On the Road with Joan Baez, pt. 2

The prospect of spending a few days in any unfamiliar square-state city tends to inspire thoughts of, oh, I don’t know, catching up on my sleep, or finishing whatever 800-page novel I happen to be reading. Last month, while on tour with Joan Baez, my schedule called for spending three days in Lawrence, Kansas. The only thing I knew about Lawrence was that it is the home of the University of Kansas and, well, that’s what I could remember about Lawrence. The first day was our arrival—mid-morning after an overnight bus trip from Madison, Wisconsin. The second day we’d play in Columbia, Missouri, but return after the show to our Lawrence hotel, and the third day was a performance at the Liberty Theater in Lawrence. After stumbling out of the bus the morning of our arrival, I was pleased to discover our deluxe accommodations at the historic, comfortably stylish Eldridge Hotel, across the street from which was both a very promising espresso café and a suitably dusty used bookstore. OK, I thought, a few days in Lawrence could be quite pleasant.

What I’d forgotten was that Lawrence is home to Mass Street Music, one of the best guitar stores in the country. So, after a day of catching up on my sleep, and another filled with a bus ride, sound check, and another great show with Joan and company, etc., I finally remembered that when I’d met Mass Street Music owner Jim Baggett at Steve Kaufman’s Acoustic Kamp a couple of years ago, he’d invited me to come by any time I was in Lawrence. So I walked the seven or eight blocks down the street through a crowd of college-age St. Patrick’s Day revelers and found Mass Street Music in a cozy residential district.

At first glance, Mass Street looks like many a successful, well-organized music store, with a couple of large rooms full of keyboards, electric guitars, accessories, and sound equipment downstairs, and an acoustic room upstairs with a good complement of Taylors, Collings, Eastmans, Martins, and Goodalls. But what really distinguishes Mass Street, at least for guitar junkies, is Jim Baggett’s vintage expertise. He’s been collecting guitars for decades and he moonlights as a vintage-guitar expert for PBS’s Antiques Roadshow. Jim appeared while I was a making my way through a brace of very tasty Collings dreadnoughts, and after a few pleasantries, he said, “Wait here, I’ve got something to show you.” Believe me, any guitarist who hears Jim utter those words isn’t going anywhere.

Soon enough, Jim appeared with a couple of guitars from his personal collection—a luscious late-’30s D-18 that had the richest, fattest tone of any late-’30s D-18 I’d ever played and what he described as “the first D-28,” an amazing 12-fret, slot-head, rosewood dreadnought that sounded like nothing I’d ever played. Jim explained that it was actually the third D-28 ever made, but that the first two had never surfaced, so as far as anyone knew it was the first D-28 in existence, as close to the Holy Grail as any bluegrass-infused flatpicker like me is ever going to get. After playing it and the D-18 for as long as was seemly—I didn’t want to actually start drooling on the finish of these priceless gems—Jim showed me the rest of the repair shop, including a few more prewar dreads he was restoring and one of the cleanest early-’30s 000-28’s I’d ever seen. The back and sides looked liked they’d been hewn from the same log—not something Martin was all that particular about back then—and it was utterly pristine, as if it had rolled out of the Martin assembly room the day before. This wasn’t just a case of a kid in a candy store, but a chocoholic set loose in Willy Wonka’s factory.

So, yes, I now know exactly what there is to do in Lawrence, Kansas, thank you very much.

—Scott Nygaard

Photo (c) Anne Hamersky

On the Road with Joan Baez, pt. 1

Around 2 AM on the morning, of March 7, Joan Baez’s tour bus oozed out of the muck in the parking lot of the Barangus bar, where I, along with the rest of the Joan Baez band (including Joan herself) had been listening and dancing (or more like wriggling, given the lack of space in the crowded roadhouse) to the All-American Hell Drivers, a loose aggregation of hippie country rockers whose repertoire included Hank Williams classics, New Orleans boogie blues, and even a Michael Jackson hit (a countrified “Billie Jean”). Joan had joined the band on a rockin’ “Long Black Veil” and JB band multi-instrumentalist Dirk Powell had spent most of the evening at the piano.

Thus ended my first night playing guitar and mandolin and singing harmony with Joan Baez, filling in for guitarist John Doyle while he goes off to play a few Irish festivals that he’d booked before getting hired by Joan as musical director/guitarist last summer. The evening had started at the State Theatre in Ithaca, New York, where Joan’s first appearance onstage had elicited the first of many loud, enthusiastic, and adoring ovations from the crowd of 1,600 or so. Though it was the first time I’d played through the entire two-hour set with Joan and her band, it went better than I could ever have expected. Yes, I’d fumbled a few lyrics, missed a couple chords, and gotten a few tempos wrong, but all in all it was a great gig, and by the time we’d finished our funky encore of “The Night They Drove Old Dixie Down” I was grinning from ear to ear.

I’d approached these gigs with mild trepidation. Even though I knew I wouldn’t have any trouble locking in with the rest of the band (Dirk on mandolin, banjo, fiddle, and piano and Todd Phillips on acoustic bass, both of whom I’d recorded and gigged with numerous times) I’d been a Joan Baez fan since high school and I didn’t want to let her down. I knew that John Doyle’s shoes would be tough ones to fill—his guitar can be a whole band by itself and his rhythm is as varied and exciting as any guitarist in any genre. I’d also have minimal rehearsal time, so I assiduously studied the gig tape John had sent me, realizing at the same time that the band’s arrangements and feel on that early-November gig may very well have changed by the early-March gigs I’d been hired for.

I arrived a couple days early, so we could rehearse on the band’s day off and I could observe one show with John in action. At the first rehearsal, which Joan shyly wandered into about halfway through, I discovered that some of my fears were well-founded. John led the rehearsal, though of course he wouldn’t be at the gigs I played, and his guitar was definitely the rhythmic heart of the band. In addition, some tempos had indeed changed and details that had seemed potentially spontaneous on the tape turned out to be essential parts of the arrangements. But everyone made me feel at ease and I knew I’d have another day to regroup and work things out. Joan was particularly gracious. After one song, where I’d kind of weakly warbled the harmony line and stumbled over a few chords, she suggested that since I had so much to learn, I didn’t necessarily need to sing on every song, but after another, she said, “You seem more comfortable with that one.” (The next morning, while she had breakfast on the bus, she told me that she’d liked what she heard and asked if there was anything she could do to help me.) The thing that ended up helping the most, actually, was sitting in the audience and listening to John play a show with the band. After all that study, I knew the songs pretty well, but watching the show, I found myself thinking “OK, I need to be more aggressive on that intro,” etc.

After the next day’s soundcheck, at which Jason Raboin, the band’s soundman outfitted my mandolin with one of the new DPA clip-on mics and pronounced my amplified guitar sound as “pretty good,” and at which Joan seemed happy and confident, I felt good and ready for the first show. At dinner, Stephanie Hudacek, Joan’s assistant, asked if I felt “nervous? excited?” and I said, “Yeah, that pretty much sums it up.”
--to be continued

photo (c) Anne Hamersky

Peterborough Gig April 10

Joey's Cherry Pie Criterium Report

Joey Nygaard
Cherry Pie Crit., 2/8/09
15th place, Junior 15-16


The start of the season is always marked by Cherry Pie Criterium, which is usually a rude awakening for me to my form, and makes me want to train afterward!
As usual, the race was early but not early enough to miss warm-up. We got to the race with time to register, warm-up for a while, and watch Stanley and Ryan Grant kick butt in the race before mine!
The whistle blew, the big pack started off down the hill, and I grabbed a wheel. The pace was fast but not fast enough that I would get dropped right away. I managed to stay in contact for awhile until 4 laps to go when I was near the back of the pack, coming around the little S-curve before the climb, a group of about 5-6 guys went down right in front of me with just enough space for me to slip around them. As I went by I looked to see if any Swifties had gone down but didn't see any (always a good sign!). Although I had avoided the crash I was now way behind the main pack! It was too far to bridge so I began to look for a group to ride with until the end. Luckily (for me) Zack was not that far ahead of me and I caught him. Together we formed a group and started a paceline. Unfortunately I got dropped by a little bit and had to cross the finish line alone.
Although I did not get a great result I was happy. My goal for the race--my first as a 15-16--was to stay with the pack for as long as possible and find a group to ride with if I got dropped. I felt better than I thought I would and I am excited for the season to come!
We stuck around for the Cat. 4 race to cheer on the other Swifties! Then we decided to call it a day and head for home!

Great racing Swifties!
Joey Nygaard

SF Urban Riders Youth Bike Skills in GGP - Pilarcitos CX Race 2008

Best Books of 2008

The New York Times just announced their Ten Best Books of 2008, which is as good a reason as any to survey my own reading for the year. While I did read one book on the list, Joseph O’Neill’s Netherland, my reading tends not to be quite as current, although Roberto Bolano’s 2666 is on my Christmas list.

My reading this year was not quite as novel-heavy as in recent years. For some reason I began the year by reading about half of The Reformation by Will Durant and ended it by getting heavily into short stories, occasioned in part by the death of David Foster Wallace, which inspired me to return to some of his short story collections I hadn’t finished and also explore some of the short fiction he’d included on the syllabus of a course he had been teaching, which was posted online by one of his students in one of the many tributes to DFW that either appeared or were overloaded with contributions after his death.

In the middle of the year, there were a number of false starts that confounded me: The Innocent, by Ian McEwan; Author, Author, by David Lodge; The White Castle, by Orhan Pamuk; American Studies (OK, not a novel), by Louis Menand; and The Dean’s December, by Saul Bellow, all of which were written by authors I admire, but whose work didn’t stick this time, although I imagine I will return to some of them at some point in the future.

I got out of my novelistic doldrums with The Confidential Agent, by Graham Greene, my first venture into his “oh so British” world and definitely not my last. Was it a coincidence that I received The Complete Monty Python on DVD for my birthday, soon after finishing it? Perhaps. At any rate, in August I was rewarded with the two best books I read this year, which were actually both published in 2008. So, in addition to short stories and essays by Roberto Bolano, Orhan Pamuk, Donald Barthelme, John Updike, TC Boyle, Edward P. Jones, and others whose names escape me at the moment, here are the Best (somewhat recently published) Books (I read in) 2008, with just a couple annotations:

Atmospheric Disturbances, Rivka Galchen
An exasperating and claustrophobic book that doesn’t resolve in any conventionally satisfying way, but the writing is brilliant and the meditations on identity, existence, and the perplexing nature of relationships that don’t evolve even as the individuals in those relationships mutate, grow, and shrivel, are unique and thought-provoking. Some of the technical minutiae and digressions evoke a “guy book” author like Richard Powers, say, but Galchen gives it her own decidedly female twist, although it is hard to imagine any woman having this much patience and fondness for the irascible, annoying, and mule-headed main (male) character.

Netherland, Joseph O’Neill

Tree of Smoke, Denis Johnson

The Brief Wondrous Life of Oscar Wao, Junot Diaz

Oblivion, David Foster Wallace
DFW’s death this fall hit me hard, and I’ve been going back and reading the stories in his various short story/essay collections that I didn’t read when they first came out. As with most short story collections, it’s best to read them one at a time. When this collection, his last fiction publication, came out, I considered it nearly unreadable. I was wrong. The “missive beyond the grave” of the suicide in “Good Old Neon” has been given new significance after DFW’s own suicide. And stories like “Another Pioneer” and “Oblivion” are beautiful, profound, revolutionary, and riveting to the word-wise. I also read or re-read “A Supposedly Fun Thing I’ll Never Do Again,” his best non-fiction collection, and I’ve gone back to “Girl With Curious Hair” and “Brief Interviews with Hideous Men,” discovering, as I’d thought, that BIwHM is really the only unreadable DFW opus, although the shortness of many of the pieces makes them less daunting.

The Inheritance of Loss, Kiran Desai

The Ministry of Special Cases, Nathan Englander

The Omnivore's Dilemma, by Michael Pollan

Tim O'Brien, Scott Nygaard, and Mark Schatz - Heartbreak Game

Tim O'Brien, Scott Nygaard, and Mark Schatz - One Way Street

This Is Cool

You don't need no fancy instruments to make music:

The First International Body Music Festival Opens This Week - Tickets on Sale Now!

BARBATUQUES Sao Paulo, Brazil
SLAMMIN All-Body Band Oakland, CA
KEKEÇA Istanbul, Turkey
INUIT THROATSINGERS Nunavut, Canada
THE KECAK PROJECT Bali, Indonesia and Oakland, CA
DERIQUE MCGEE San Francisco, CA
LOOP-IT Bordeaux, France
SANDY SILVA Montreal, Canada
TOP NOTCH STEPPERS San Francisco, CA

TUES DEC 2
Teacher Training Workshop
Incorporating Body Music into Elementary Curricula
First Unitarian Church, Oakland
4-6pm $15

WED DEC 3
Teen Workshop, Destiny Arts Center, Oakland
12-18 yrs., 4:30-6, FREE

Body Music Open Mic, Club Anton, Oakland
21+ 8pm, $10, get up and show it!

THURS DEC 4
Lecture/Demonstration, Oakland Museum of California
Join a discussion with the artists about their work
8pm, $10/$5 Museum members

FRI DEC 5 - SUN DEC 7
Theater Artaud, San Francisco
Evening Concerts - Different Program Every Night
Family Matinee Sunday Afternoon
Workshops in Body Music, Throatsinging, Beatboxing, Turkish Rhythms, Balinese Kecak, plus The Big Sing Sunday morning with Linda Tillery, Rhiannon and more...

Full schedule/details: http://www.crosspulse.com/html/ibmf.html

Joan Baez at Herbst Theater

Joan Baez’s new CD Day After Tomorrow has been creating a bit of a stir lately. Produced by Steve Earle, with all-acoustic instrumentation and an all-star Nashville band—Tim O’Brien, Darrell Scott, Viktor Krauss, Kenny Malone—the album is one of Joan’s best in many years and has even made Amazon’s Top Ten folk albums of 2008. But the recording pales in comparison to Joan’s live show and rockin’ new band: John Doyle on guitar and mandola; Dirk Powell on banjo, mandolin, accordion, and fiddle; and Todd Phillips on acoustic bass guitar.

I got to see them last week at the luxurious Herbst Theater in San Francisco. Joan sang some songs from the new CD (Steve Earle’s “God Is God,” Eliza Gilkyson’s “Rose of Sharon,” Elvis Costello’s “Scarlet Tide”) as well as many of her early folk classics (“The Lily of the West,” “Fennario,” “Joe Hill”) and some that she described as “what you came to hear” (“Farewell Angelina,” “Love Is Just a Four-Letter Word,” “Love Song to a Stranger,” “The Night They Drove Old Dixie Down”). Joan has a special affection for Steve Earle’s songs, which is perhaps not surprising considering their sympatico political leanings, and her versions of Earle’s “Christmas in Washington” and “Jerusalem” were highlights.

Joan onstage was charming. Though she looked a bit tired and frail (this is her 50th year as a performer), she pulled off the 90-minute show without faltering, injecting humor even at the end of a solo “Diamonds and Rust” (altering the final line “If you’re offering me diamonds and rust, I’ve already paid” to “If you’re offering me diamonds and rust, I got the Grammy”).

The new band was brilliant, creating a rich bed beneath Joan’s strong vocals, weaving punchy, spontaneous guitar and bass lines, colored by whatever instrument Powell had in his hand at the moment. Particularly nice were Powell’s Cajun fiddle on “Farewell Angelina” and Doyle’s solo guitar backup on “Christmas In Washington.” Joan and the band are continuing to tour this winter and spring. If you’ve ever had any affection for her singing and point of view and want to hear her with a great acoustic band, I’d recommend catching a show on this tour.

And oh yeah, I may be filling in for John Doyle on a few gigs this spring!!