Autumn Celebrations: gift ideas

Autumn: with the turning of seasons come times for gathering with friends, family celebrations, planning for a celebrating holidays large and small, travels, time for quiet reflection -- and time for music.

Music makes a fine companion for any of these activities, whether you are looking for holiday gifts to give or music for yourself to listen to. Are you preparing for those big holidays -- Christmas, Chanukah, Kwanzaa, Winter Solstice? It’s never too early. The small circumstances are just as worthy of celebration, as well. Gifts to give and gifts to receive: here are musical ideas for you to explore early in this holiday season:

Cathie Ryan’s recording Through Wind and Rain will make a fine gift for those who enjoy good stories thoughtfully told, as Ryan traces a journey through the dark and light of life with always thread of hope and resilience and faith weaving into the tales. She is first generation Irish American. She has spent time living in both countries, and makes music that respects and connects them, offered with voice and style which invite listeners in. Every song is a keeper, and sequenced in a journey worth the following. If you’ve just a short time to check out the music, though, standout tracks include Fare Thee Well, Mo Nion O, and In the Wishing Well.

Kathy Mattea knows a thing or two about storytelling, too. On Calling Me Home, the country Grammy winner and West Virginia native follows her calling to the heart of mountain music, songs sung in her own way which add to the tradition she respects. This, too, is an album where it is really worth following the sequence as it’s told. If you want to take a quick listen, though, try A Far Cry, The Wood Thrush’s Song, and Hello, My Name Is Coal.

Tim O’Brien is one of the guests on Mattea’s album, and he’s also teamed up with old friend Darrell Scott for a rockin; ramblin’ hot pickin’ set of of country blues, bluegrass, Americana songs. recorded live at the Grey Eagle in Asheville, North Carolina. In a nod to the duo’s wry humor, it’s called We're Usually A Lot Better Than This.Standout tracks include Mick Ryan’s Lament, Keep Your Lamp Trimmed and Burning, and White Freightliner Blues.

Singer Mary Jane Lamond and fiddle player Wendy MacIsaac make a fine duo as well, joining forces to bring a collection of music from Cape Breton in Atlantic Canada on Seinn an album that shares the tang of salt spray and the mystery of Maritime forests, and honors the dance based fiddle music of the place along with its long heritage of Scottish Gaelic culture. Two standout cuts are Keeping Up with Calum and Seudan a’ Chuain/Jewels of the Ocean.

As the autumn and winter season unfolds, treat yourself to listening to these, and stay tuned here along the music road for holiday gift suggestions to come -- and check out our archives too!

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Best Music, 2011

holiday gift list: Irish music

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Kathy Mattea: Calling Me Home

Landscapes of the heart, of the mind, of the spirit, of time, and memory, and change: this is the territory Kathy Mattea walks in on her album Calling Me Home. A native of West Virginia whose life in music has taken her elsewhere, Mattea’s landscapes are framed in the hill and valleys, mountain and streams, and the lives of the people who call Appalachia home.

In some ways, this is a musical journey Mattea began when she was preparing her album Coal In other ways it is a journey she began long before that, growing up the granddaughter of miners, being drawn to bluegrass and folk music in her teenage years, and leaving West Virginia for Nashville. Mattea’s mainstream country albums have always included an element of mountain spirit and mountain music, howver subtle, because that is a part of who she is as a musician. “Folk music really was my doorway into country music,” she says. At the height of her Grammy winning country music reign, Mattea took time to travel to Scotland and immerse herself in Celtic music to refresh her thoughts. With Calling Me home, Mattea made time to immerse herself in the music of Appalachia and to understand what she could learn from it and what she could bring to it. Respect for the music of the mountains and its sources and a spirit of discovery as to what this music could be background Mattea’s work on this recording.

There is a song on Calling Me Home which takes place in those moments when a miner’s wife, learning that there’s trouble at the mine, makes her way to find out the fate of her husband. With her understated yet intense delivery, Mattea speaks the words of this woman in a way that makes that world and those moments world immediate. The song, written by Jean Ritchie, is called West Virginia Mine Disaster. Holding both love of family and realities of life in the mountains, and connecting these with lives lived beyond Appalachia, it is a centerpiece of the album.


A Far Cry, which opens the album, is a high stepping bluegrass tune, with that bluegrass gift for framing a sad lyric with a lively tune and making them fit well together. Mattea has friends accompanying her on the journey of Calling Me Home, and this tale of a lover who chose a rambling life and returned to the mountains too late is a fine way to meet several of them. Stuart Duncan is on fiddle, banjo, and other things, Jim Brock adds percussion, Bill Cooley is on acoustic guitar, Bryan Sutton on banjo mandolin, and other instruments, and Byron House on bass through the tracks on the album. Emmylou Harris, Patty Loveless, and Tim and Mollie O’Brien are among those who add backing vocals for several cuts.

All the songs are gems, really. They are sequenced in a line worth the following bothmusically and lyrically, too. Change and landscape and reflections on all that are present in The Wood Thrush’s Song. There’s the lively swagger and thought provoking ideas in Hello My Name is Coal, the benediction of Agate Hill, the spiritual with a warning note in Now Is the Cool of the Day. In the title track, Calling Me Home, a man on his death bed says he will leave his stories and songs behind “as sweet traces of gold.” Bringing the recording to a close, there’s is the quiet grace of Requiem for a Mountain, an instrumental piece by Bill Cooley.

Traces of gold indeed. Mountain songs are often thought to be a bit disconnected from today’s world, to be the distant province of scholars. With Calling Me Home, Kathy Mattea continues to show that the songs themselves, and the landscapes and people from which they come, are a vibrant, living part of the world whose joys and sorrows we all share.


Kathy Mattea talks about the album: "Each record teaches you something..."



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photographs of Appalachian hillside and of Kathy Mattea in performance by Kerry Dexter

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Music Road trip in West Virginia

West Virginia has a landscape that is at once both beautiful and heartbreaking. Beautiful, for the mountains, the forests, the rivers, heartbreaking because these days so much of that, and the balance of nature within them, and the lives of the people who call West Virginia home, is being lost to mountain top mining.

Two albums make a soundtrack for this duality. Still Moving Mountains -- The Journey Home finds artists, people who live in the mountains, and people who care about them, in a collection of music and short interviews explaining, illuminating, and getting at the heart of what is going on today in, as the classic song terms them, the green rolling hills of West Virginia.

Kathy Mattea is one of those who speaks out on Journey Home. Though her career as a Grammy wining country artist has taken her to Nashville, West Virginia is her home -- she grew with grandparents who worked in the mines, and heard the songs and learned the stories of miners’ life when she was young.

Her doorway into country music has always been through the folk and bluegrass side of things, but songs of the coalfields weren’t ones she felt she was called to do, or could do, until several years ago when a mountain mine disaster recalled to her how she felt facing such events growing up. So she decided to make an album, with some songs she’d known all her life, and some newer ones that speak to the lives of those who work the mines and live in the mountains. She called it Coal, and there’s more about her thoughts on the subject, and the music, here.

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Mary Black and Emmylou Harris sing Green Rolling Hills of West Virginia
some years before the Coal project, Mattea wrote of her own feelings on leaving her home state in the song Leaving West Virginia
Music Road: Kathy Mattea: Coal
Kathy Mattea’s website she thought the Coal album was going to be a sort of side project for her. as it turned out, there was more.
Music Road: ten songs
to learn more of what the people are singing about in Still Moving Mountains. visit JourneyUpCoalRiver


This is part of The Great American Road Trip, in which I’m partnering up with A Traveler’s Library to add musical ideas to the book and film suggestions for journeys through the regions of the United States which you’ll find there. Stop on by to see what's on tap for West Virginia at A Traveler's Library, and for more about the road trip (and a look at some great road songs) see Great American Road Trip: Music begins

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here is a way to do that, through PayPal. Note that you do not have to have a PayPal account to do this.Thank you.

Mary Black & Emmylou Harris on a hillside journey

The Appalachian mountains have always reminded me of the mountains in Donegal, and Derry, and Cooley, and those Irish hills have reminded me of Appalachian landscapes as well. Mary Black, from Ireland, and Emmylou Harris, from the United States, sing The Green Rolling Hills of West Virginia. Take a listen.






In a few weeks, the Great American Road Trip will get to West Virginia, where there will be more powerful music of the hills to share with you.

There's also more music ahead here along the music road, from Ireland, and from America, and from places where they intersect. Stay with us.

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Music Road: Reflections with Mary Black
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Music Road's Irish music store at Amazon

-->Your support for Music Road is welcome and needed. If you are able to chip in, here is a way to do that, through PayPal. Note that you do not have to have a PayPal account to do this. Thank you.

Kathy Mattea: Coal

Coal

“It’s got to come from the heart if you want it work” is a line Kathy Mattea sings in one her country hits. Mattea has always been good at that, whether she’s singing about the love of an elderly couple in Where’ve You Been, talking about the changes of moving on in Leaving West Virginia, or the changes of life, friends, and time in Roses. Drawing on folk and bluegrass as her way into the country music mainstream, she’s always remained a bit of a maverick in that world, holding out for and holding on to songs of substance, songs of the heart.

In her latest project, Coal, they are songs which come also from the landscape and the land where Mattea grew up. She’s from West Virginia; both her grandfathers were coal miners, and her mother worked for the miner’s union, the UMWA. Though she heard the music of such mountain musicians as Hazel Dickens, it wasn’t the sort of style she felt she could do, or was called to do. Nevertheless, the power of the songs struck her, and she began to take note of them. One of the songs on this album, Dark as a Dungeon, Mattea first heard when she was nineteen.

Then, in 2006, twelve miners lost their lives in at the Sago Mines in West Virginia. “When I was about nine, 78 miners were killed in The Farmington Disaster, near Fairmont in 1968. When Sago happened, I got catapulted back to that moment in my life and I thought, ‘I need to do something with this emotion, and maybe this album is the place to channel it’. And so I knew the time was right,” she says.

Coal mining is a tapestry of hard work, family, beloved yet harsh landscape, facing death every day, facing life everyday, hard choices, hard times, and good times and hope and love as well. All these find their places in the songs Mattea chose, and in the ways she chooses to sing them. Coal camp childhood turning into adult reality moves through the opener, The L&N Don’t Stop Here Anymore, which is framed in a fast driving bluegrass sound. Red Winged Blackbird is a piece of poetry and vivid visual imagery about death and the mines; Green Rolling Hills, though it’s about West Virginia, reminds too of the green hills of Ireland and Scotland to which many miners trace their family ties. Family ties and ties to the mine form the bedrock of You’ll Never Leave Harlan Alive, a song that’s bound to haunt you long after it’s done. The other songs on the disc are equally varied, and equally strong.

Mattea is an artist in service to the song, one who uses her gifts to further the connecting and spiritual aspects of music. It’d be easy to go over top with some of these songs, or not to go deeply enough into them. No worries about that with Mattea and the musicians she’s invited along on this journey, who include producer Marty Stuart, fiddler Stuart Duncan, and guitarist Bill Cooley. Tim O’Brien, Molly O’Brien, and Patty Loveless add background vocals.

It’s Mattea’s vision, voice, and emotion which center this powerful music, however. An artist who’s always been open to dimensions of music beyond what’s on the surface, she knows she had help with that, that her work is part of a continuing story. “I think there’s a mystery there: that somewhere in me, in my DNA, there’s my great grandmother singing, and my grandmother, and my people, singing through me, with me,” she says. “Maybe that’s why it didn’t feel like work.”

Just another thought: quite probably, the electricity by which you are reading this was generated, in part, by coal.

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If you find these ideas helpful

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now playing: Tim O'Brien: The Crossing

Tim O’Brien is a fine singer, songwriter, and player of all sorts of stringed instruments in the country and bluegrass style. He’s from West Virginia, based now in Nashville, after some years some years in Colorado. His family came to America from Cavan and from Donegal, in Ireland, The Crossing is the first of several albums in which O’Brien considers that ancestral experience in real time, as events which happened to real people and stories of their lives, the risks they took and joys they celebrated. It’s a very fine album on its own and a real necessity for anyone interested in Irish and Irish American history to explore.
The Crossing