Jeff Slate, Revisited -- Celebrating Dylan and More

I first interviewed Jeff Slate in the spring of 2019. Minnesota Dylan fans were still on a high regarding the release of Dylan's More Blood More Tracks, Volume 14 in the Bootleg Series, of which Slate wrote the extensive liner notes that accompanied this set. His considerable writing credits include work in such high-profile publications as The New Yorker, Wall Street Journal, Esquire and Rolling Stone. 

One gets the impression that his real joy comes from performing as a New York City-based musician. This coming Friday Jeff Slate and friends will be be celebrating Bob Dylan's 82 birthday at Hill Country Live! on 30 West 26th Street in the Big Apple. I suspect it will be another night to remember, with classic Dylan along with the deep cuts Slate likes to bring to the foreground. 

He'll then take it to the road, joining in on some of the action here during Duluth Dylan Fest, including a May 25 evening at Sacred Heart where he'll be joined by Mark Bosch. That particular event will open with Paul Metsa and Sonny Earl. (Details below)

EN: The last time we spoke was in 2019. A LOT has happened since that time including the pandemic as well as the opening of the Bob Dylan Center in Tulsa. How did the pandemic impact you? Did you do more writing because performing venues were on hold?

Jeff Slate: Like everyone, I was hugely affected by the pandemic. And as a musician, I was out of work, at least until outdoor shows returned, midway through. In the meantime, I did about 50 online concerts, and recorded and released them. In fact, it was a 2-disc set, and the second disc was all Dylan covers. I also wrote and recorded a new album, The Last Day of Summer, which will be out later this year, with a bunch of my musician friends who were also sitting around with nothing to do. We then finished it up in person once the pandemic had eased up and everyone was vaccinated. I was also able to write about music, including some pieces about the effects on the industry with people like Jeff Tweedy, Jon Batiste and Brandi Carlile.

 

EN: What impressed you most about what you saw at the Bob Dylan Center in Tulsa? 

JS: Wow, that's a hard one. I suppose the handwritten lyrics are the most special to me, as are little things like Dylan's 60s address book. But I think what impressed me most was the sheer volume and scale of what's there. We knew Dylan worked a lot and worked hard throughout his career, but seeing the breadth of that in real terms -- in all the many items they have from across his 60-plus year career -- really brought that home.

EN: You've had the privilege of getting to know quite a few important names in the music industry. Did you say that it was a chance meeting with Ringo of the Beatles that opened those doors? How did that come about? 

JS: I've had very good luck throughout my life and career of meeting good people -- and the right people, I guess -- at the right time. I met Steve Jones of the Sex Pistols when I was a teenager, and he named my first professional band. I met Pete Townshend in the early 90s and he and his brother Simon helped produce some recordings for me that helped launch me to a wider audience. But when the business changed in the mid 00s, and I had young children at home, I turned to writing about music to supplement my income. I had a pretty formidable Rolodex, and through Pete I had met Zak Starkey, Ringo's son, who drums for The Who. I had met Ringo through him a few times, so I was able to connect early on in my writing career. Once I'd interviewed him for Esquire, things really started to happen.

EN: You're performing at a May 19 Bob Dylan Birthday Bash in New York before joining us in Duluth. Is this a traditional event you've been part of or something new? Who's on the slate for that one? 

JS: We've been doing a birthday show here for nearly a decade. It started out as a show called Dylan Obscura, in which we'd do only songs that were deep cuts, or that Dylan hadn't played live in forever, or that he'd never even recorded. That morphed into a much broader themed show that celebrates his artistry and entire legacy. The band is great -- Mark Bosch from Mott the Hoople on guitar, who will be with me in Duluth, Johnny Pisano from Dylan's friend Willie Nile's band -- and we invite some of our favorite performers to do a few songs. It's about a three hour show, but honestly, with all the great songs to choose from, we could go on much longer.

EN: Who are the nicest people in show business that you've worked with or interviewed? 

JS: I know they say don't meet your heroes, but that simply hasn't been my experience. Obviously, everyone has their bad days, but even then you can tell that's all it is. If that's the case, and you're genuinely interested and sincere, more often than not they loosen up and enjoy the moment with you. So, there have been one or two memorable run-ins with stars I just didn't like, personally, but by and large everyone I've crossed paths with has been exceedingly gracious and kind.

EN: When Dylan wrote "Political World" he also wrote "Everything's Broken." Both songs were featured on Oh Mercy. What's the relationship between music and politics in your career? 

JS: (George, Paul, John and Ringo each went different directions on that rocky divide.) My first band were influenced by The Beatles and The Who and The Kinks and the Small Faces. But we soon discovered The Clash and The Jam, and that really changed the equation for me. John Lennon and Joe Strummer and Paul Weller and Bob Marley were each revolutionaries at heart, even though they were also pop stars. They didn't check their intellect or politics at the door, nor did they resort to dumbing things down to appeal to a broader audience. So, that's always been my model. Not to be that famous, necessarily, but to be true to myself and be honest about my feelings about the world, both in interviews and in my music. In the 00s that was probably less obvious, but during those lockdown shows I mentioned I spoke openly about my view of the world and even raised money for social justice causes that I thought were crucial to bettering the world around us. As always, whenever I opened my mouth, I'd get some hate mail. But the overwhelming response was remarkably supportive. Even the people who didn't 100% agree with me told me how much they appreciated my openness and honesty. Given the political climate we're all living in that was incredibly heartwarming.

  

EN: Bob Dylan's relationship with George Harrison seems to have been pretty special. What have you learned from writing about George that the average person might not know? 

JS: George really was a dark horse, as he called himself. He was open and inquisitive and funny but also didn't suffer fools. He was both Yin and Yang. He also, even among the other Beatles, grew incredibly over the course of his career and life. I guess that's obvious to most people, but I don't think it's appreciated enough because, as a Beatle, it was almost expected.

* * * 

Join us May 25 at Sacred Heart for An Evening with Jeff Slate

with Paul Metsa & Sonny Earl Opening
Sacred Heart Music Center
201 West Fourth Street, Duluth
7:00-9:00 PM | Tickets $15 in advance at Eventbrite

You can follow Jeff at https://jeffslatehq.com/

See the full Duluth Dylan Fest schedule here at 
https://duluthdylanfest.com/duluth-dylan-fest-2023/

The 2015 Acoustic Salute to the Music of Bob Dylan

Today I received an email about the 2015 concert at Sacred Heart at the beginning of Duluth Dylan Fest. It was indeed a very. special event, with Mayor Don Ness making a proclamation that it was Scarlet Rivera Day here in the town where Bob Dylan was born and continues to be celebrated. 

Scarlet Rivera and Jim Hall in rehearsal

The event was titled Acoustic Salute to the Music of Bob Dylan.

For me it was a privilege to be part of it, with Marc Percansky as MC, the late John Bushey performing magic like the master entertainer he was, and a fabulous array of musicians and performers.

Here's the setlist along with hotlinks to the segments from each of the three segments of this wonderfully crafted event.

ACOUSTIC SALUTE TO THE MUSIC OF BOB DYLAN (Part 1)

Marc Percansky - My Life In A Stolen Moment

John Bushey with assistants Lisa Berg and Zane Bail - Magic

Mayor Don Ness - City of Duluth Office of the Mayor PROCLAMATION Scarlet Rivera Day

SET 1

The Boomchucks - Paths Of Victory / Last Thoughts On Woody Guthrie

The Boomchucks - It's Good To Be A Rolling Stone

SET 2

Kenny Krona - She Belongs To Me

Gaelynn Lea - Let It Go

Rob Wheeler - Dignity

Kenny Krona - Someone To Let Me In

Gaelynn Lea - All The Tired Horses (You Are Alive)

Rob Wheeler - Dreamers Waltz

ACOUSTIC SALUTE TO THE MUSIC OF BOB DYLAN (Part 2)

SET 3

Jim Hall with Scarlet Rivera - Tears Of Rage

Ed Newman and Elliot Silberman - One Too Many Mornings

Courtney Yasmineh - You're A Big Girl Now

Jim Hall - Problem Tune

Ed Newman - What Good Am I?

Courtney Yasmineh - Hang On For The Ride

INTERMISSION

Nelson T. French - Remarks

SET 4

Sam Miltich - Don't Think Twice, It's All Right

Todd Eckart - Lay Lady Lay

Barbara Meyer with Lonnie Knight - Autumn Leaves

Sam Miltich - Girl From The North Country

Todd Eckart - My Sweet Friend

Barbara Meyer - I'll Be Your Baby Tonight

ACOUSTIC SALUTE TO THE MUSIC OF BOB DYLAN (Part 3)

SET 5

Billy Hallquist - Subterranean Homesick Blues

Gene LaFond and Amy Grillo with Scarlet Rivera - Born In Time

Lonnie knight with Scarlet Rivera - Just Like Tom Thumb's Blues

Scarlet Rivera with Gene LaFond and Amy Grillo - Every Grain Of Sand

Billy Hallquist - Buddah's Rosary

Gene LaFond and Amy Grillo with Scarlet Rivera - Crash On The Levee (Down In The Flood)

Lonnie Knight - All Along The Watchtower

Scarlet Rivera with Gene LaFond and Amy Grillo - One More Cup Of Coffee (Valley Below)

Billy Hallquist with Lonnie Knight - Tomorrow Is A Long Time

Gene LaFond and Amy Grillo with Scarlet Rivera - Listen To Your Heart

Lonnie Knight with Barbara Meyer - This One's For You

Scarlet Rivera with Gene LaFond and Amy Grillo - The Sacred Wheel Of Give And Take

ENCORE

All - I Shall Be Released

* * * * 

Here's my 2015 review of the concert. In it I include details about the thoughtful rationale for how the concert was arranged.

Another Memorable Salute to the Music of Bob Dylan

The two songs I performed can be found on Part 2 at 8:15 (One Two Many Mornings, with Elliot Silberman) and 19:34 (What Good Am I?)

 

Andy & Renee Headline Concert to Celebrate the 30th Anniversary of KUMD's Highway 61 Revisited

It was a very special night at Sacred Heart here in Duluth. Andy & Renee, a pair of Los Angeles musicians who have been celebrating Dylan's music for 31 year, happened to be in Minnesota this week so they could celebrate the 30th anniversary of KUMD's Highway 61 Revisited. The late John Bushey, who hosted this weekly hour of Dylan music, would have loved the concert last night. 

Marc Gartman

Marc Gartman, one of our many talented local musicians, opened the show with a set that featured Dylan music from a variety of sources. My original intention was to not take notes but to simply enjoy the music. Now I wish I'd brought a pad of paper.

For those unfamiliar, Sacred Heart was formerly a Catholic church on Duluth's Central Hillside. Now it is a music and arts venue, among other things. The acoustics are simply outstanding, and the sound system engineering is second to none. All that to say that Marc Gartman's 12-string sounded remarkable.

Zane Bail, who welcomed us at the beginning of the evening, introduced Karen Sunderman to make a few remarks and share some anecdotes from the show's 30-year history. One story she told was how on one occasion John Bushey assembled a manufactured interview with Bob Dylan. He used clips from Dylan interviews and inserted his questions before the statements or answers Bob would make. 

As with Orson Welles' 1939 War of the Worlds radio broadcast, many people not only believed that John was interviewing Dylan, but that Dylan was up at the KUMD studio live on the air. Unexpectedly, people started showing up at KUMD with various items for Dylan to sign as he emerged after the interview. Alas, he wasn't there.

Miriam Hanson, who has now been host of the show for near four years, was unable to be present last night because she was globetrotting in Egypt. Karen shared how influential the show was for Miriam who first started listening when she was 15. It's a show that has touched many lives. 

Paul Metsa joined for It Takes a Lot to Laugh

As for Andy & Renee, they were superb. No question they've got talent. Their stage presence evokes warmth and enthusiasm. Throughout the evening their versatility was abundantly evident. Each took a turn at the grand piano, each took turns singing, and their guitar roles often reversed. And this being a Dylan program, there was plenty of harmonica. 

Here's the set list, beginning with Things Have Changed, which opened many, many Dylan concerts after it won the Oscar two decades ago.

Things Have Changed
Sweet Amarillo
Emotionally Yours
Watching the River Flow
One More Cup of Coffee
Blood on the Tracks 
Is Your Love In Vain
Up To Me
It Takes a Lot to Laugh, a Train to Cry
Power Lines and Palm Trees
Fuse 32
Times They Are A-Changin’
Working Man’s Blues #2
The Hour The Ship Comes In
Chimes of Freedom

A nice surprise was having Paul Metsa come out to perform with them on It Takes a Lot to Laugh, a Train to Cry. Paul has moved to Duluth and, for the time being, is living on the first floor of the duplex young Bobby Zimmerman lived in till he was six.

Dylan fans are likely aware that there is no song in his catalog titled Blood on the Tracks. Rather, it's a song Andy Hill wrote with Dave Tokaji and Weiner, a.k.a The Title Trackers, in the style of the songs on Blood on the Tracks, intended to serve as a "title song" for that album.  

All close-up photos on this post are courtesy Michael Anderson. 
To learn more about Andy & Renee you can check out this interview I did with them in 2019. 

To purchase their music, check out www.andyandrenee.com

Andy Hill and Renee Safier

Andy & Renee Top Bill at 30th Anniversary of KUMD’s “Highway 61 Revisited” Radio Show

Andy

The weekly “Highway 61 Revisited” radio show – featuring the music of Duluth-born Bob Dylan – first aired 30 years ago on KUMD 103.3 FM. Friday evening, Duluth DylanFest and KUMD will mark this milestone with a special celebration featuring a performance from Los Angeles-based rock and folk duo Andy & Renee. Multi-instrumentalist and longtime Duluth musician Marc Gartman will open. This special evening is one of numerous events orchestrated to recognize St. Louis County’s “Year of Dylan” proclamation.

Since a chance meeting at the University of Denver, Andy Hill and Renee Safier have carved out a unique niche for themselves in the Los Angeles music scene and beyond. Their performances – more than 200 a year – are as much social gathering as musical event. Part fan family reunion, part rock & roll tent revival, their live shows attract a large, enthusiastic, and fiercely loyal group of fans.

& Renee

Devout Dylan fans and specialists in his music, Andy & Renee have taken their unique sound and multi-instrumental skills to venues large and small all over the world. Their 17 CDs and three DVD releases have won them countless awards. They are known as producers and performers of three decades of Dylanfest, an annual 8-hour music festival, attended by hundreds of fans, featuring many top L.A. musicians, in honor of Bob’s birthday.

Get more info, and follow them at www.andyandrenee.com

You can learn more by checking out my 2019 interview with Andy & Renee.  

BUY E-TICKETS HERE. 

Tickets also available at Globe News in Superior and Zenith Bookstore in West Duluth.

NOTICE: All concert-goers must provide proof of vaccination or a recent negative COVID-19 test at the door prior to each show. Phone photos of vaccination cards will be accepted. Further precautions may be taken pending state and county health guidelines.

Doors at 6:30pm. Music at 7:30pm.

Year of Dylan note:

On May 24, 2021, the 80th birthday of Duluth and Hibbing's native son, the St. Louis County Board formally proclaimed the Year of Dylan, The Year of Dylan is being acknowledged with periodic special events through May 24, 2022, Bob Dylan’s 81^st birthday. 

Catching Up with Singer/Songwriter Mary Bue

Singer/Songwriter Mary Bue (Photo Darin Back)

This weekend I noticed that Mary Bue was performing at Sacred Heart later this month to launch her newest album The World Is Your Lover. It seemed a good time to reach out and catch up. She produced her first album in 2000 and has been a productive songwriter and steady performer ever since.

Her cover of "Desolation Row" on the album Bringing It All Back Home to Duluth Does Dylan, a compilation by local musicians that should be in any Dylan fan's collection, never gets old. As a performer she has an impressive resume. She's gained a notable following wherever she goes.

EN: I last interviewed you when your album Holy Bones was released in 2015. Since then you moved to the Twin Cities, but you're still making original music. Bring us up to date on the past three years.

Mary Bue: Wonderful to connect with you again, Ed, and I greatly appreciate your love of music! The Holy Bones era was a very pivotal time. I switched genres from playing mostly piano-based tunes to more grungy electric guitar indie rock vibes -- and even had a symbolic funeral for my keyboard! Ha! Now I've (sort of) returned to center and have found room for both.

I moved to Minneapolis in 2016 to follow an opportunity to open a yoga studio. It truly just fell into my lap -- a small space near Powderhorn Park which I called Imbue Yoga Studio. This was the catalyst to move down here, although I had been feeling the itch to move for awhile (I'd been back in Duluth since 2011 after a four-ish year stint in Seattle). I signed the lease for the yoga studio in February 2016. In March I broke my shoulder attempting to snowboard for the first time. In April I acquired the studio and my ex-husband and our friend Bob Olson started remodeling. April 7th my band went down to Nashville to record The Majesty of Beasts on some studio time I won from a Battle of the Bands scenario. In May, I moved and ... filed for divorce. June 11th Imbue Yoga Studio had its grand opening. In three months, I broke a shoulder, recorded in Nashville, moved, divorced, and opened a yoga studio. It was a wild time. LOL.

The yoga studio kept me sane in the midst of a very intense and emotional whirlwind. I met, worked with, and practiced with wonderful, caring, spiritual friends and teachers. I cried on the floor a lot, pretty exhausting. Musically, my band had blown apart, but I decided to still release the EP we recorded, The Majesty of Beasts. In it I had (finally) shared a song-story about a sexual assault which happened to me in 2006. I announced the song was coming and then BAM, #MeToo movement took off shortly after. Zeitgeist. I'm not sure why I waited so long to tell that story, but damn, it was apparent that I surely was not the only one, of course. Unfortunately. Horrifyingly.

Magically, around the time that I opened my yoga studio, I was notified that I received a three month Artist in Residence award to spend three months at the Helene Wurtlitzer Foundation of New Mexico to work on my craft. Of course I accepted, even though that was only six months after opening the studio. But how could I not? Music is my heart... and that experience in New Mexico changed my life.

Musically, I moved through a number of sweet band incarnations during this time, met a lot of music heroes I'd been following (for example, I took a few guitar lessons with Adam Levy who I'd been listening to since I was 14 in the REV 105 era) and then I met my former manager, Mike Buenting. He heard me supporting Tina Schlieske's (Tina and the B Sides) show at Icehouse for the holidays and was very genuine and almost apologetic for not having ever heard of me since I'd been doing music for so long. We agreed to work together and then he set me up with a new band formation to record some new songs. I wasn't entirely sure how this project would go, but I had a lot of songs in the hopper that never really fit anywhere, and had just written the title track The World is Your Lover and the writing in Taos on artist residency provided quite a few downloads from the universe while hiking along the Rio Grande River gorge (like Shit Storm--video and single were just released in July).

Mary Bue with her Gibson. (Photo Darin Back)

I was introduced to and began working with producer and bassist Steve Price (The Suburbs, Rex Daisy, former instructor at IPR), Jeremy Ylvisaker (who has played guitar with Andrew Bird, Haley, Jenny Lewis, John Prine to name a few), Richard Medek on drums (who drummed on Kevin Costner's rock albums! And plays with Molly Maher, Erik Koskinen, Chris Koza). We knocked a fourteen song album out in 4 months. I did TWO kickstarters to pay for it (ughhhhh!). Brought in the stunning cello of Julia Floberg (Delphia Cello Quartet), Shannon Frid-Rubin of Cloud Cult, my first touring partner Crystal Meisinger sang harmonies on Shit Storm, Stephan Kung of the Suburbs played trumpet. Both Adam Levy and Alan Sparhawk were special guests. Essentially, this was the album of my life. My life's work. So much love and money poured into this beast.

During the recording, I decided to close my yoga studio. It was making "negative money" as I like to say (with a sad, wry smile). I had always said, "if I close the studio after three years, I'm going to Bali. If I stay open after three years, I'm going to Bali."

So, I booked a freaking trip to Bali. I've been wanting to go for 15 years. More about that later. (Oh, and India, too.)

For the last three years, to return to your question, I've been making the world even more of a lover. Really getting intimate with it. Failure. Success. Relational, business wise. Taking risks. Crying on the floor. Stopping to smell the flowers as much as my monkey mind will allow. And really, feeling pretty damn good, considering.

EN: Covid-19 has put unexpected restraints on musicians this year. Dylan's Never Ending Tour was put on hold for the first time. How have you adjusted? And how are other musicians you know dealing with it?

Empty airport, Osaka Japan.

MB: I was traveling from late December 2019 to March 21st 2020, to India and Bali. I had to come home from my travels two weeks early due to USA issuing a "level four travel advisory" which basically said get home by whatever means possible or prepare to stay. Part of me wishes I would have stayed in Bali! But there is much to love here. My last minute flight re-book took me through Osaka, Japan. NO ONE was in the airport. It was very, very end-of-times.

Since returning home, I've been okay. I actually had a really wonderful two year relationship that ended mutually upon my return. So not only was I back sooner, but really alone-alone. I had to self-quarantine for two weeks after my trip, and then the stay at home order was issued. I went EIGHTY days without really seeing anyone except my neighbors or people out walking. Then I finally eased up for social distance hangs.

I feel so grateful to my meditation, yoga, mantra, and running routines. While I was in India, I received a certificate in Nada Yoga--the Yoga of Sound--where we explored the power of vibration, cleansing techniques to deeper experience sound, and deep discipline with which to listen and also practice (instruments, and voice). I fell in love with the sitar. I took 28 days of sitar lessons, bought one, and brought it home. I found a teacher here in Minnesota and am still taking lessons.

I had a feeling there would be a shift for me musically before I left. I couldn't put my finger on what it would be, but it felt like I wanted to perform fewer shows for awhile. I got my wish... but it has been financially not so happy. I lost quite a few well-paying shows. Many of my friends are struggling. Performing is a huge part of our identity. I've been performing my songs since 1998. I feel okay though, with the shift, and again, grateful to have other practices to balance it out with.

I'm not a huge fan of the live stream home concerts, mostly because I am not sure how it sounds to the audience. I did a show with Gaelynn Lea (thanks SO MUCH FOR HAVING ME, friend!), but my sound was shit! So I don't like that possibility of mortification... although that is a vestige of prior performing humiliations from my youth. I am so excited about live streaming from Sacred Heart, though! Eric Swanson will be at the helm mixing for us and oh my GODDESS I am so looking forward to performing with my band again, even if only the tech crew are in the room and everyone at home watching from their couches.

I truly do not know what the future holds for performing musicians, but I so look forward to hearing live music in a room with other people again!!!

EN: City Pages awarded you with Best Songwriter for 2020, which is pretty high praise in a major city filled with musicians and songwriters. Was this based on your 2017 release The Majesty of Beasts?

MB: Thank you so much and I am deeply, deeply aware of the weight of this honor. In the write up, the author said that the Majesty EP was "near perfect" (jaw drop!!), however my publicist sent City Pages my new album which is releasing Aug 21, so I'm pretty sure it is based off of that, and perhaps a deep dive into my last twenty years of work? I can't really say. It was an absolute shock and surprise and it's been only a week now and I'm still reeling. So grateful. So floored. So delighted.

EN: What are some of the themes you've been addressing in your newest album The World Is Your Lover? Is your upcoming Sacred Heart concert essentially an album release?

MB: The album is bookended with two rather apocalyptic numbers, Shit Storm and The Riverman. Shit Storm was one of those downloads from New Mexico... this low-to-high grade anxiety that the Earth is OVER IT. Fleeing the disasters, both natural and human-made. Watching Lake Superior turn into a desert before my eyes (a true story vision ...). The Riverman talks about the River Styx ... how one must have a coin under their tongue to give to the Riverman to cross to the other side. In between these little ditties are a whole lot of drama. Complex love gone wrong. Tons of longing and hope. Some real desperation in there. I like to find solace in the Anne Lamott quote: "If people wanted you to write warmly about them, they should have behaved better." Ha! The title track is very positive, though. A forgiving realization; a letting go of shackles, a purging of the past.

The Sacred Heart show was purely serendipitous! I wasn't planning on having a release show until October 23rd (Hook & Ladder Theatre & Lounge in Minneapolis with Turn Turn Turn & Alan Sparhawk supporting). However Sacred reached out and the day they booked us for was the day after my album officially releases! So, yes. It is the Duluth album release. And very fitting, since that venue is so special to me.

EN: Briefly, how long have you been teaching yoga? Can you tell us more about the retreats in Bali, Taos and Grand Marais.

MB: I've been teaching yoga for 11 years now, since 2009. I received my training in Seattle at Whole Life Yoga Studio with Tracy Weber. Tracy sold the studio a few years ago, but I just heard one week ago that it is closing. Heartbreaking! Another casualty of COVID. Been grieving that. But yeah, the yoga community and my master teacher Tracy is still in my life. I got further training here in Minneapolis at Yoga Center Retreat (formerly Yoga Center of Minneapolis) and then an additional 200 hours at Nada Yoga School in Rishikesh, India this past January.

I launched a small "Creativity and Yoga" retreat side-hustle just last year in 2019. I have chosen these three locations because they are extremely dear to my heart. Grand Marais is in November, at Naniboujou Lodge (it is tentative if they are opening this year due to the virus). Taos will be in June 2021. The 2nd Bali, Indonesia retreat is coming up in late February 2021, fingers crossed they will let Americans enter Indonesia! I am 100% there if so. And you all are welcome to join!

I have a deep love of travel, yoga, exploring creative practices -- writing, painting, poetry, music. Why not combine them all? And my past experience in running a yoga studio, albeit briefly, and like hundreds of years in food service has really sharpened my skills and heart to serve and offer luxurious, hospitable, friendly travel adventures. This truly feels, also, like my life's work. Both Grand Marais and Bali sold out. But then, COVID ruins the party again and things have had to be postponed. It's all good. I trust that we'll get a handle on this and travel will, hopefully resume with new caution, and awareness, and a deep reverence for how precious life is and how much there is to explore, learn, and love. We cannot take anything for granted ...

EN: Where can people learn more about you and follow your career?

MB: So much lives on my website marybue.com. I also have a Patreon -- Patreon is a "membership" or "fan club" where people subscribe with a monthly rate for different rewards like vinyl, yoga classes, and exclusive posts (patreon.com/marybue). I'm also quite addicted to instagram (@marybuemusic).

My music lives on most major streaming platforms, YouTube, and bandcamp.

EN: Anything else you would like to add?

MB: It's been a pleasure. Thank you for taking the time to ask these questions. I could go on and on, but I'll spare you. The music is revealing enough!


Related Links
MaryBue.com
Five Minutes with Singers/Songwriter Mary Bue
Bringing It All Back To Duluth Does Dylan -- Inspired Local Musicians Step Up Their Game

Duluth Does Clapton: Sacred Heart Kicks Off 2020 with a Bang

If you want to start an argument amongst music fans, ask this question: Who's the greatest guitar player of all time? Some will swear it's Hendrix. Others Eddie Van Halen. Still others... well to some Clapton was God.

EdNote: We interrupt this blog post to say that if you've ever seen Tuck Andress of Tuck & Patti, there would be no further discussion.

Actually, I personally dislike all such blather about the best Dylan album or best Beatles song or best drummer or whatever. I always say, "By what criteria?" There's just so much talent in this field. Jimmy Page, Mick Taylor, Keith Richards, Pete Townshend, and on and on.

Personally, some of it comes down to the kind of music you like. And part of it comes down to their entertainment value as performers. I think here of Townshend and Hendrix.

I was never into Prince, but he was phenomenally talented. Zappa and Santana are cut from different pieces of cloth, and each an innovator in their own ways. I once worked with a fellow whose allegiance was to Mark Knopfler, and once had a friend who swore by Jeff Beck.

EdNote: One of Jeff Beck's classic cars appeared in an ad I created once for Rodder's Journal. Thank you, Mr. Beck, for permission on that. 

I first began listening to Eric Clapton in high school. I had all three Cream albums with Clapton, Jack Bruce and Ginger Baker. Clapton was really just a kid there, but a phenomenal talent from the getgo. I loved the music, loved the lyrics and loved the psychedelic album covers. I purchased Blind Faith as soon as it came out, with the original "indecent" cover featuring a young girl holding an airplane.  And when George Harrison's All Things Must Pass came out after the Beatles breakup, sides five and six got the most play time, with Clapton accompanying a team of players in an Apple jam. And I've still never tired of Derek & the Dominoes to this day.

DULUTH DOES CLAPTON: 

A TRIBUTE TO THE MUSIC OF ERIC CLAPTON

January 25, 7 - 10 p.m. @ the Sacred Heart Music Center (SHMC)

DETAILS HERE & TICKETS HERE

THE DULUTH MUSIC SCENE has as much talent as any music scene anywhere in the country. This includes Hollywood, Austin, Nashville and the Big Apple. You can check it out each spring during our Homegrown Music Festival the end of April/beginning of May. That's why this Sacred Heart  Tribute Series is so phenomenally rich.

Setting up for another Armory Arts concert to kick off Dylan Fest

According to Mark Nicklawske, SHMC Board of Directors Secretary, "The Duluth Does series really brings the Duluth music community together and showcases what a strong, creative and talented group of musicians we have living in the Twin Ports. It promotes the work of world-renowned masters like Clapton and at the same time gives a stage to hard-working local musicians, exposing their talents to a large audience. The series is organized and run entirely by volunteers and the musicians donate their time and talents. All the money raised through ticket sales goes into maintaining the historic Sacred Heart building and supporting its programming and projects."

In recent years Sacred Heart has hosted Duluth Does Tom Petty (about a year after his death), Led Zeppelin, Joni Mitchell, and Carol King & James Taylor (in one show). One even higlighted Low, with Alan Sparhawk sitting in the audience.

"The mastermind behind all this is Eric Swanson," says Nicklawske. "Eric is the SHMC sound engineer, former SHMC executive director and co-owner of the SHMC recording studio. Eric picks the artist to honor, puts out a call for acts, organizes the set list and produces every facet of the performance. He's amazing. Without Eric's hard work organizing and producing these events they would never happen. Eric puts in hours and hours into organizing the show and works days in advance setting up the stage and sound system and then tearing it all down afterwards. He does it all for Sacred Heart."

I can testify that Sacred Heart is an amazing venue to perform at. I've had the opportunity on a pair of occasions in conjunction with the Armory Arts concerts during Dylan Fest. During the setup, Eric Swanson and team spent a full half hour adjusting the mics to capture the piano I would be playing "What Good Am I?" on for optimal sound quality.

Best sound technicians, best venue, best local talent... performing one of the true greats of our generation. It's time to order tickets because I'm certain this one will sell out.

Related Links
Sunshine of Your Love, Cream at the Revolution Club, 1968.
Clapton Autobiography Has Me Plugged In
Clapton Autobiography Proves to Be A Worthy Read

You Should Have Seen Them Dance (Dance Party Aftermath)

The bands were superb, but it was the dancers who made last night's 56th Anniversary of the historic Duluth Armory Winter Dance Party so special. As Todd Eckart, who opened, and The Travelons filled Sacred Heart Cathedral with the sounds of Buddy Holly and the Crickets and other late 1950's music, it was immediately apparent who had come with their dancing shoes on. Not only dancing shoes, but dancing attire, many competing for the Best 50's Costume Contest. The pair voted best dancers were not so attired, but simply displayed their moves with a striking energy while wearing their hearts on their sleeves.

These folks not there in 1959.

As anticipated, there were a number of people present last night who were present in 1959 with the original Winter Dance Party rolled into town. One of these was Jerry Schell who was a freshman that year. He and a friend arrived with cans of Hamm's Beer in their pockets. They got there early and saw Bobby Price. Unfortunately, after about an hour, and before Buddy Holly ever took the stage, they were caught and evicted.

Schell said the biggest dance party he ever went to was the following year when Roy Orbison played. There was a gal there who was jumping up and down in front of him at that one, and needless to say she must have caught his eye because eventually he married her. They have been married almost fifty years.

Gary Lopac, Lonnie Knight, Gene LaFond

I learned that local musician Jim Hall once opened for Lonnie Knight & the Jokers Wild in the late 60s. Lonnie was here last night with the Travelons, and has a heart for the Armory Arts cause.

Duluth News Tribune editor and columnist Jim Heffernan was on hand for a portion of the evening. Heff said he was 19 when the event came down. He said that the Winter Dance Party of 1959 provided a lot of material to draw on for his columns over the years, especially after Dylan mentioned its influence in a Grammy acceptance speech.

At a certain point in the evening Billy Hallquist was acknowledged and thanked for his contributions to the music scene of Minnesota, especially the annual Salute to the Music of Bob Dylan concerts, and the raising of awareness for the Armory renovation vision. (Or better, the Armory resurrection.)

The band was great, the music was fun, from That'll Be The Day and Peggy Sue to Oh Donna and La Bamba... and everything in between. I have a sneaking suspicion this is an event we'll like see again next year. Just thinkin'.

For a brief moment in time it was old fashioned rock 'n roll heaven.

Lonnie Knight Talks About His Life as a Musician and a Salute to the Music of Bob Dylan

Lonnie Knight is yet one more exceptional musician who will be joining a full line-up for A Salute to the Music of Bob Dylan at Sacred Heart two weekends from now, May 17. His career in music has earned him noteworthy attention and praise from critics.

EN: How long have you been playing music professionally and how did you get started?
Lonnie Knight: I've been playing professionally since high school... It started with Dick Roby and I playing guitar in his basement. We met a bass player (Roy Hensley) and a drummer (Denny Craswell) and decided to start a band.

EN: Can you briefly run through your career path?
LK: I started in the Castaways, the Rave-Ons (with Dick and Larry Wiegand and Harry Nehls)... then Jokers Wild. I was attending the U of Minnesota when the folk boom caught me, and I began to do some solo work in coffee houses and college clubs around Minnesota... joined up with the Bitter End circuit out of New York City and traveled the country for a few years. When that scene dried up I went back to electric guitar, working with City Mouse, the Neilsen-White Band, the Hoopsnakes, and my own band Big Shoes. I was also on staff at Sound 80 Recording Studio as a session guitarist and producer.

These days I work solo, in a duo with Reid Papke on bass, in my new quartet Mosquito Shoals (Reid, Gary Haberman on percussion and Laura Owen on vocals.) I play once or twice a month with the Smokin' Section (Mike and Andy Boterman and Paul Mayasich), and occasionally with ROTU (Return of the Unexpected - Scott Sansby, Larry Wiegand, Dale Strength and Gregg Inhofer).)

EN: Your guitar work seems to get high praise from the critics. How would you describe your style?
LK: Working at Sound 80 for all those years, and the constant switch between acoustic and electric has probably shaped my style more than anything. Working as a session player, you never know when you walk in what's going to be played, so you need to develop at least a passing understanding of a number of different styles and genres. My biggest influences were probably Jeff Beck and Chet Atkins on electric, Bert Jansch and any number of fingerstyle guitarists on acoustic. I gave up the flat pick around 2003, everything I do now is fingerpicked, and that does make a big difference in approach to solos and rhythm patterns.

EN: How long have you been playing with Mosquito Shoals? What kind of music do they play?
LK: Mosquito Shoals has been together for about a year now. It's a hybrid acoustic/electric band. Gary plays everything from full drum kit to congas, djembe and hand percussion. Lots of original songs, and covers from artists as diverse as Joni Mitchell, Toto, Mark Knopfler... anything that strikes our fancy.

EN: In what ways has Dylan's music made an impact on you and your life?
LK: Dylan has been a huge influence, more as a lyricist than anything else. He opened the door to a whole new world of songwriting.

EN: How did you get hooked up with A Salute to the Music of Bob Dylan
LK: I was working at Sound 80 when Dylan came in to record "Blood on the Tracks." Kevin Odegard and Dylan's brother put the band together, using the Sound 80 session staff and a few other people. As luck would have it, I was on the road doing concerts when the album was recorded. Kevin and Billy Hallquist are long-time friends of mine, and when the shows began to branch beyond just the original session players, I was invited to step in. It's been great fun ever since.

EN: Do you have some favorite Dylan songs or a favorite album?
LK: Too many good songs to name. I think my favorite albums are "Highway 61 Revisited," "Blood on the Tracks," "Blonde on Blonde." I also still love his early acoustic solo stuff.

EdNote: This blog entry and others like it have the aim of raising awareness for the upcoming Salute to the Music of Bob Dylan concert which will kick off the 2014 North Country Dylan Celebration in Duluth and Hibbing. Sacred Heart Music Center, May 17, 2014. For tickets to this great event visit dulutharmory.org/events.

If you wish to help, visit the Salute Facebook page and share with your friends by clicking the Invite button. 

A Salute to the Music of Bob Dylan is a presentation of the Armory Arts and Music Center and Magic Marc Productions.


Photos Don J. Olson Photography, Town Green Amphitheatre in Maple Grove, Minnesota during last summer's A Salute To The Music Of Bob Dylan.

Introducing Barbara Meyer, Another Highlight in the Upcoming Salute to the Music of Bob Dylan

This article is third in a series of interviews highlighting some of the musicians and performers who will be a part of A Salute to the Music of Bob Dylan, May 17 at Sacred Heart in Downtown Duluth.

According to ReverbNation.com Barbara Meyer’s pedigree lists a Master’s in vocal performance from the University of Iowa, where she also studied opera before redirecting toward jazz. Meyer still sings jazz standards around the Twin Cities with several groups, and also sang Afro-Cuban Rock as a member of Minneapolis’ seminal ensemble One World. Her musical roots further encompass Broadway show tunes, gospel, and rock & roll. She has been compared to such vocalists as Joni Mitchell, Billie Holiday, Erykah Badu, and Lucinda Williams, and draws as much critical praise for her live performances as she does for her work in the studio.

In speaking of her second album, the review stated Meyer's "wildly talented band, anchored by international world beat drummer Stan Kipper (4 time Minnesota Music Award winner and double Rock and Country Hall of Fame inductee), joins her to create a truly magical sound." Based on everything I've seen and heard, she is a stellar addition to the upcoming concert here next month.

EN: Where did you grow up and who were your early musical influences?

Barbara Meyer: I grew up in Dubuque, Iowa, in the 1960s and 70s. Early (and continued, really) influences included Dylan (of course), Joni Mitchell, CSNY, the Beatles, Laura Nyro... Man, how to even list them all?!? But that's a start.

EN: How did you get into performing and what kinds of work have you done as a musician/artist?

Meyer: Music was encouraged in me from a very young age. I was given a plastic ukulele when I was about 5, and according to my mother I sang before even I spoke. I have a Master’s degree in vocal performance from the University of Iowa, where I studied opera. Currently I have my own band (the Barbara Meyer Band), which includes Stan Kipper (New Primitives, worldwide rhythm monster) on drums, Bill Hulett on bass, Park Evans on guitar, and Andy Shaffer on sax, plus I front a number of jazz/cabaret groups here around the Twin Cities. I am also in the process of recording a collection of Harold Arlen songs with world-renowned pianist Phil Mattson. My musical roots further encompass Broadway show tunes, gospel, and rock & roll, and I also sang Afro-Cuban Rock as a member of Minneapolis’ seminal world beat ensemble One World (again, with Stan Kipper).

EN: When did you first take an interest in Bob Dylan's music? What was it that you especially responded to?

Meyer: Again, I must have been about 5 or 6 when I first started digging Dylan. My sister, who is 7 years older than I, exposed me to him and the others. I think that what first truly drew me in was the simple, straightforward storytelling style of his tunes. I liked (and still do) being able to hear the words and the guitar - the open, intimate feel of it all. Plus the evocative nature of his tunes taught me the special magic of music: transporting the listener out of the moment and into the soul. (Not to get all ethereal or anything...) ;- )

EN: How did you connect with Stan Kipper?

Meyer: I was working at a restaurant in the late 1990s with bass player Tom Peterson. Tommy played sometimes with Stan, who was looking for a singer. Tom suggested me, and Stan heard me and hired me on to sing lead female vocals with One World - a world beat/reggae band that was big around here in the 90s.

EN: You have an older sister… were you the baby of the family? Any particular personal traits that you can share pertaining to your birth order?

Meyer: Yes, I'm the youngest. Hmm... I think my sister and I are pretty typical, from what I've observed in others: she is more introverted, structured, and rule-following, while I tend to be more carefree and spontaneous. I think it's because my folks had relaxed a bit by the time they had me, so I was given more wiggle room. It certainly informs my songwriting, to be more free-spirited, as it were.

EN: Have you always made a living through your music?

Meyer: No, and (sadly) I still don't. It's my career and my life, but I have to supplement up the wazoo to make things work. Yet I love it!

EN: What is it that has enabled Dylan to connect with so many people, not only in the Sixties but around the world and over several generations?

Meyer: Ah, that's a great point: his connection to (and of) people. I think it has a lot to do with the fact that he's "every man," in a way - he just lays his heart out in his songs, and folks relate to that. Sometimes he's very straightforward, other times poetic and provocative - just like people are, just like life is. He's larger than life, yet totally accessible. We gravitate to that kind of modest power.

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You can hear the Barbara Meyer Band at soundcloud.com/barbarameyermusic

A Salute to the Music of Bob Dylan is a Magic Marc Productionhttp://www.magicmarcproductions.com/a-salute-to-the-music-of-bob-dylan-2014-duluth/ and the kickoff event for this year's North Country Dylan Fest, May 17-25 in Duluth and Hibbing.  Tickets here.