born in Hell’s Kitchen
I was livin’ down the line. . .”
I think of Dylan now as a blues singer in the same vein as Howlin’ Wolf. He’s not a folk singer, and hasn’t been for a long time. I often wonder what the guy who shouted “Judas” during the infamous “Royal Albert Hall” concert would think of him now. In fact, he only played guitar on two or three songs, an electric. Most of his instrumental work was done on a portable organ or his harmonica played through a bullet mic.
Dylan has never been a great mouth harp player, no Junior Wells or Charlie Musselwhite. Nor does he reach anywhere near the brilliance of Garth Hudson or even Al Kooper on the organ (Listen to that 1965 “Royal Alber Hall” concert, if you want to hear what I mean), but it doesn’t matter. Not considering that he has produced probably the most important song catalog of the second half of the 20th Century.
Some people claim that Dylan is not a good singer. I would argue that these people haven’t listened. His first few albums came out during a time when vocal production in mainstream American music was clean, pretty and pristine. His sound stood in stark contrast to crooners like Andy Williams, Bing Crosby, and Nat King Cole. But nobody gets inside the notes like Dylan, except for maybe Billie Holiday.
Most people weren’t ready for his raspy Guthrie-inspired voice, that simmering stew of Delta blues, Appalachian folk, and Dust Bowl balladry. Most still aren’t.
Yet Dylan still has on his rambling shoes. He’s like an old truck that you hope will make it just one more mile, but before you know it, another few years have passed, another album recorded, and another tour to boot. At 68 he can barely sing, but he still fills every note with the same passion that he did when he was playing the coffeehouses on MacDougall Street.
This video was recorded about 10 years ago. Notice that he is playing guitar, although mostly single notes. His voice was in better shape then, as well.
A great song from his album Modern Times. The band did a knockout performance of this song.
“Poetry for Lunch” Instructional Unit – XMind – Social Brainstorming and Mind Mapping
October 18, 2009
Below is a concept map for a project I’m working on for my masters degree in Education and Technology. It will be a unit on teaching high school students to read poetry using reading strategies. Technology components will include a wiki, videos, electronic forms, and presentations.
“Poetry for Lunch” Instructional Unit – XMind – Social Brainstorming and Mind Mapping
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Junkie Telephone Pt. 3
October 5, 2009
A performance of the song that I wrote about in previous posts:
Come see my gig at Alchemy Coffee if you can. Saturday, Oct. 10, at 7:00.
Last Night You Said You Were Leavin’
September 28, 2009
This is a blues song I wrote a few years ago. I don’t remember what inspired it. Probably a novel or movie. I perform all instruments (vocals, guitar, harmonica and stomp board) and nothing is amplified.
Teaching Archetypes
September 20, 2009
I’ve been reading Carol Pearson’s books The Hero Within and Awakening the Hero Within. They basically offer a hands-on approach to Jungian psychology. I’ve been into studying mythology and especially fairy tales for quite a while. I’ve done fairy tale units with my students at school, but have never really tried applying any of these ideas directly to myself.
I think the archetypes that fit me most are the seeker and the fool. I always have my own way of doing things, and I like wordplay, and I like to tell jokes, be on stage, tease people, and make fun of things. Sometimes I like to ridicule.
I have thought about they way these archetypes have worked in my teaching career, and I have learned a lot ab out myself.
Nine years ago, when I first started teacher, the warrior and the king were dominant. I tried to be Ghengis Khan. That didn’t work for me. During my second year of teaching, my principal said to me: “John, some of these kids have told me that they don’t think you are human.” That was a real jolt for me. I couldn’t believe it, and I realized how far off the path I had gotten. After that, some of the fool started to find it’s way out, and that was a good thing.
As a teacher, you’ve got to be a king, a magician, a caregiver, a destroyer, a creator, a seeker, a fool, and of course–a sage. You wear a lot of these archetypal hats, and you’ve got to change fast. From moment to moment. I’ve had a hard time finding a balence. It’s easy to be to lenient, and then toughen up all of a sudden. Ultimately the fool, sage and king should dominate. When the warrior comes out, it should be to lead the troops into battle, to urge them to never give up. More King Arthur, less Attila the Hun.
Sep. 12 Set List @ Alchemy Coffee
September 13, 2009
Thanks to everybody who came out to my gig last night at Alchemy Coffee. Turnout was decent, and the energy was good. At my old music blog, I was pretty diligent at posting set lists from my gigs. However, I got to the point where my repertoire became extensive enough that a set list was more of a hinderance than a help. So now I have to try to go back and reconstruct the set list:
1st Set
Tunes on slide guitar:
Walkin’ Blues (Robert Johnson)
Moon’s Goin’ Down (Blind Lemon Jefferson)
Hell Hound On My Trail (Robert Johnson)
On standard-tuned steel string and harmonica:
Nine Green Empty Bottles (J.T. Draper)
Red Wine and Hamburgers (J.T. Draper)
Return of the Grievous Angel (Gram Parsons)
Hesitation Blues (Rev. Gary Davis)
Feelin’ Good Again (Robert Earl Keen)
First We Take Manhattan (Leonard Cohen)
2nd Set
On Nylon-String Guitar:
Waitin’ Around to Die (Townes Van Zandt)
Flyin’ Shoes (Townes Van Zandt)
Old Gray Cat (J.T. Draper
Chelsea Hotel #2 (Leonard Cohen)
Famous Blue Raincoat (Leonard Cohen)
Tower of Song (Leonard Cohen)
Just Like Tom Thumb’s Blues (Bob Dylan)
Junkie Telephone (J.T. Draper)
On Slide Guitar:
Last Night You Said You Were Leavin’ (J.T. Draper)
Crossroad Blues (Robert Johnson)
Bring a Little Water, Sylvie (Leadbelly)
I Ain’t Got No Home (Woody Guthrie)
3rd Set (On Steel String and Harmonica):
Hallelujah (Leonard Cohen)
St. Mary of Bethlehem (J.T. Draper)
I think that this is more-or-less complete, and more-or-less in order. If anybody in attendance last night remembers anything differently, please let me know.
