Should you have the luxury of planning a getaway before the holidays, may I suggest a few days in Los Angeles? I'm now even more addicted to this tradition and was glad to squeeze into the Watkins Family Hour at Largo at the Coronet during my most recent visit.
The Watkins Family Hour, Largo at the Coronet, December 17, 2014: I'll admit right now that the title of this post comes from one of two songs I (1) recognized or (2) took note of the request. Even then, it's kind of a lie because Christmas was anything but blue in Los Angeles, either meteorologically or metaphorically.
When I'm in L.A., the Watkins Family Hour tends to be the hors d'oeuvre before the main entree -- or in this week, the palate cleanser between courses. But they are no ordinary snack. In many ways, they seem to have taken on the mantle of collaboration at Largo, with a varied and unexpected mix of talented guests and friends every month. I think they've settled into a workable blueprint for their shows, but as my visits to Largo have been limited, you'll have to forgive me if I repeat common knowledge. Also, I didn't take notes, so don't expect exhaustive coverage of every detail.
Sara and Sean opened the show on their own, then brought out the crack staff of backing artists that Largo regulars have come to know and love: Benmont Tench, Sebastian Steinberg, Don Heffington, and Greg Leisz. They kept a low-key presence onstage, but I guarantee that they're all over your record collection, in one combination or another, as you'll discover if you dig into the liner notes.
The first musical guests of the night were Beth Orton and Sam Amidon, along with Ella, a young friend from England (and Beth's helper while Sam was on tour). Confession: I had spied Beth slipping in earlier that evening, so her appearance wasn't a surprise, though it was a delight. Beth is a longtime Largo regular dating back from the Fairfax days, but I'd never seen her in a guest or a headlining capacity over the years -- this correction was long overdue. As for Sam Amidon, I had missed him (with her) at Solid Sound a few years ago, so chalk up another nice bonus for the evening. They attempted an old Christmas song Sam had learned growing up in Vermont; Beth messed up several times amid giggles before they finally pulled it off. The guests also came together for an a cappella title, their voices melding effortlessly.
The next artist to show up was less of a guest and more like family, as the Watkinses pointed out: Fiona Apple. She was both funny and weird (funnier and weirder?) tonight, rolling out an alternative narrative on Rudolph the Red-Nosed Reindeer and possible reactions to his ostracization, all wrapped up in a blue streak. When "Rudolph" was called out for his potty mouth, Fiona informed us Rudolph had recently turned 37 and developed self-awareness. Anyway, it all led to "Walkin' After Midnight," a Fiona staple.
By this point, John C. Reilly had made a couple of appearances, first at the top of the show and again during Fiona's set to move the conversation along. Apparently, he's become the emcee of these engagements, offering banter to tie the show together. Befitting his role, he combined music and musings into his spotlight segment. At first, he and Tom Brosseau took one track together, armed with acoustic guitars and sweet harmonies. John also did a song on his own, the Elvis track referenced in the title of this post. I deserve a bonk on the head for this no-brainer, but dammit, that man can sing. (Sorry, I never saw "Chicago"!)
John C. Reilly closed out his set with his version of "'Twas the Night Before Christmas," rewritten for Los Angeles. He nailed every detail of the city and the season, tying it all together with a neat little bow that harkened back to his opening statement. Dammit, John C. Reilly, why do you have to be so talented?!
Jackson Browne rounded out the guest list -- the legend at last. He performed two songs, one by Warren Zevon, the other from Doc Watson, and he too got the John C. Reilly treatment. They didn't quite click immediately, but they eventually hit common ground, with Jackson complimenting John's poem from earlier in the night. However, the real treat in this segment was a story from Sean involving Thanksgiving leftovers and Jackson's swimming pool. Talk about a surreal image!
The show's main segment finished with a group singalong of a song I didn't recognize, except there was a lot of Bethlehem in the chorus (no, not that one). However, the evening was still in progress.
That comment I made earlier about the Watkins taking on the Largo mantle? Another strong argument for that claim: They continued the show in the Little Room. Sara and Sean kicked off the proceedings again, soon joined by Benmont, who did a handful of songs at his hosts' insistence. A few guests remained from the main set and made their way to the stage, among them John C. Reilly and Tom Brosseau. I loved being reminded of Tom Brosseau's inherently high lonesome voice and was pleased to see their rapport. I hate missing out such chapters in Largo's evolution, but I love catching up on my visits back.
I can report two specific memories from this part of the show: Sara covering "Christmas in Prison," which I knew only because I heard the request ring out from the audience; and a short discussion of John's tie, his own creation that looked somewhere between a bow tie and a jabot.
The Little Room was packed with fans, staffers, and other Largo guests -- an unusual scene, believe it or not. The reason for their anticipation soon became clear as Jackson Browne came to the stage. He's not a stranger at Largo (again, going back to the Fairfax days), but guessing by the banter, this may have been his Little Room debut. If so, I'm glad I was there.
Hats off to the Watkinses for another full-hearted night of entertainment. The best part? The week was only half over.
See also:
» all this time
» any old time
» been hoping that you'd drop in
Showing posts with label jacksonbrowne. Show all posts
Showing posts with label jacksonbrowne. Show all posts
Friday, December 26, 2014
Thursday, January 08, 2009
hear them all
This might be a precedent for me: a 24-hour turnaround, in the middle of the week, all while putting in a full day at the (virtual) office. Foolhardy? Frivolous? Flagrant? A word that doesn't start with "f"? Judge if you must, but keep in mind that we're talking about David Rawlings, Gillian Welch, and the first show of the year at Largo--a capital combo.
Dave Rawlings Machine, Largo at the Coronet, January 7, 2009: I was a bit baffled that this show wasn't listed as sold out; under Gillian's name, the duo packs much bigger venues. This gig wasn't even a secret, as it was noted on her Web site and mailing list. Sure, it was announced at a time when people are typically on vacation and away from their computers, and money can be tight after the holidays. But you'd think 300 people in a major metropolis/media hub would find their way to the Coronet.
As it turned out, the multitudes eventually arrived, and there was some scrambling before the show could commence. We weren't immune to this shuffling, but I'm happy to report that at least one of us got a surprise in their seating assignment.
After seeing David and Gillian's shows in the Little Room last month--not to mention that giddy, epic, almost hallucinatory night on Fairfax two-plus years ago--the biggest question for me was how they'd handle the move to the big room. Mind you, I always figured it was just a matter of time; Largo's main space is still a fraction the size of the venues the two typically play.
I can tell you what remained the same: their off-the-cuff manner, marked by David's admission after their first song, "Diamond Joe," that the planned portion of the evening had concluded. Gillian later commented that the show was simply an excuse to kick off the new year at Largo with friends and that they were merely the designated hosts.
Overall, their set comprised many of the songs the Rawlings Machine is known for and that we heard in the Little Room in December. We're talking about "Hear Them All/This Land Is Your Land," "Monkey and the Engineer," "Throw Me a Rope," and "Knuckleball Catcher." In fact, that sums up the first five songs of the night.
My notes break down after this because (1) I simply don't know several of the songs they played, (2) it's dark in the back of the Coronet, and (3) Gillian's promised "cavalcade of stars" joined in. What turned out to be a considerable roster of musician friends marked the biggest change from their show at the Little Room--well, that and David's lovely vintage suit. Don't think, however, that this revolving cast affected the show's overall tenor. There were no slick hand-offs or costume changes; the stage didn't revolve. Instead, David and Gillian excused themselves a number of times to duck behind the curtains and take account of the talent.
First up was Morgan Nagler of the Whispertown 2000 to reprise the "Sweet Tooth" (?) song they wrote together. I suspect you can read numerous double entendres in the lyrics, but it was an apt companion piece to "Big Rock Candy Mountain," sung--and partially flubbed--by David just a couple of songs prior.
As Morgan left, Benmont Tench and Don Heffington arrived, settling in as sort of the house band for much of the rest of the show. Benmont, of course, sat down at the piano, but Don, without a drum kit onstage, brought his own small snare drum and a set of brushes. They first kicked up "To Be Young (Is to Be Sad, Is to Be High)," then brought it down a notch with Harper Simon's appearance for two songs, one of his own and Neil Young's "Birds," sung with Gillian. For the latter, Sara Watkins also took her spot with them.
Harper's departure signaled Sean Watkins' arrival, and he fell in for a good run. My favorite selection from this segment was probably "River of Jordan." Though Sara was seemingly singled out for lead vocals, it became almost a four-fold chorus, with David, Gillian, and Sean chiming in too.
They didn't lose anyone when Willie Watson of the Old Crow Medicine Show stepped up. I was thrilled that their first choice was John Lennon's "Crippled Inside," but I didn't know their second song, "We're All in This Together," until informed after the concert. I saw Willie once before at the Watkins Family Hour, but his strong, distinctive voice rang out tonight.
Bonus: Benmont painted both songs with amazing details, though in entirely different ways. For the Lennon tune, he poured out the passion, then dusted the second song with the filmiest, prettiest notes you can imagine.
For me, the biggest surprise of the night came next: Jenny Lewis and Johnathan Rice. With David, Benmont, and Don, they sang "Love Hurts," currently a staple of their live set. But just as quickly, they were gone--to make way for Benmont's solo turn!
Not that it was intended as such--David egged Benmont on, then used the opportunity to check on the status of the next guest. Regardless, we took in Benmont all alone on the stage, the spotlight and our attention focused solely on him as he serenaded us with Irving Berlin's "How Deep Is the Ocean." Benmont has always been a great sport and thrown himself into whatever situation Largo requires, but this was one of the purest expressions of his talent and inspiration I've yet seen.
Furthermore, David was able to take care of business during Benmont's segment and returned with the last guest of the evening: Jackson Browne. With David, Gillian, Benmont, and Don, Jackson did one of his own songs, and at the risk of sounding ever more repetitive, I'd like to report that Ben brought it on this tune. David and Gillian's harmonies were sublime, as well.
For the big finale, they invited everyone back, though not everyone took them up on the offer. But rather than list the absences, let's check out the returnees: Benmont, Don, Sean, Sara, Harper, and Willie. Together, they built up a fierce, sweeping "Queen Jane Approximately." With Benmont and Don setting a particularly bracing foundation, David was free to deliver driving vocals and a relentless guitar solo.
David and Gillian honored our calls for an encore, just the two of them covering Neil Young's "Tired Eyes." Then for the true end-all, Benmont and Don once more took their spots, David and Gillian urged excessive reverb from the sound booth (though still not enough, in my book), and they regaled us with another of their favorite covers, "White Rabbit." In this respect, the Little Room couldn't measure up; heady and intoxicating, Gillian's voice and David's guitar swirled to the farthest recesses of the Coronet.
It's gonna be a great year.
See also:
» please take my advice
» that's all they really want
» Gillian, David, Sean, Sara, Jon, Greg
» any old time
» i'm not looking for a cure
As it turned out, the multitudes eventually arrived, and there was some scrambling before the show could commence. We weren't immune to this shuffling, but I'm happy to report that at least one of us got a surprise in their seating assignment.
After seeing David and Gillian's shows in the Little Room last month--not to mention that giddy, epic, almost hallucinatory night on Fairfax two-plus years ago--the biggest question for me was how they'd handle the move to the big room. Mind you, I always figured it was just a matter of time; Largo's main space is still a fraction the size of the venues the two typically play.
I can tell you what remained the same: their off-the-cuff manner, marked by David's admission after their first song, "Diamond Joe," that the planned portion of the evening had concluded. Gillian later commented that the show was simply an excuse to kick off the new year at Largo with friends and that they were merely the designated hosts.
Overall, their set comprised many of the songs the Rawlings Machine is known for and that we heard in the Little Room in December. We're talking about "Hear Them All/This Land Is Your Land," "Monkey and the Engineer," "Throw Me a Rope," and "Knuckleball Catcher." In fact, that sums up the first five songs of the night.
My notes break down after this because (1) I simply don't know several of the songs they played, (2) it's dark in the back of the Coronet, and (3) Gillian's promised "cavalcade of stars" joined in. What turned out to be a considerable roster of musician friends marked the biggest change from their show at the Little Room--well, that and David's lovely vintage suit. Don't think, however, that this revolving cast affected the show's overall tenor. There were no slick hand-offs or costume changes; the stage didn't revolve. Instead, David and Gillian excused themselves a number of times to duck behind the curtains and take account of the talent.
First up was Morgan Nagler of the Whispertown 2000 to reprise the "Sweet Tooth" (?) song they wrote together. I suspect you can read numerous double entendres in the lyrics, but it was an apt companion piece to "Big Rock Candy Mountain," sung--and partially flubbed--by David just a couple of songs prior.
As Morgan left, Benmont Tench and Don Heffington arrived, settling in as sort of the house band for much of the rest of the show. Benmont, of course, sat down at the piano, but Don, without a drum kit onstage, brought his own small snare drum and a set of brushes. They first kicked up "To Be Young (Is to Be Sad, Is to Be High)," then brought it down a notch with Harper Simon's appearance for two songs, one of his own and Neil Young's "Birds," sung with Gillian. For the latter, Sara Watkins also took her spot with them.
Harper's departure signaled Sean Watkins' arrival, and he fell in for a good run. My favorite selection from this segment was probably "River of Jordan." Though Sara was seemingly singled out for lead vocals, it became almost a four-fold chorus, with David, Gillian, and Sean chiming in too.
They didn't lose anyone when Willie Watson of the Old Crow Medicine Show stepped up. I was thrilled that their first choice was John Lennon's "Crippled Inside," but I didn't know their second song, "We're All in This Together," until informed after the concert. I saw Willie once before at the Watkins Family Hour, but his strong, distinctive voice rang out tonight.
Bonus: Benmont painted both songs with amazing details, though in entirely different ways. For the Lennon tune, he poured out the passion, then dusted the second song with the filmiest, prettiest notes you can imagine.
For me, the biggest surprise of the night came next: Jenny Lewis and Johnathan Rice. With David, Benmont, and Don, they sang "Love Hurts," currently a staple of their live set. But just as quickly, they were gone--to make way for Benmont's solo turn!
Not that it was intended as such--David egged Benmont on, then used the opportunity to check on the status of the next guest. Regardless, we took in Benmont all alone on the stage, the spotlight and our attention focused solely on him as he serenaded us with Irving Berlin's "How Deep Is the Ocean." Benmont has always been a great sport and thrown himself into whatever situation Largo requires, but this was one of the purest expressions of his talent and inspiration I've yet seen.
Furthermore, David was able to take care of business during Benmont's segment and returned with the last guest of the evening: Jackson Browne. With David, Gillian, Benmont, and Don, Jackson did one of his own songs, and at the risk of sounding ever more repetitive, I'd like to report that Ben brought it on this tune. David and Gillian's harmonies were sublime, as well.
For the big finale, they invited everyone back, though not everyone took them up on the offer. But rather than list the absences, let's check out the returnees: Benmont, Don, Sean, Sara, Harper, and Willie. Together, they built up a fierce, sweeping "Queen Jane Approximately." With Benmont and Don setting a particularly bracing foundation, David was free to deliver driving vocals and a relentless guitar solo.
David and Gillian honored our calls for an encore, just the two of them covering Neil Young's "Tired Eyes." Then for the true end-all, Benmont and Don once more took their spots, David and Gillian urged excessive reverb from the sound booth (though still not enough, in my book), and they regaled us with another of their favorite covers, "White Rabbit." In this respect, the Little Room couldn't measure up; heady and intoxicating, Gillian's voice and David's guitar swirled to the farthest recesses of the Coronet.
It's gonna be a great year.
See also:
» please take my advice
» that's all they really want
» Gillian, David, Sean, Sara, Jon, Greg
» any old time
» i'm not looking for a cure
Monday, December 15, 2008
all this time
In my previous post, I neglected to mention one other favorite aspect of the season: Largo's year-end shows. Not that I ever need much coercion to go to Largo, but mention Christmas and any of my favored performers, and I'm there, with (sleigh) bells on.
Watkins Family Hour, Largo at the Coronet, December 11, 2008: And to emphasize the spirit of the season, the Largo crew decorated the stage with rows of lights and even a little tree. They sure looked pretty against the red velvet curtains.
I use the word "family" a lot when describing the Largo experience, but Sean and Sara Watkins are the real thing, putting the "kin" in "kindred." But the family doesn't stop with the two of them; instead, it also encompassed their friends, many of whom contributed to this relatively lengthy show.
We had the magician Derek Hughes, who turned in a much more palatable opening act than he did the only other time I've seen him. For laughs, we welcomed the comedian Dave "Gruber" Allen, even though his act ran hot and cold. During his main segment, he alluded to ruining the show; though I wouldn't go that far, I have to admit I found him hard to follow at times.
We had stars of stage and screen: Minnie Driver joined in for a traditional Christmas song, and John C. Reilly took the reigns for a good four or five titles, ranging from the Louvin Brothers to the Everly Brothers, as well as a version of the letter to Santa he read as part of Aimee Mann's inaugural Christmas show two years ago.
And finally, we had the musicians--oh so many musicians. Benmont Tench, Sebastian Steinberg, and Don Heffington [Editor's note: Thanks for the correction, Tom!] filled out the house band, then several other guests stepped in and out of the lineup. All together, they handled original material, including songs from Sara's upcoming solo album; contemporary covers, such as Elliott Smith's "A Question Mark"; and older favorites, such as John Hartford's "Long Hot Summer Days."
Luke Bolla featured prominently on a handful of tracks, including a fiddle duo with Sara, while Glen Phillips played two of my favorite numbers of the night. The first was a gorgeous, sweeping song from WPA, the name of an upcoming project comprising much of the talent onstage that night; I didn't catch the title, but it had a confidence and a scope that begged to be played on the radio. Then in an homage to the holidays, Glen presented a season favorite: "A Lonely Jew on Christmas," courtesy of South Park.
Jackson Browne was billed as the top guest of the night, but the real treat may have been David Rawlings, who showed up at the same time. Alongside John C. Reilly, they started off with "Let It Be Me," then went into a few more selections, including what Jackson Browne called Dylan's only Christmas song ("Desolation Row").
Performers at Largo often joke about professionalism and pacing, or their lack thereof; this is not the place to go if you want to see a finely tuned, strictly scripted show. Then again, that's the way we like it. That said, however, some of the guests looked more at home than others. I don't think much of the audience was begging Minnie Driver to return, for example, though her voice was quite lovely, and John C. Reilly had a way of making every song introduction sound like it was a setup to a joke, even when it wasn't.
I'm no Scrooge, though. The show was a delight to the end, when we all teamed up to sing "Joy to the World." I had to bail after the first verse, but the voices around me stayed strong for three verses more. Can you say the same of your family?
See also:
» if there's a star above
» owner of this corner and not much more
» it's not going to stop
Watkins Family Hour, Largo at the Coronet, December 11, 2008: And to emphasize the spirit of the season, the Largo crew decorated the stage with rows of lights and even a little tree. They sure looked pretty against the red velvet curtains.
I use the word "family" a lot when describing the Largo experience, but Sean and Sara Watkins are the real thing, putting the "kin" in "kindred." But the family doesn't stop with the two of them; instead, it also encompassed their friends, many of whom contributed to this relatively lengthy show.
We had the magician Derek Hughes, who turned in a much more palatable opening act than he did the only other time I've seen him. For laughs, we welcomed the comedian Dave "Gruber" Allen, even though his act ran hot and cold. During his main segment, he alluded to ruining the show; though I wouldn't go that far, I have to admit I found him hard to follow at times.
We had stars of stage and screen: Minnie Driver joined in for a traditional Christmas song, and John C. Reilly took the reigns for a good four or five titles, ranging from the Louvin Brothers to the Everly Brothers, as well as a version of the letter to Santa he read as part of Aimee Mann's inaugural Christmas show two years ago.
And finally, we had the musicians--oh so many musicians. Benmont Tench, Sebastian Steinberg, and Don Heffington [Editor's note: Thanks for the correction, Tom!] filled out the house band, then several other guests stepped in and out of the lineup. All together, they handled original material, including songs from Sara's upcoming solo album; contemporary covers, such as Elliott Smith's "A Question Mark"; and older favorites, such as John Hartford's "Long Hot Summer Days."
Luke Bolla featured prominently on a handful of tracks, including a fiddle duo with Sara, while Glen Phillips played two of my favorite numbers of the night. The first was a gorgeous, sweeping song from WPA, the name of an upcoming project comprising much of the talent onstage that night; I didn't catch the title, but it had a confidence and a scope that begged to be played on the radio. Then in an homage to the holidays, Glen presented a season favorite: "A Lonely Jew on Christmas," courtesy of South Park.
Jackson Browne was billed as the top guest of the night, but the real treat may have been David Rawlings, who showed up at the same time. Alongside John C. Reilly, they started off with "Let It Be Me," then went into a few more selections, including what Jackson Browne called Dylan's only Christmas song ("Desolation Row").
Performers at Largo often joke about professionalism and pacing, or their lack thereof; this is not the place to go if you want to see a finely tuned, strictly scripted show. Then again, that's the way we like it. That said, however, some of the guests looked more at home than others. I don't think much of the audience was begging Minnie Driver to return, for example, though her voice was quite lovely, and John C. Reilly had a way of making every song introduction sound like it was a setup to a joke, even when it wasn't.
I'm no Scrooge, though. The show was a delight to the end, when we all teamed up to sing "Joy to the World." I had to bail after the first verse, but the voices around me stayed strong for three verses more. Can you say the same of your family?
See also:
» if there's a star above
» owner of this corner and not much more
» it's not going to stop
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