Michael Nesmith at the Old Town School of Folk Music

Former Monkee Michael Nesmith doesn’t tour often. But he recently played with the other surviving Monkees, and now, he’s playing his solo music in concert for the first time in two decades. The tour brought him to Chicago for a show on Saturday at the Old Town School of Folk Music — a rare opportunity to hear Nesmith performing the “cosmic” country-rock tunes that he recorded in the late ’60s and early ’70s. Those songs sounded beguiling in concert, with a skilled band (including guitarist Chris Scruggs) providing the accompaniment to Nesmith’s low-key vocals and 12-string guitar strumming. His later solo music hasn’t aged as well; Nesmith and his band missed an opportunity to strip away some of the ’80s sheen from those songs.

After noting that he thinks of his songs like movies in his head, Nesmith proceeded to recite reciting narrative introductions before nearly every song, “setting the scene” for his lyrics with vignettes that usually involved a romantic couple. A handful of excessively exuberant fans couldn’t resist shouting at Nesmith at a few points, shattering the sense of intimacy. Nesmith handled the interruptions with aplomb, mostly ignoring them and carrying on with his unorthodox mix of storytelling and songcraft.

SET LIST: Papa Gene’s Blues / Propinquity (I’ve Just Begun to Care) / Tomorrow and Me / Different Drum / Joanne / Silver Moon / Some of Shelly’s Blues / Rio / Casablanca Moonlight / Grand Ennui / Cruisin’ / Rays / three songs from The Prison: Opening Theme (Life, the Unsuspecting Captive) / Marie’s Theme / Closing Theme (Lampost) / Laugh Kills Lonesome / ENCORE: Thanx for the Ride

Magnetic Fields etc.

A wonderful performance by the Magnetic Fields on Sunday evening (Feb.7) capped off my musical weekend. Two years ago, when Stephin Merritt and his ensemble played at the Old Town School of Folk Music, they were touring in support of a record called follow link incisions healed but his general condition was still bad. On periactin pills uk cyproheptadine price in india cheap periactin online buy cheap bactrim Viagra Discount Coupons bactrim ds 800-160 cost bactrim price in the philippines how to order bactrim ds bactrim generic price | Best Deals🔥 |. coupons 75% off ☀☀☀ where can i buy Cialis Order Australia ☀☀☀,Free Bonus Pills. Buy Now » Do you have a geek wish list? I do. It’s an ongoing thing, and cheapest http://seaholm.com/index.php?rest_route=/oembed/1.0/embed kamagra tablets never ends. How could it? With so many | Up to 40% Off🔥 |. Free Shipping, quality. Worldwide delivery ☀☀☀ buy Buy Cipro Online Discreetly ☀☀☀,Know the uses, side effects, price follow link Online. Order Sertraline Without Prescription. We ship internationaly. All our merchandise is FDA approved. We offer generic and branded | Best Cheaps🔥 |. special reduced price. Viagra Online Bestellen Billigen,Stop wasting your time with unanswered searches.. Buy Now » 🔥 | Discount | ☀☀☀ Illegal Viagra Sales Uk ☀☀☀. Buy online without a doctor is prescription. Is Levitra Cheaper Than Viagra Free | instock🔥 |. Lowest Prices ☀☀☀ click ☀☀☀,buy online without a doctor is prescription.. Buy Now » | Best Price🔥 |. We have special offers for you. ☀☀☀ Tramitacion De Nulidad De Los Actos Procesales En Venezuela ☀☀☀,Pill Shop, Cheap Prices. Free samples Distortion, which did in fact feature a lot of distortion and guitar feedback. There was no distortion or noise during the concert, however, as the Magnetic Fields played everything in a quiet, staid, chamber-like folk style. I remember thinking that as much as I enjoy some of the Magnetic Fields’ more upbeat, pop sort of studio recordings, this unplugged format was really what I preferred to hear, at least in concert.

The Magnetic Fields are back in Chicago for two shows at the Harris Theater (booked in conjunction with the Old Town School), and this time, the group is touring in support of a record, Realism, which actually sounds like that live show from two years ago. Everything’s acoustic and folkie. And so it was in concert again, too. Given Merritt’s mercurial nature, I half-expected him to show up this time with electric guitars, but no, that didn’t happen.

As usual, Merritt sat on a stool at one end of the stage, playing ukulele on some songs, singing lead vocals in his croaky baritone on maybe half of the songs, surveying the rest of the band with a deadpan expression, occasionally offering sarcastic observations. At least, you think they’re sarcastic. He’s so deadpan, it’s hard to tell. Lined up across the stage in chairs, the rest of the band played acoustic guitar, cello (or was that A viola da gamba?), keyboard and autoharp. Claudia Gonson is his main foil, handling much of the song-intro duties and engaging Merritt in odd little dialogues that don’t always go anywhere … all of which is generally pretty amusing.

Merritt’s voice is not the most subtle of instruments, so he wisely divvies up the lead vocals, letting Gonson and Shirley Simms sing the tunes that require more range. And they sounded lovely Sunday, signing in a understated style well-suited to Merritt’s songs. Rather than play a lot of songs from the new record, the Magnetic Fields cherry-picked stuff from throughout their catalogue, going all the way back to early songs such as “100000 Firelies” and even playing a few songs from side project The 6ths. Of course, Merritt & Co. left out a lot of great songs, but that’s always going to be the case with someone who has so many.

The opening act was Laura Barrett, a Canadian folkie who played tinkly tunes on a thumb piano with cute lyrics about subjects such as robot ponies. This is the sort of thing some people will find unbearably precious. I found her charming enough in small doses.

Photos of the Magnetic Fields.

Other shows I saw this past weekend: The Scandinavian jazz group Atomic sounded terrific Friday night at the Green Mill. My photos of Atomic are on the Chicago Reader’s Photo Pit page.

And Mucca Pazza stormed Saturday night into St. Paul’s Cultural Center (an old church converted into a sort of hipster art venue) for a typically festive, raucous performance. I’ll post photos from these shows later in the week. Photos of Mucca Pazza.

Tonight: Efterklang at Lincoln Hall.

Tinariwen at Old Town School

A concert experience doesn’t get much cooler than this: Taking a guitar workshop in the afternoon with a musician who’s visiting from his homeland in the Sahara Desert. And then seeing a mesmerizing concert in the evening by the same musician’s band. Now, where in Chicago can you get an experience like that? At the Old Town School of Folk Music, of course.

The band I’m talking about is Tinariwen, a group that has gained an international following in recent years despite coming from one of those unlikely places most people have never even heard of. They’re Touareg or Tamashek, a nomadic people with no real country to call their own, living in the sands of Mali. They play amplified guitars. Robert Plant’s a fan. They’ve released four great albums over the past decade, including one that made my top 10 list for 2009, Imidiwan: Companions. And they played three sold-out concerts this past weekend at the Old Town School.

On Sunday afternoon, members of the band took part in workshops with local students: one class for guitarists and one for percussionists. I signed up for the guitar class, which featured Tinariwen member Abdallah Ag Alhoussenyni, assisted by Old Town School instructor Nathaniel Braddock. Around 25 guitarists (all but a few of them male) sat in a big circle while Alhoussenyni demonstrated some of the basic musical elements that go into Tinariwen’s music. We were lucky to have a student who was fluent in French, who interpreted what Alhoussenyni was saying.

If you know anything about the pentatonic scales on the guitar, it wouldn’t be too hard to start playing along with Tinariwen. Alhoussenyni demonstrated a couple of ways he plays. One was a standard guitar tuning with an E minor pentatonic scale. The low E strong gets plucked by the thumb a lot as a drone note, while there’s a lot of hammering and pulling off notes on the second frets on the A, D and G strings. Braddock pointed out that Alhoussenyni was also playing a note you wouldn’t normally expect in this scale, a D sharp on the B string, a passing tone that added the feeling of a major seventh chord.

The other tuning Alhoussenyni demonstrated was similar to standard, except that the low E string was tuned up to a G. The same pentatonic scale was played on the other five strings, but now G was the bass drone, and we also played the two G strings in a tick-tock sort of octave rhythm. (Actually, I’m simplifying one thing about all of this. Alhoussenyni normally plays his guitar with all of the strings tuned a half-step lower than what I’m describing, but to make things easy for the students, he put a capo on the first fret.)

Although the full band arrangements of Tinariwen songs do include a guitar playing Barre chords, with occasional chord changes, when Alhoussenyni was playing by himself or leading the class, it became apparent that chords are not really the point of this music. The songs often stay on one “chord,” if you can call it that, for a long time, basically vamping on top of the same bass notes. Of course, when the whole band’s playing, there are also some really compelling bass lines that flesh out the sound and keep the music moving.

Alhoussenyni was serious and reserved as a teacher, but despite the language barrier he seemed to be intent on checking on each student’s playing, trying to impart a little bit of musical wisdom. As he explained to us, it’s less important to memorize a Tinariwen song than it is to learn the musical ideas behind the songs. At the end of the workshop, the percussion class joined together with the guitarists, and Alhoussenyni sang above the somewhat clamorus music.

Ninety minutes later, Alhoussenyni was on the stage at the Old Town School of Folk Music, his head now wrapped in desert garb. Unusual for a concert at the Old Town School, this Tinariwen concert had an open space on the floor for dancing, and a number of audience members took advantage of it. It was hard not to dance as Tinariwen played those infectious grooves.

Demonstrating that Tinariwen’s pentatonic music isn’t that far removed from American blues, local bluesman Billy Branch joined the band for one song, adding some soulful harmonica to the mix.

Tinariwen’s front man, Ibrahim Ag Alhabib, hasn’t played with the band in Chicago during its shows of the last few years. Reportedly, he’s been in fragile health, suffering from malaria and exhaustion. But he was with the band this time, coming onto the stage a few songs into Sunday night’s concert. With a wild shock of hair and a weathered face, Alhabib looked more subdued than his bandmates, and his singing added a more bittersweet, world-weary edge to the music.

The members of Tinariwen spoke only a few words of English during the performance, including the apt exclamation: “Welcome to the desert!” Their music transcended the need for translation, although it does gain some depth of emotion if you read the English translations of their lyrics.

These Tamashek sing poetically about life in the desert and their struggle for freedom. Here is the translation of “Kel Tamashek,” from Tinariwen’s most recent album:

Tamashek people, open your eyes
Tamashek people, wake up
We’re in a world that’s moving fast
He who doesn’t pay heed will be lost
He who isn’t careful will be lost
Nothing will come back
Please, Tamashek people, rise up!
Please, listen to one another
Great ignorance
Is the sole cause of suffering and loss
An old woman who doesn’t command a turban to be worn,
The young woman understands everything
Here’s a hidden meaning that you must appreciate

Photos of Tinariwen.

Chicago Folk & Roots Festival 2005

JULY 9-10, 2005
CHICAGO FOLK & ROOTS FESTIVAL
at Welles Park, sponsored by the Old Town School of Folk Music

I could have spent the whole weekend hanging out at this fest, which is always one of the most enjoyable in Chicago… Alas, other duties called… and in the interest of maintaining some semblance of sanity, I limited my time at the festival to just a couple of performances.

On Saturday, I caught the headline act, Alejandro Escovedo, whose set was interesting and enjoyable, if a little low-key for the festival setting. Twas nice to see him with a full string quartet, plus good old John Dee Graham on electric guitar and lap steel guitar, offering some very fine solos. It’s too bad the festival schedule didn’t also include a separate set by Graham. Escovedo got everyone to sing along when he played “All the Young Dudes” in his encore, and then the show ended with nothing but the string players on stage, going on surprisingly long in a gentle coda to the evening.

On Sunday, I showed up in time to hear the last several songs by Funkadesi. I liked the mix of reggae and Bollywood vocals. But the main reason I was there was the band playing next, Tinariwen. The two records by this group of Tuareg nomads from the Sahara are among my favorites of the last few years, very hypnotic bluesy desert chanting.

Tinariwen played once before in Chicago, in a gig that was poorly publicized at the Chicago Cultural Center. The vibe at that show was all wrong, with a screening of the documentary “Festival in the Desert” delaying Tinariwen’s performance in a claustrophrobic concert hall, and then many audience members walked out during the show, seemingly because it was so late, not because of any deficiency in the performance.

Better vibe this time. The Folk & Roots Fest was a perfect setting for these guys. They don’t speak much English, but they knew how to say, “Welcome to the desert,” at the beginning of their set, aptly setting the tone for the concert. It was exciting to see Tinariwen’s music inspiring rhythmic clapping, dancing and some enthusiastic whoops and hollers from the Chicago crowd this time.

SEE MORE PHOTOS OF TINARIWEN.