Three Great Wake-Up Songs

Ingeborg Von Agassiz @ Cedar Lounge

Every morning at precisely 7:00 a.m. my father would go downstairs, turn up the furnace and turn on the radio in the kitchen, its dial perpetually set to WOR in New York, the Rambling With Gambling show. If memory serves me well, 7 to 7:15 was news and then the actual show would begin, almost always some kind of cheerful, upbeat music leading into it. One song that John Gambling liked to play was Zip-a-Dee-Doo-Dah. Another was a song with no lyrics that was all whistling, as in a marching band. There may have even been some Mitch Miller material in there, I can't recall. What I do recall is "upbeat" being the theme, a feel good lift to launch you into the new day.

This all came to mind when someone on social media asked, "If you had to spend the rest of your life with only one wake up song, what would it be?"

I didn't have to think very hard about it. Three came immediately to mind, not necessarily in this order. I don't play music in the morning when I get up except inside my head. At different times each of these has been my waking accompaniment at one time or another.

New Morning by Bob Dylan

I couldn't find the original version from Dylan's New Morning album, but over the course of near 50 years now this song has given me a lift. The opening cut from side two, here's the first stanza:

Can't you hear that rooster crowin'? 
Rabbit runnin' down across the road 
Underneath the bridge where the water flowed through 
So happy just to see you smile 
Underneath the sky of blue 
On this new morning, new morning 
On this new morning with you

New Morning was one of several early post-motorcycle crash albums, the first track of the album being "If Not For You." What intrigued me was how George Harrison recorded that opener on his first solo album, but the you seemed clearly God-directed, "If not for You."

In light of Harrison's interpretation, I often felt Dylan's own version was really in that vein. And in light of this perspective, the song "New Morning" could be given a similar slant. In the bridge where he sings, "The night passed away so quickly, it always does when you're with me" sounds like a night spent with a lover, but could easily be a metaphorical image. The darkness comes into our lives, but it's always followed by a new morning. "Thank you, Lord. It always does when You're with me."

However you want to interpret it, it's a nice wake up song.

Good Day, Sunshine
The Beatles produced so many great songs that never get old. And if you want to wake up with a spring in your step, the opening reps of "Good Day Sunshine" will take you there. George Harrison's "Here Comes the Sun" from Abbey Road is a nice runner-up from the Beatles catalog.

Oh What A Morning
Duluth singer-songwriter/performer Ingeborg Von Agassiz may not be a household name, but her album O Giver of Dreams became an immediate favorite for me as I listened to it enough times to internalize much of the material. For a couple weeks straight I woke ever day with the intro to "Oh, What A Morning" as my accompaniment. Great way to start your day.

Here's a fun video to get you familiar with the song.

Here's another video of Ingeborg performing the song live in the KUMD studio here in Duluth. I share it only to show how the song has been constructed.

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Well, if you're a little slow getting up to face the day, any one of these might be a good addition to your internal playlist. And if that doesn't work, try Zip-a-Dee-Doo-Dah.

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Today on Medium I saw this article on How to Wake Up Smiling. It has nothing to do with music. The title corresponded to our theme here, so I have added it. Some good suggestions for a better life.

Happy Valentine's Day.

Jamie Ness Fund-Raiser: That's What Friends Are For

Philosopher Albert Camus once wrote a novel called The Fall. It was not about painting houses and falling off ladders.

My grandfather was painting his house once and the scaffolding fell. He landed on his heels and shattered both. Excruciating pain and six months in recovery.

I painted apartments for four years and did a measure of exterior work. Even though I do not consider myself afraid of heights, I did always respect them when up on ladders.

When I heard details of Jamie Ness' fall it caused my stomach to churn. If you read on you'll see details from his Go Fund Me page.

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Musician Jamie Ness, a lifelong Duluthian, has generously donated his time to support good causes over the years including performing at the Duluth Dylan Fest. I'm confident there will be a strong showing of support at Saturday's fund-raiser at The Rex at Fitger's. In fact, when I see the lineup of performers I am a little concerned about there being enough room for everyone.

What Happened: The Big Fall

October 3rd, after 20 years of working as a house painter, Jamie had a fall from the top of a twenty-foot ladder. As the feet of the ladder suddenly slid away from the wall, Jamie instinctively grabbed a large air vent suspended from the ceiling. A huge section of the vent came down with Jamie and the ladder.

As the EMTs were taking him to the ambulance, Jamie was worried about the cost of the ambulance ride, the damage to his client’s property and trying to give his helper instructions on how to clean up the paint and blood.

The impact of Jamie's face coming down onto the ladder from that height split his upper lip straight through. He had a broken maxilla (upper jaw bone) and teeth that were loose and shoved out of position. Facial surgeries will need to be done in stages because his bone is too unstable and requires grafts. So far Jamie has had two of his front teeth removed and his other teeth were wired together. In addition to many contusions, Jamie has multiple complex fractures in his foot and is on his second of three or more casts. He is getting around on crutches.

The Appeal

Jamie Ness with the band.

Please join Jamie's friends and family in support of his recovery from a traumatic ladder fall that resulted in nearly $30,000 of medical and dental bills. He has been unable to paint since the accident and he could use our help. A Pizza Buffet, Silent Auction, and Music are planned from 4-8 PM at the Rex at Fitger’s. Suggested donation is $20.

They now have nearly $12,000 of silent auction items up for grabs at the event, donated by local businesses and artists.

Here is the entertainment schedule:
4:30 PM - Kyle Ollah
5:30 PM - Ingeborg Von Agassiz
6:30 PM - Jerree Small
7:30 PM - And a special Duluth performance by Low

A portion of the show will include live painting (art) by fellow house painter and friend Dusty Keliin.

There will also be a pizza buffet from 4-6:30 PM donated by Valentini's Vicino Lago, Pizza Lucé, Vintage Italian Pizza, V.I.P, Pizza Man Duluth, Theotherplace, and Do North Pizzeria & Pub, Hermantown.

If you can't be there January 26th you may Donate Today.

Who – Jamie Ness, longtime local musician and self-employed painter.

What – Medical Relief Party

When – Saturday, January 26 from 4:00-8:00 PM

Where – The Rex Bar at Fitger’s

Why - As a result of the fall he has nearly $30,000 in medical and dental bills. He has been unable to paint since the accident and could use our help.

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Among the donations from local businesses and artists there are hotel stays, A Loll Adirondack Chair, restaurant gift cards, pottery, books by local authors and poets, an array of gift baskets and certificates, and much more.

One more time: https://www.gofundme.com/7zukhb-jamie-fund

Local Art Seen: The Studio of Ingeborg Von Agassi & The Rooster Tail

On Monday I shared some of what I saw at Washington Studios Open House over the weekend.

One of the studio spaces I ducked into was that of Emma Rustan and Christopher Dunn (Rooster Tail Ink). I can still recall my first meeting with the couple five years ago, and their growth as artists has continued.

Emma Rustan as Ingeborg Von Agassiz has also developed as a musician, releasing her first solo CD -- O Giver Of Dreams -- earlier this year.

If you've never dropped in to see what the Washington Studios artists are doing, you owe it to yourself to include it in your next Downtown Arts Crawl.

This "find" in Emma' studio space only served to seal the deal
as regards my own personal fandom for what they're doing.

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Meantime, art goes on all around you. Get into it.

All Kinds of Music On Tap in the Twin Ports: One Week LIve @ Beaners, and More

This will be a post about the 17th Annual One Week Live @ Beaners Central starting tomorrow evening, a week of finely crafted live music. But first, a few items of note.

Ingeborg von Agassiz

The fall schedule of events for Oldenburg House is online here at their website. It's really quite remarkable how far they've come in just over a year since their inaugural Cookin' @ the O kicked off, featuring jazz vocalist Pippi Ardennia with Billy Peterson* on bass. Debbie Duncan is returning in October for two nights. These jazz weekends have been selling out early so you will want to grab seats before the last minute.

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The second item of note is Ingeborg von Agassiz. I finally caught one of her live shows during Earth Rider Fest last week. The power of her presence and the sound she produces was striking. I raved about her CD a few weeks back, but to see her live made an even greater impression. If you're in the region and you do the Twin Ports night life, follow her on Facebook and make an effort to see one of her acts. Her performance of Brian Wilson's "God Only Knows" is perhaps as spectacular of a cover as Jimi Hendrix's version of Dylan's "All Along The Watchtower." I kid you not.

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19 Bands, One Week Live, Volume 17 

at Beaner’s Central, September 23 to 29

Beginning tomorrow evening, Beaner’s Central Coffeehouse is hosting its 17th annual One Week Live series of concerts featuring some our region’s top acts. The week’s performances are recorded live.

Music and art have always been central to Beaners' vibe. One week live simply takes it to another level. Beaner’s owner Jason Wussow calls One Week Live one of the highlights of the year. “Sometimes I’m literally amazed at the talent here in this town," Jason says.

Jason himself can be numbered among those who enjoy bringing their music gifts to the wider community. Woodblind, his current ska band with Veikko Mark Lepisto, has produced a massive amounts of good energy in listeners. You'll be able to catch them Thursday with an expanded Jubilee ensemble.

HERE'S THE LINEUP
(All shows begin @7:00 except Friday at 6:00)

Sunday, September 23

Jacob Mahon (L) accompanied Mama's Stolen Horses
at the Singer/Songwriter contest during Dylan Fest.

Jacob Mahon & the Salty Dogs
Jacob and his brother Owen have amped up the energy and fun by adding Adam Johnson on bass, Camille Marsten on vocals and synth and Joe Anderson on sax. Great lyrics surrounded by nostalgic driving rhythms. Dan Dresser kicks off the night followed by the new acoustic trio One Less Guest.

Monday, September 24
Drew Peterson
Drew first appeared and recorded at Beaner’s during his days in 40-Watt Bulb over a decade ago. Recently he’s been touring with the Midwest Americana band The Dead Pigeons. Mandy Fassett of The Dead Pigeons will be adding her cello, mandolin and fiddle to Drew’s gritty vocals and foot-stomping guitar. This duo is receiving a local sandwich with Biochemical Characters on one end and Rich Matson and the Northstars on the other.

Tuesday, September 25
Christopher David Hanson
Catchy tunes with strong hooks and a heavy rhythm that gets folks dancing. The band has opened for many national acts and they have had songs placed in several motion pictures. These Iron Rangers will be bringing the full band to share the stage with the Trash Cats and Feeding Leroy.

Wednesday, September 26
Songwriters Competition
20 songwriters have prepared two songs each to win over the panel of judges and the audience. There will be a People’s Choice Award along with the judged winners, as well as fun prizes including studio time and musical gear. Judges will evaluate based on 4 categories including Lyrics, Performance, Originality & Melody. Past winner Ryan Lane will be hosting this midweek song eruption.
EdNote: I was a judge one year for a singer/songwriter competition here at Beaners, and it ain't easy. There is so much talent.

Thursday, September 27
A Band called Truman

Woodblind: Veikko  (on bass) with Jason

Guitarist and vocalist Leon Rohrbaugh leads the charge with this high energy eclectic band. Featuring a full horn section, this giant band will get you out of your seats. Expect to be smiling and sweating. Hardaybra, Mark Blom’s new band, will kick off the evening and Woodblind Jubilee will give us a wrap.

Friday, September 28
Plucked Up String Band
An original progressive sting band with the energy of alternative rock and punk bands. Four strong singers, led by the incredible voice of Amanda Hand, blend rich vocal harmonies with a hard driving rhythm section and hot instrumental solos by Bill Hansen on dobro & steel guitar. This acoustic night kicks off early at 6pm with Ten Crow Moon followed by A Lady Slipper and The Fish Heads.

Saturday, September 29
Edward Ojard
Edward is the youngest performer to be involved in our One Week Live recording project. At 9 years old Edward released his first full length original album entitled "Butterfly Dances." He started composing at age 4, has studied Suzuki techniques and performed with the Ragtime Society. The night continues with the youthful Langertsons followed by The Holy Hootenanners and their big gospel band.

IN CONCLUSION... It's a very special week ahead. Y'all come.

Ingeborg von Agassiz's O Giver of Dreams Delivers as Promised

It began with a remark I heard from someone close to the music scene in 2016. I'd asked who locally was doing the most interesting work today. "Without question, what Ingeborg von Agassiz is doing," Marc Gartman replied. I made a mental note to catch her act sometime, but it wasn't in the cards as I am not the night owl I once was.

Eventually I learned that I already knew Ms. Agassiz as the artist Emma Rustan, whose work I'd previously written about on a couple of occasions here. (e.g. Art Crawl review in 2013)

This spring saw the release of Ingeborg von Agassiz's first CD, evocatively titled O Giver of Dreams, accompanied by a rave review from Tony Bennett in the Duluth News Tribune. The review was titled Album review: Ingeborg von Agassiz astounds on debut LP, and it opens with: Let's just skip to the headline: Ingeborg von Agassiz' debut album is one of the best locally-made albums in the history of locally-made albums. It's true. No hyperbole.

That kind of high praise gets your attention. Sure enough, this past weekend I caught part of her performance at the Bayfront Park Art Fair and acquired a CD. It's every bit as good as Bennett boasts.**

I approach this review by offering up a comparison. As is well-known (by regular readers here) I am an advocate for the music of Bob Dylan. For decades I've approached each of his new albums in a similar manner. I play the album through. A few songs immediately connect during that first listen, not necessarily every song right off.  But there are always a few tunes that grab you and, for me anyways, this is often the very first cut. From Time Out of Mind to Tempest it's happened every time. Then the second listen and a third, and after a while each song begins to unfold. An astute listener begins to see how much thought went into the production, the layering the the sound, the caliber of the band and, with Dylan (always) the richness of the lyrics, their beauty or complexity, variety or density.

Returning to O Giver of Dreams, Ingeborg von Agassiz has produced something every bit as complex and luscious, from both the production side and the literary quality of the songs themselves.

Dylan, for those who appreciate his work, is a master of evocation when singing. People who dislike his voice fail to appreciate what he achieves in creating emotion through intonation, from haunting to longing, aching to aspiring. Ingeborg von Agassiz is likewise evocative, forming words with deliberate aims on each of her songs.

Von Agassiz at Super Big Block Party 2017. (Photo credit: Andy Hardman)

Few will compare von Agassiz to Dylan, I am sure, because she has such a beautiful voice. What she achieves with that voice is far more than just a mercurial fluidity of sound. Having listened to O Giver about ten times this week I hear various echoes. Loreena McKennett comes to mind at one point. ABBA kept coming to mind and I couldn't figure out why, but it's because of the manner in which she sings in unison with herself on some songs. And, this will surprise you, Sgt. Pepper came immediately to mind as the album opened. The similarity is in the feeling of setting up a place where people are gathered, and there is anticipation. In Sgt. Pepper it is an auditorium audience; in O Giver of Dreams it sound like a restaurant or dinner theater with the clinking of glasses, forks, knives, plates, and the drone of people not yet paying attention to what is about to happen.

Then there are the songs themselves. That is, as a lyricist she has a remarkable maturity. Examples abound.

Lonesome Way
This first song begins, "Come with me. Come with me." Seductive without being sensual, inviting the listener to enter this story, her story. (Keep in mind that it is a song and that historically the narrator of a song may not necessarily be the real person's story. This could be a fictional story, sung first person, the way folk singers sing "Barbara Allen.")

As the opening of the album, it can also be taken as an invitation... "take this journey with me." But it could be simply the invitation of this song. "Come along with me in my lonesome misery..." What an unexpected turn. Already, we have been diverted into a different path from the one expected. Lonesome misery. How? Why? That is what this first song is about, the how it happened and why.

I will make another Dylan comparison here as well. Many of the lyrics have been written with a seemingly measured ambiguity that invites further analysis and reflection. This occurs here and in a few of the other songs.

It should be noted that von Agassiz has produced all the music, all the vocals, the percussion and everything else herself. When she performs she uses looping and layering, much the way Gaelynn Lea or Israel Malachi have been doing over the years. The arrangements are terrifically complex and sophisticated.

At the Earth Rider Grand Opening.

Oh What A Morning

Another comparison is in order here. Some may suggest exaggeration but I think not. Von Agassiz has a knack for creating catchy tunes that stick with you, like the Beatles whose early tunes climbed the pop charts like monkeys. The other day I woke with the opening of this song going through my head. "Oh what a morning, oh what a morning, oh what a morning, oh what a morning." The song opens with this phrase repeated by a unison chorus, four times. Then Inge opens the song, with accompaniment, "Oh what a morning..."

This song is like the first in that it, too, is in invitation. It's from a child's point of view. What a beautiful morning. Won't you come out and play with me? We can go ride our bikes. We'll climb trees. And I will show you my new dance, if you let me.

Oh, the Hillside 
This tune is a change of pace, sung as if a lament, a nostalgia piece. The central theme is the hills of Duluth. The verses outline the Duluth experience, from the hillside to the bells of Old Central, thnd e freighters, the lift bridge going up and down, the howling wind, the lighthouse on the pier, the train chugging by, Fitgers, and the mystery of the Great Lake. The song's straightforward lyrics are beguiliing when juxtaposed with its haunting tune.

Bulletproof Vest
"Going south, south for the winter
That's what I'm gonna do next year."
In an album with so many special tracks it's difficult to pick any one to be your favorite, but this one would certainly be a candidate. It's a solid song with intriguing lyrics sung in a crafted manner that draws you in. An old man, an obituary, a funeral... and a chorus that reinforces a contradiction.

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Maybe the magic of Ingeborg von Agassiz's songs has something to do with the collision of innocence with innocence lost. You certainly hear this in Sun Beats Down and Rebel Robin. The pointed "O Giver of Dreams" is a serious song as well, followed by Runtchkin Love's opening line, "I plucked my eyebrows to a shape of pity and despair."

The lyrics throughout belie their depth, much like Dylan's "All Along the Watchtower."

The CD rounds out with "What's Wrong With Me" and "Will You Go?"  and when you reach the end you will want to listen again.

Verdict: O Giver of Dreams is an exceptional achievement.

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Related Links
Follow her here at www.ingeborgvonagassiz.com
or here on Facebook.
**Tony Bennett review in the DNT