Review: Deep Woods Revival - Red Yarn

Deep Woods Revival album cover

Deep Woods Revival album cover

Long before “kids music” was a category in the record store stacks or iTunes playlists, folk music was the heart of recorded music for kids.  And while folk music remains an integral part of kids music, in the modern kids music world, other genres -- rock, to be sure, but also hip-hop, reggae, and others -- have expanded their influence.

Now, I would argue that that increase in non-folk music in kindie has specifically been one of the major contributors toward the vitality of the genre, but others would also argue that something has been lost when the music that was part of the American culture for generations slips away.

Portland’s Andy Furgeson, a puppeteer and musician who records for families as Red Yarn, doesn't strike me as the kind of guy who would rail against shifts in musical tastes.  Rather, he's viewing it as a challenge to be met head-on.  After all, if you title your latest album Deep Woods Revival, by definition you've decided to bring all the energy you can muster to new takes on old classics.

In the case of the traditional song “Buckeye Jim,” for example, it’s a fairly straightforward cover of the version Burl Ives recorded more than a half-century ago with some new lyrics added on.  For another track, “Animal Fair,” Furgeson merges two songs from Carl Sandburg’s famous American Songbag, pulling “The John B. Sails” into the mix.  Those are just two examples -- the entire album draws on a variety of folk music sources -- Alan Lomax, Ruth Crawford Seeger, Henry Spalding’s Encyclopedia of Black Folklore and Humor.

While the first half of the album is described as being for all kids, the liner notes suggests that the second half is for "brave kids and grown-ups."  That half includes songs touching on more serious topics, like death and the not-always benevolent nature of the animal world.  The album’s title track, the only song with entirely new music and lyrics, leads off that half and features a chorus of Portland-area musicians standing in for a forest’s worth of critters great and small having a revival.

I think the album is most appropriate for kids ages 3 through 10.  (I think the second half might be of more interest to kindergartners and older, but it's not inappropriate for even the younger set.)  You can stream the 36-minute album here.  I'd also note that the physical copy of the album features some lovely artwork (dioramas! maps! illustrations!) made by many people, but most notably Ryan Bruce (art direction and illustrations) and Heather Lin (album design).

Red Yarn’s fervor for American folk music is evident on Deep Woods Revival.  While folk music has never gone away in the children’s music genre, he forcefully makes the case for its continued relevance in the era of the mp3.  Highly recommended.

ote: I was given a copy of the album for possible review.

Review: Flight of the Blue Whale - Pointed Man Band

Flight of the Blue Whale album cover

Flight of the Blue Whale album cover

When you look at the Amazon page for Flight of the Blue Whale, the second album from Portland, Oregon's Pointed Man Band, here are the three genres in which Dan Elliott (who in the great indie rock tradition has taken on a band nom de plume for his music) has slotted the album:

- Children's Music

- Avant Garde & Free Jazz

- Miscellaneous

That, readers, is a review -- and an accurate one -- in seven words.  Oh, were we all able to be so concise!  But citations of Amazon genre categorizations are not why you visit this site, so onward I press.

In my review of the debut Pointed Man Band album Swordfish Tango from 2013, I wrote that the album was a "combination of Tom Waits and Shel Silverstein, the Beatles and Parisian cafes, the music [smelling] of hardwood floors and flannel and wood construction blocks."  The follow-up is both slightly more mainstream and weirder, if that's possible.

Flight of the Blue Whale tells a story in song of a red fox who operates a small clock and watch repair shop, comes home to find moles invading his garden and the town, and goes off on an adventure to... well, it ends with a flight of a blue whale.  What happens in that ellipsis is, frankly, a little confusing and I don't even really think that's the point.  Bottom line, the more conventional narrative drive of the story -- whose moral is about taking time to dream and not just work -- is just a structure on which to hang these songs.

And the songs are just as odd as their predecessors.  The album kicks off with perhaps the most straightforward track, "Red Fox," an indie-pop tune featuring an infectiously catching organ motif, but from that track, we move on to the stomping sound of "Moles on Parade" and the accordion-drenched near-instrumental "Valse de Taupier," one of a couple waltzes on the album.  Sometimes Elliott sounds like Tom Waits (as on "Moles" and "Baleen Curse"), but more often his voice will remind listeners of a certain age and sensibility of David Byrne, as on careening "The Plan" and the modern big band sound of "Tunneling to Paradise."  The title track (another instrumental) sounds like a Parisian cafe dragged begrudingly out to the seaside.

The 33-minute album will be most appreciated by kids ages 5 through 9.  You can listen to the album here.  (I also think the album artwork from Brooke Weeber is lovely and complements the album and story itself.)

Flight of the Blue Whale is most definitely not an album that will please all listeners.  It is, as I've noted, a little confusing in places, esoteric in its musical choices -- it's not eager to please.  It is, however, joyful and all those things I just mentioned are also its strengths.  Some kids and families will adore this album -- they are the families who probably really liked Wes Anderson's take on The Fantastic Mr. Fox.  (Note: We were one of those families.  This album is in some sense a spiritual sequel to it.)  So, not for everyone, but maybe for you.  Definitely recommended.

Note: I received a copy of the album for possible review.

Review: The Peculiar Tales of the S.S. Bungalow - Big World Audio Theatre

PeculiarTalesOfSSBungalow.jpg

Let's give a hearty "Ahoy, mateys!" for the crew of Big World Audio Theatre, whose debut story and music collection The Peculiar Tales of the S.S. Bungalow set sail earlier this year.

(Let me also promise you that the rest of this review will be free of sailing-related puns.)

Based in Portland, Oregon and headed up by Laki Karavias and Jason Reuter, the Theatre (really, a loose collective of area musicians and artists) turned to Kickstarter to raise monies for the production and release of the album.  The result is a lovingly crafted album and physical product that tells the story of Captain Gregory and the S.S. Bungalow's trek across the Atlantic Ocean to find the Lullaby Islands and the treasure found there.

Voice actor Kevin Barbare narrates the story, which is filled with enough dramatic plot turns, gentle good humor, atmospheric sound effects, and occasional Princess Bride-style meta-commentary to keep the target audience hooked and any adults tuned in amused.  The chamber pop-folk, featuring the occasional stringed instrument, horns, and pedal steel, runs the gamut from peppy to slow as befitting the story's twists and turns (sometimes in the same song, as in "Life Is Good."  "Follow the Albatross" sounds like it could have been culled from an Uncle Tupelo album.  One song, "Aquinas," commemorating a long-loved pet, is particularly sweet and moving in a way few kindie songs are.  While the songs are meant to serve a story, speaking as someone who primarily listened to the songs alone, they stand up well on their own.

The album is most appropriate for kids ages 5 through 9.  The story version of the album is nearly 75 minutes long; a second disk featuring only the song tracks clocks in at about 32 minutes.  (You can listen to the whole thing here.)  The physical version, featuring Ward Jenkins' illustrations, is solidly packaged -- for multiple reasons, the CD would make a lovely gift.  (I have no doubt that if they ever chose to go the vinyl route, that would look - and sound - splendid as well.)

The Peculiar Tales of the S.S. Bungalow was clearly a labor of love, with a fine attention to detail.  I would love to see one of those multinational entertainment conglomerates figure out how to spread this far and wide, though I know that's unlikely.  Instead, we'll just have to hope that Big World enjoyed this labor of love enough to make them want to attempt another.  Definitely recommended.

Note: I was given a copy for possible review.

Reviews from Portland, Kindie Capitol of the World

You heard me.  Portland, Oregon is the kindie capitol of the world.  So much music is coming out that city that I can't keep up with it all.  I realized that even though I'd semi-recently reviewed new albums from Cat Doorman and Lori Henriques, there were a whole bunch of other albums from that city that I hadn't yet reviewed, and every time I was getting close to writing a Portland-based review, another album would be released.  Aaaargh. You're killin' me, PDX.  (But in a good way.)

And here's the thing, not only are there are a ton of artists emerging from Portland right now, they're all incredibly supportive of one another.  They definitely have each others' backs.

Here, then, are six from the past 18 months or so that are worth your time -- they're all recommended.  It's not the full list of Portland albums I've received over that time, and there are more on the way.  But it's a great place to start, and you're bound to find at least one album to meet your family's needs.  They're ordered roughly from most "traditional" sounding to least so.

While I am reluctant to do comparisons between albums in a single post, if I had to direct your attention to just one or two albums, it would be Red Yarn's The Deep Woods and the Pointed Man Band's Swordfish Tango -- they're two debuts that stretch the notion of what kids music can be even as they draw on songs and sounds that are 50, 100, or even 500 years old.  Swordfish Tango  is definitely recommended and The Deep Woods  is highly recommended.

Without further ado, then, here are the reviews... 

Songs for Johnson Creek: Various Artists - This benefit album for the Johnson Creek Watershed Council is coordinated by JCWC Executive Director Matt Clark (himself a kindie musician with a few albums under his belt).  It features mostly-previously unreleased songs from a bunch of Portland-area artists (Aaron Nigel Smith, Laura Veirs, Lori Henriques, Cat Doorman, and some folks noted below) and, as you might expect, has a nature theme.  In terms of the new tracks, I really liked the Alphabeticians' "Roe Together," Red Yarn's "Big Blue Dome," and Lori Henriques' "Let's Go Take a Peek at the Creek."  The album is roughly split between songs that more explicitly encourage a conservation/eco-conscious approach and those that just celebrate nature.  The album will be especially appropriate for those in a outdoors-y mood.  This album has a mix of songs and age ranges that makes a target age range difficult to peg, but you can stream the 36-minute album here to check for yourself.

 Be Alive: Johnny & Jason - Fuzzed-out rock mixed with a bit of British Invasion mostly for toddlers and preschoolers.  The second album from duo Johnny Keener and Jason Greene features short, sharp rock tunes written mostly for bouncing around, with very kid-simple subjects.  Leadoff track "Up Up Up" is definitely on the toddler end of thing while the country-folk "Lollipop Trees" is far more fanciful and for your daydreaming kindergartner.  I also dig the swirly organ on "Let's Play"   You can stream the 23-minute album here

Monster Suit: Mo Phillips -- Lo-fi Bakersfield-tinged indie rock with a side of goofiness and dollop of tenderness on top.  "The Princess and The Cowboy," on which Phillips duets with Little Sue, sits on the tenderness side of the equation ("It doesn't matter what you do just how you do it / Make sure it's full of happiness and heart") while "Rollerskate Banana Peels," well, you can guess where that sits.  Song topics sit squarely in the field of kid-centered topics (the zoo, messy hair, trucks).  Best for ages 3 through 6, you can stream some of the songs from the 34-minute album at Phillips' website.

Junior: The Alphabeticians - The duo of Eric Levine (Mr. E) and Jeff Inlay (Mr. Hoo) proudly represent the TMBG/BNL wing of PDX kindie rock, and not just because I used a lot of alphabetical letters there.  I mean, it's not everyday that you get to hear the word "sycophant" in a kids' song (appropriately rhymed in "Elephant"), right?  This album continues the brainy wordplay of their previous albums (see "General Relativity" for an explanation of how you're specifically related to your distant relatives) and multiple alphabet-inspired songs (natch) with a slight expansion of their sound (banjo! cello!).  Best for ages 4 through 8, you can stream the 37-minute album here.

The Deep Woods: Red Yarn - The most ambitious album in the bunch is from Andy Furgeson, AKA Red Yarn, who uses ten musicians and 150 friends and neighbors ("The Community Singers") to give 11 traditional songs (plus one original, the title track) the folk treatment in the old meaning of the term.  "Bob the Rabbit" is a driving rock melding of "John the Rabbit" and "Rabbit Soup," while "Old Blue" with its yelps might remind you young whippersnappers of the Lumineers.  (I personally had an early Arcade Fire feel throughout.)  "Mr. Rabbit" has an almost desperate urgency while "The Fox," which brings together "The Fox," "Midnight Special," and "Go Tell Aunty Rhody," is absolutely gorgeous.  This is a folk revival, in all the many meanings of the word "revival."  Best for ages 3 through 10, you can stream the 36-minute album here.

Swordfish Tango : Pointed Man Band - The oddest-sounding album of the bunch is from Pointed Man Band.  A combination of Tom Waits and Shel Silverstein, the Beatles and Parisian cafes, the music smells of hardwood floors and flannel and wood construction blocks.  Let's put it this way - it's an album that besides featuring a song about an invisible duck and Western Washington witches, it includes a song about dancing without pants -- in French.  (Plus, of course, the title song, in 3 parts.)  If this sounds all a bit too precious, perhaps it comes close to that line, but I don't think ever crosses it -- it's fun, earnest, and delightfully weird.  Best for ages 5 through 10, you can stream the 34-minute album here

Pointed Man Band Kickstarts Itself

Let's see... a new Portland band attempting to Kickstart a brand new album that features guitars, middle school choirs, and pots and pans.​  Whose first song, I would add, celebrates the Krampus.  And whose album titles echoes -- intentionally or not -- Tom Waits.

GrandmothersInvisibleDuck.jpg

This could be hipster overload.​

But I think after you listen to "Grandmother's Invisible Duck," a demo track from the album, I think you might just be interested in pledging to Dan Elliott's Kickstarter for the Pointed Man Band.  I think most of the readers here would think there's already no distinction between children's music and real music, but I also think those same families will warm to the handmade sound.

A little bit Telephone Company, a little bit Dog on Fleas, with a touch of Sufjan Stevens (and not just song-title-wise) -- I'm eager to hear the final result.​

​Also: If the criterion was solely new kindie bands, Portland has probably taken over the title of Kindiest City in America.

Interview: Aaron Nigel Smith

Aaron Nigel Smith features a lot of guest stars on his album Welcome to the Village -- Dan Zanes, Laurie Berkner, Secret Agent 23 Skidoo, Lucky Diaz -- but the guest artists featured most prominently are the kids of his One World Chorus, a multi-national choral group.

Smith chatted with us earlier this month about his experiences growing up at a choral boarding school, his long route back to kids' choral groups, and the benefits of singing in groups, not to mention his future plans (hint: Bob Marley has something to do with it.)

Zooglobble:What was your first musical memory?

Aaron Nigel Smith: I think it was my elementary school music class with Mrs. Gibson.  We played the xylophones; she was using the Orff/Kodaly method.  I really enjoyed that above and beyond the rest of school.  It opened me up.

And at age 11, you went to study music away from home?

Yes, at the American Boychoir School.  I was at Camp Albermarle, a summer camp, and while there they picked a few kids to audition.  I passed the audition, and soon I was at the school.

It was an incredibly life-changing experience.  From day one, people knew that you wanted to be a musician.  There was choir practice several hours a day on top of class.  We toured every state, we went to Europe, we sang with people like Jessye Norman -- it was incredibly high-quality.

What did you want to do as a musician?

I wanted to be a singer, specifically a classical singer doing light opera, oratorio, choral music, that was my main thought, anyway.

And so what was the path from that career to children's musician?

I went to Interlochen, the music camp, which is where I met my wife.  I attended the Manhattan School of Music and performed with the Albert McNeil Choral Singers.  I toured internationally, I was touring rigorously.  But with with kids, it was a little rough -- literally the day after the birth of our first son Zion, I had to fly to Japan for two weeks.  I did it, because that's what I had to do to earn money for our family, but it was heart-wrenching.

The first hour I spent teaching music was another life-defining moment for me.  I went into the class and immediately threw out the plan I had -- I spent time with the kids with honesty and integrity, I improvised.

That was ten or eleven years ago now.  It's great to see families engaged together.

What was the inspiration for the One World Children's Chorus?

That's really coming full circle for me.  I had been exploring ideas for working with a non-profit.  And I'd been touring and working with my children's music program FUNdamentals.

The choir started in California as the Palisades Choir, but if you're familiar with that area, you know that there's not much need for outreach in that area.  When we decided to move from Los Angeles to Oregon, we expanded that vision to Oregon, then to New York City with some kids I'd been working with there for a few years, and then to Nairobi, Kenya.

We started working with the Cura Orphanage there.  We were able to send proceeds to the orphanage.  And I wanted to have these groups of children singing together.

Do you have particular memories from the sessions?

With Los Angeles, it's the memory of the inception of the recording in my home studio, with my sons, goofing around.  In New York, it was the opportunity to collaborate with Antonio Dangerfield, who was my high school roommate and now works with the Achievement First Academy.

As for Kenya, I'd never been there before.  I'd see the state the kids were existing in, then see them sing with such joy -- they had joy in their eyes as they sang together, even though they had no shoes and were singing in a mud hut.

And in Portland, I finally feel at home.  There's been such openness and kindness -- help with with recording, appearances on TV, and parents jumping with enthusiasm.  We had auditions yesterday and the day before and had 50 kids.

What do you see as the benefits of choral singing for kids?

Well, the voice is a pure instrument, it's inside us.  Beyond that, we all come out of preschool together, but by the time you hit fourth or fifth grade people can be tool cool for someone.  Choir has you standing next to someone, blending your voices together.  Those values of cooperation are useful.  Not even 20% of these kids will become musicians, but they'll learn you can accomplish a lot if you sing together.

There aren't many opportunities to have kids sing together, particularly outside of a church setting -- what advice do you have for getting a group together?

Well, to start off with, just sing with your kids -- it's OK!  We spend so much time telling then not to sing, right?  It doesn't have to be from a hymnal, of course -- sing Bob Marley, the Beatles, general sing-along.

Once kids start singing, they want to sing together, to write music.  And there are so many audiences if you want to perform in front of audiences -- schools, nursing homes.

Singing is coming back into vogue now with Glee and American Idol and the rest (not that I'd push Idol and those shows).  That shows cool high school singing.

What's next for you?

I'm excited about the next season with One World.  We've picked out our next location -- in February we're going to Jamaica.  We're going to be working at Bob Marley's elementary school.  There's also a possibility of working in Haiti in 2013.  That's a little more unstable, and we're trying to find the right partner.

Our next CD is going to be a holiday CD, and we're also doing a holiday concert.

Finally, we're going to put on a children's music festival here in Lake Oswego in the Portland area -- we have a year to pull it off.

Photo credits: Dove Rudman (ANS), Melissa Heinonin (OWC Portland), Michael Kilmurray (Cura school)