I'm flying back to California this morning, after a nice it's-almost-my-birthday weekend with my family. My Mama (yet again) made me more carrot cake than I could eat. I wish I could share it with you.
Last night I ended up chatting with Rosie Thomas, in the most unsuspecting of places. I was washing my hands in the girls' room, and she was there. I asked, "Are you Rosie? I like you." And she proceeded to spill out the horrendous story of how they'd gotten two-hours lost in Washington, D.C., but since her tour van was filled with boys (she tours with her brother, even!), no one would pull off the road to ask for directions. Classic.
"I need some girls with me on my tour! And...I need a hug!"
I could, at least, hug her.
Over the Rhine was more splendid than I expected. It was of the best shows I've ever seen. It was Linford's birthday, and Karin sang her little heart out for him. Their percussionist was absolutely unreal, as we surmised by the outrageously expensive recording mic set to his snare and the six other microphones surrounding his set. And oh! I love that upright bass. When they played "The Trumpet Child" I didn't just cry, I borderline wept.
At the final song, the entire music house lept in a standing ovation. Now, I do not give my standing o's away easily. (I just don't give in to peer pressure if I don't think it was really merited. Snarky, I know.) I think I can count on one hand how many times I've given a standing o. But last night was one of them. Over the Rhine is more superb than they've ever been, after all these years. Rosie was delicately wonderful, too. Her nervous banter in between songs made us giggle so much!
See you on the left coast. Happy Monday.
(Airport seats by Flyzipper)
Monday, October 29
In Review
Sunday, October 28
Mobile Upload 2 @ OTR
Karin Berquist's lungs plus Linford Detweiler's piano plus one upright bass plus an amazing percussionist equals one happy Nelly.
The Meek and Mild Grow Strangely Bold
On this Sunday eve I'll enjoy the live lush melodies of Over the Rhine and Rosie Thomas. I'm in the process of writing Karin and Linford a letter on my weird recycled stationary, so I'm hoping to finally put my words in their hands. I've only been meaning to write to them for about eight years. (Yes, I move slowly.) I ought to tell them what their art has meant to my tired heart since I discovered them in an old CD player in Rome.
Rosie's records have been soothing my heart for the last six months, so I dorkily cheered aloud when I found she was opening for OTR on their Trumpet Child tour. I'd like to have the chance to chat with her, too, like Mel did at a recent show.
I've just figured out how to post through my mobile phone, so maybe I'll send you some photos along the way.
(Lovely photo and Trumpet Child lyrical creation by Arianna, gentle dove.)
Sunday, July 8
The Trumpet Child, in Brief
Well, that was a soulful treat. A sneak peek at Over the Rhine's newest record. The first five songs left me a bit breathless. Particularly because Karin's voice sounds better than it ever has--even more out on a limb, if that is possible.
The opening track walks in with cabaret horns, Linford's lush piano, and Karin playing the soul-angel:
I don't wanna waste good wine if you won't stick around;
I won’t pray this prayer with you unless we both kneel down.
And on track three, only Karin Berquist could get away with singing the phrase, "the whole enchilada" and still make it sound strangely artful.
The standout song is the title track, "Trumpet Child," as it considers the possibility of the King's arrival with the welcoming pronouncement of a simple little trumpet.
Isn't it August yet?
