If you don't know her, then, let us introduce you to Kristin Andreassen, singer/songwriter and Portland native who has graciously accepted our invitation to be the opening act at our CD release, April 4 at Seattle's Town Hall.
Kristin is a dazzling singer, and is equally impressive as a songwriter. Plus for us, she's absolutely grounded in traditions we love, including old-time American--she can pick a guitar and clog like it was 1899! For years, we knew her a one of those amazing Uncle Earl g'Earlz. (If you don't know the all-girl old-timey band Uncle Earl, check them out!) And today, she releases her second CD, the water-buoyed Gondolier. We're excited not only for a complete listen to the CD, but also for her online CD-release concert tonight, starting at 6 p.m. at an Internet connection near you. (Don't miss it!)
Kristin grew up in Oregon, went to college in Canada, did social work in Cape Breton, and discovered that music needed to be her professional path. Since then, she's toured the world, performing in a professional clogging company, playing with Uncle Earl, and recording with a star-studded roster of trad musicians (Dirk Powell, Aoife O'Donovan, Ruth Moody, Jefferson Hamer, Laura Cortese, Sufjan Stevens, and the like...).
She's now based in Brooklyn, New York, but travels a ton still, often landing in Portland (and Seattle, where her brother lives). Her new CD juxtaposes deep traditional roots with modern NYC indie influences. Featuring guests (O'Donovan, Hamer and Punch Brother Chris Eldridge to name a few) from the exploding New York folk scene, but written largely on a remote island in New Hampshire, the lyrically and instrumentally rich arrangements on Gondolier "explore secret passageways connecting the outer edges of disparate notions – urban and rural, childhood and old age, expectation and reality," according to her press materials.
We finally met her a year ago, spending a week staying up till dawn playing tunes with her atop a Big Sur cliff. We taught her tunes, she taught us songs, and we played and played and sang and sung, all night long. (Indeed, with out her our recordings of "Jubilee" and "Big Sur" on our new CD would never have happened.) She's played Seattle in various guises before, but she likely will be a new name to a large number of Onlies' fans, so we're delighted to share her with you!
Alas, that will have to wait until April 4. But the good news is that you can listen to her concert tonight, and buy Gondolier if you like what you hear!
Our new CD has a name, "Long Before Light," and we're excited to announce our Seattle CD release, 7:30 p.m. Saturday April 4 at Town Hall!
The name comes from the lyrics to Leo's "Gathering Up The Hours," one of several original songs on the CD. It'll contain a mix of 15 traditional and original songs and tunes, all fiddle-driven and many with three-part harmony (look out, Peter Paul and Mary!). We wanted, as Leo says, the recording to capture "the joy of playing music all night long with the people we love.”
Hopefully you can join us at Town Hall. Advance tickets, $10--$5 for students--are available now, via Brown Paper Tickets. Day of show prices will be $15 for adults, $8 for students. We recommend snagging advance tickets, as we sold out our last CD release show and the building manager had to turn people away. (Not fun!)
We're way proud to have been invited to perform at "Ampersand Goes Totally Live," a conservation magazine's effort to move "from page to stage." We'll be one of over a dozen acts ranging from story-telling, photography, hip-hop, and--well yeah!--fiddle tunes.
Produced by Forterra (formerly the Cascade Land Conservancy), the event takes place at 7:30 p.m. Thursday, Nov. 6th at Town Hall, 1119 8th Ave. in Seattle. Tickets are $8.
By Tom Braman
As Sami’s father, I asked The Onlies if I could write a little something on their Web site regarding activities over the last two weeks, and they said yes. What follows is an attempt to convey what it’s like for an outsider like me to watch/listen to The Onlies rehearse for and record a CD.
To back up a moment, I need to tell you The Onlies are recording a new CD. About a year ago, they decided to record once more while in high school, and the summer before their busy junior year was it. They wanted the experience to be educational, and to that end they hired a professional producer, Tristan Clarridge, a musical genius (and I’m not blowing smoke here—he truly is!) best known for his work as cellist with Crooked Still and The Bee Eaters. And along with Tristan, they sought a top-notch studio where they could work long hours, away from the distractions of the city.
I’m writing from the control room of that studio, Paradise Sound, on a forested hill above Index, Wash., a stone’s throw from the north fork of the Skykomish River. Riley, Leo, Sami, and Tristan spent last week at a cabin just west of here on the Skykomish, courtesy of friends/fans (thank you Theresa, Tom, and Samia!). There, they practiced from 9 a.m. till midnight for four days straight, stopping briefly for meals and the occasional river dip. Surrounding two microphones, they played the tunes and songs for hours upon hours, listening to recordings of each take. With those, Tristan—gentle as a lamb, focused as a laser—coaxed them further and further, refining their arrangements, tightening their harmonies, locking in their rhythms.
Tristan and The Onlies broke for the weekend, and returned to Index Sunday night. Here, they met Pat Sample, owner and sound engineer of Paradise Sound. Pat’s had a home-based studio in Index since 1984. After a flood attacked his first studio, he moved it to a hill east of town, and later built a gorgeous home immediately next to it. He’s got a guest residence down the hill, to which musicians repair after long days in the studio.
Pat’s as easy-going as Tristan, and as oriented toward excellence. His control room is state-of-the-art, but he hasn’t had the heart to part with his once-state-of-the-art (circa-80s) analog tape recording deck. The main studio, walled in tenor-reverberant oak and bass-dampening cotton, is where The Onlies together have spent most of their time this week. They might have spent it separately, in any of three adjacent rooms, playing away from each other except for earphones and windows, but Tristan—seeking a groove that only physical ensemble playing can generate—wanted them playing and singing together, in the same room.
And now, four days later, at 7:14 p.m. on a Friday night, with only 3 hours and 46 minutes left to record (Pat needs to close shop tonight at 11 p.m., as he’s doing sound at a nearby music festival Saturday and Sunday), the Onlies are in the studio doing take No. 8 of “Past The Fog,” a difficult tune they’ve been playing since Leo wrote it over a year and a half ago. They’ve been joined today by bassist RuthMabel Boytz, whom we parents like to call “The Fourth Only” (she’s an only child too, and plays with Sami, Leo, and Riley quite frequently). While most of the takes have been very good, this one gets nearly derailed when Sami accidently launches into an improvised version of her solo, catching everyone (including herself) off-guard. Laughter emerges, threatening a train wreck, but miraculously they all return to the tune, finishing with a modicum of polish. \
Rehearsing the band for the next set of takes, Tristan focuses on one particular line, “Squint or look away, so you can't see past the fog. Settle in for the winter.” He has The Onlies and RuthMabel sing and play it over, and over, and over. And over and over and over. And over and over and over. For the perfect take. Will it come? We’ll see.
Tonight, after Sami, Leo, and Riley have fallen asleep, after the recording phase has ended, Tristan will be pulling an all-nighter on his laptop, splicing the best parts of Take 8 with the best parts of other takes, and the same with the other tracks recorded this weeks. He began the editing phase earlier this week, but hasn’t completed it and hopes to do by tomorrow morning, before he treks back to California. Will he finish? We’ll see.
Sami, Leo, and Riley return here on Monday, to work with Pat on mixing. Mixing is the art of insuring that each recorded sound blends perfectly with all the others—that no sound dominates others, that none is lost among the others. Pat hopes they can complete at least five tracks a day—a quick pace—because after Wednesday he’s gone for a week and a half, and after that The Onlies start their junior year at Garfield. Will they finish? We’ll see.
Assuming the editing and mixing phases do come to a proper conclusion, the recordings will be sent off to yet another engineer who will “master” them—mastering is the art of making sure that all the recorded cuts on the CD have roughly the same levels, that everything sounds consistently recorded and nothing sticks out like a sore thumb. All this, some time for advanced publicity and concert planning, and with a little luck, The Onlies hope to launch the new CD in early 2015. No name yet for the CD – they’re open to suggestion. Stay tuned!
Hold onto your seats, folks, because there's a new wind blowing through town: It's a heady Northwest mix of folk and jazz coming when The Onlies join The Westerlies for the latter's Seattle CD release party., 7:30 p.m. Friday, Aug. 8, at Seattle's Royal Room in Columbia City. You likely know all you need to know about us Onlies, but if you haven't heard The Westerlies, do yourself a favor.
Graduates of the Garfield and Roosevelt Jazz Orchestras, the four Westerlies found themselves together in New York City and decided to form a band: Two trumpets, two trombones, and unlimited imagination. We've listened to them live, can't get enough of their new CD, Wish The Children Would Come On Home: The Music of Wayne Horvitz, and we're super proud to be opening for them. And we're not the only ones with goose bumps. NPR's Fresh Air gave the CD a great review, and they've garnered accolades from a host of jazz critics. Kurt Gottschalk of NYC Jazz Record put it this way: The CD “is a lot of things, but first and foremost it should be noted that it is just a lovely listen. It is that rare combination of approachable and unusual that can challenge listeners who want to be challenged and entertain those who don’t.”
Tickets are $20 adults, $10 students, and apparently are going fast. You can get yours at StrangerTickets.com.
Yes, once again, Sami's bow catches fire during an Onlies' practice session. It's such a common occurrence these days, nobody in the photo seems to care. Fortunately, the band has hired a firefighter to stand by for all practice sessions and concerts, and she was able to put the fire out in seconds. Alas, the costs of purchasing new bows for Sami has become a major drain on the Onlies finances.
Come join us from 1:40 to 2:15 p.m. Saturday May 24 at the Fisher Green Stage, as we participate again at Northwest Folklife, the great-grandpappy of all Northwest folk events. This year, we'll debut a few new songs and tunes, and play some of our oldies but goodies.
Even if neither you nor your littlest has never been to a Music Together class, these songs are easily accessible for families with young children to enjoy! Heck, even old hipsters will have a great time. Come out, and help raise a little money for the best fest in the west!
Music Together is an innovative music and movement program for children ages newborn to age five years and their parents or caregivers, that is based on the belief that all children are inherently musical. Originally offered to the public in 1987, it pioneered the concept of a research-based, developmentally appropriate early childhood music curriculum that strongly emphasizes and facilitates adult involvement.
Tickets are $10, $5 for children (Are you under 6 months? You get in free!)
Imagine an under-21 band competition (unimaginable!), where your favorite teenage folk trio is pitted against an incredibly great rapper/musician - Kingston's Nabii KO$MO, an absolutely crazed garage-rock band out of Bellevue - Thee Samedi, and an amazingly ethereal electronica artist, Manatee Commune (a.k.a. Bellingham's Grant Eadie, who happens to play violin, guitar, and keys). Well, that actually will come to pass at 8 p.m. Friday, Feb. 15 at the EMP at Seattle Center, as part of EMP's annual Sound Off! competition. We're freaking out with trepidation and excitement, and we would so be honored if you would join us, root for us, and root for our competition as well -- they truly rock. It's such an honor to be among semi-finalists in this well-respected annual event. We recommend attending every one of the three semi-final events, which run each Saturday starting Feb. 8, and then coming out for the final showdown, March 1.
An annual event since 2001, EMP’s Sound Off! supports the all-ages scene by giving artists an opportunity to showcase original music, launch their music careers, and connect with the larger artistic community. All participants are 21 or under and residents of Washington, Oregon, British Columbia, or Idaho.
The coolest rule is that all music has to be 100 percent original, so while you'll hear some familiar stuff, we'll be debuting some new tunes and songs. Get the details (including tix). Be there!
Tomorrow, along with a slew o' stellar Seattle musos, we will brandish our fiddles, geetars, and such and play more than a few notes at the Winter Fireside Party, a hells-a-fire fundraiser for Northwest Folklife starting at 2 p.m. at Seattle Center. We'll play a concert AND a square dance (yes, we're giving our fingers a day of rest today), and count ourselves fortunate to play in a showcase alongside the likes of Phil and Vivian Williams, Paul Anastasio, and others. Concerts follow with Orville Williams, Ravenna Woods, The Sojourners, The Shivas, dang, even that most teenagerly of Northwest folk stars, Baby Gramps. Our elbows will be looking out for some good rubbing.
The square dance starts at 2 p.m., with Gabe Strand calling. Then at 4 p.m., we'll be part of the Northwest Fiddlers' Showcase.
Warning: The sticker shock is $25, but if you consider it's for a great, great cause, you'll probably just want to buy two tickets for yourself, or bring a friend. Do, and say high to us, dance a do-si-do, and if you've got an instrument, bring it to: There'll be jams galore.