Esperanza Spalding

For those naysayers who claim that jazz is dead, I say they probably haven't listened to Esperanza Spalding.

Ms. Spalding, along with other emerging artists such as Robert Glaser and Jason Moran, are bringing a new sense of excitement and innovation to a genre some have all but relegated to a thing of the past.  Anyone who has seen her perform - of which her fan base includes President Obama, who has invited her to play at the White House on various occasions - knows this.  Whether playing songs from her recent soul-hinged "Radio Music Society" album, her more intimate chamber-inspired compositions, or sitting in with an ensemble of jazz legends Wayne Shorter and Jack DeJohnette, she stands to carry on the tradition set forth by those such as Herbie Hancock who are able to play in such a diverse style, they often blur the lines between jazz, R&B, and whatever else might come their way. 

In short, she is giving new meaning to what it means to be a jazz musician in the modern times - creating new sounds, defying genres, all while paying tribute to those who came before her.

 

 

Among her many projects lately, Ms. Spalding has been touring with drummer Terri Lyne Carrington and pianist Geri Allen in a trio simply named ACS.  Their setlist draws largely from a repertoire of Wayne Shorter standards, as well as a selection of their own compositions.  I saw the trio's recent performance at the newly opened SFJAZZ Center, where the Miner Auditorium's minimalist design set a perfect tone for their modern style of improvisation. 

Shorter's tunes, such as "Infant Eyes", "Fall", and "Nefertiti", are best characterized by their complex harmonic structures, as opposed to earlier styles of jazz compositions that draw more heavily from the great American songbook and traditional blues forms.  This style of jazz has its risks, as less seasoned audience members may get lost without a prominent, thematic melody driving the piece along.  But with risk comes reward, and this was definitely the case with ACS's performance.




With the superb acoustics of the Miner Auditorium on display, Spalding, Allen, and Carrington played seamlessly as a trio.  No one taking particular center stage, but rather sharing a musical 'conversation' with each other that the audience was allowed to listen in - or perhaps more aptly, eavesdrop in on.  The three women displayed a maturity in their playing that allowed the music to breath and slowly unfold as it took shape. 

This was exemplified in their original composition, "Unconditional Love", which began with a long introduction of Spalding's unique style of vocal improvising and bass, with Allen adding subtle lines of impressionistic piano to fill in behind.  The song built over the next few minutes, eventually coming to head with a deep drum and bass groove from Spalding and Carrington and assertive solo from Allen.  The band emerged, coming alive with a sense of energy that proved their talents (not that there was any doubt to begin with).  The original composition easily stood up to any of the Wayne Shorter standards they played that night. 

 

Ms. Spalding's tour with ACS continues through the end of the year with a variety of European tour dates. 

 

Girls on Your Turntable Top 5 Picks for Hardly Strictly Bluegrass 2013

1. Tift Merritt - Sunday, 5:10 - 5:55PM, Porch Stage
   I was first introduced to the lovely Tift Merritt when she played the HSB stages in 2002 (back when it was still "Strictly Bluegrass"), and I immediately went to Amoeba Records after the festival and bought her record.  Like many of the artists gracing the stages this weekend, she is hard to pin down to a specific genre, as her sound seamlessly blends together influences from traditional country, soul, and rock 'n' roll. 
   
   
   





2. Martha Wainwright - Saturday, 4:50 - 5:35PM, Porch Stage
   I was thrilled to see Martha Wainwright was going to be making her HSB debut this year.  She is a favorite of mine in recent years, whether it be the self-penned emotionally-driven songs only Martha could get away with (ie, Blooding Mother F****** A*******) to channeling the Edith Piaf, to carrying on the legacy of her late mother, the great Kate McGarrigle. 
   
   On Sunday, she will be joined by her aunt, Sloan Wainwright, as well as special guests (such as Emmylou, no doubt) in paying tribute to Kate.  If the recent "Sing Me the Songs That Say I Love You" film and album is any indication, this set will be filled with emotion and remembrance for a truly great artist.
   




3. Patty Griffin - Saturday, 4:05 - 5:05PM, Rooster StagePatty is becoming a regular at HSB.  Although she is perhaps best known for her songwriting, Patty is a captivating performer who can command your attention with nothing more than her acoustic guitar.  Her strong lyrical talent is matched by her vocal delivery, which combine to create an unforgettable sound.  Often times she is joined on stage by the likes of Buddy Miller and Robert Plant, which adds an extra bonus to her set.
   
    




4. Bonnie Raitt - Friday, 5:45 - 7:00PM, Banjo Stage
   The famed blues singer and guitarist needs no introduction, especially around the Bay Area.  Thank you HSB for finally bringing her to the festival. 




5. Emmylou Harris - Sunday, 5:45 - 7:00PM, Banjo Stage
   
   Emmylou is the reigning Queen of HSB, and thanks to the absolute generosity of Warren Hellman, we have been able to see her close out the festival all 13 years.  In fact, I have come to associate Ms. Harris so closely with HSB, that every time I hear her music (which is often), I can't help but picture her singing to a crowd of thousands as dusk settles in to an early fall night in Golden Gate Park. 
   
   One of my favorite memories from the many years is when she invited Warren to join her band in playing a rendition of the Bill Monroe classic, "Get Up John".  Warren was beside himself, naturally, as he was getting to play on stage with one of his musical heroes.  But the feeling was mutual, as Emmylou was clearly glad to be playing along side a man she so respected. 

Janis Joplin Talks Rejection With Voice Writer Howard Smith in Last Interview Ever

Thanks to the Village Voice for posting this. 

And on the topic of the late Ms. Joplin, I recently saw D.A. Pennebaker's "Monterey Pop Festival" documentary, which I highly recommend to everyone.  Janis' performance of "Ball and Chain" is without a doubt one of the highlights of the film.  (Be sure and watch until the end of the clip when you can see Mama Cass in total awe of the performance.) 

Dawn Landes

In many ways, artists like Dawn Landes are the reason why I wanted to start this blog.  Spanning genres from French (á la Françoise Hardy) and American folk, to indie singer-songwriter driven rock, the diversity of her growing discography displays a talent that demands attention.

Her musical career took root in New York City, where she first moved to study at NYU, and later dropped out to start working in recording studios (working with the likes of Phillip Glass, among others).  In the meanwhile, she also began to write and record her own music.  Her first record came out in 2005 and she has been making them ever since.  

Dawn has just finished working on a record with Doveman (Thomas Bartlett) that will be coming out in early 2014.  Three preview tracks are available for streaming online here.

I recently sat down with Dawn before her show at the Great American Music Hall in San Francisco, where she was both opening for and singing with the Brooklyn-based folk band Hem.  Since she has been working with Bartlett, our conversation began by discussing the recent Kate McGarrigle tribute album that he has been part of.  We went on to discuss her role as a female music engineer, her views on creativity and technology, and what her top five "Girls on Your Turntable" playlist is.

Read full interview below.

Neko Case @ First City Festival, Monterey, CA

 



Debuting songs from her upcoming release, "The Worse Things Get, The Harder I Fight, The Harder I Fight, The More I Love You" (out September 3rd), alongside selections from past albums, Neko Case played to a full crowd of fans Sunday evening at the inaugural First City Festival.

  

Particular highlights from the night included "This Tornado Loves You" and "That Teenage Feeling", as well as her covers of the Shangri-Las "Train from Kansas City" and Lisa Marr's "In California".  Overall, the hour plus set demonstrated Ms. Case's wide-ranging talent, showcasing her ability to be both vulnerable and emotion and strong and aggressive with her vocal delivery. 

 

The event, which took place at the history Monterey Fairgrounds (home to the long running Monterey Jazz Festival taking place next month), brought a mix of up-and-coming bands such as the Los Angeles-based Electric Guest alongside indie legends Modest Mouse. 

 

The Best of Marian McPartland on YouTube

I've spent the better part of the day listening to old episodes of NPR's Piano Jazz. I highly recommend tracking down the Willie Nelson episode, which is such a fun and unexpected pairing of legends. And if you are in the mood for some great bass, check out the Ron Carter and Esperenza Spaulding shows. You can't go wrong. Here are some clips of various interviews and performances with Marian throughout the years.

Remembering Marian McPartland, 1918-2013

I woke up to the news this morning that Marian McPartland had passed away at her home in Long Island, New York.  She was 95.  Marian was no doubt one of my biggest music inspirations, and I will always remember with the highest regard the first time I heard her show, and then, many years later, the first (and only) time I was fortunate enough to see her play.

Although I am a huge fan today, I did not grow up listening to jazz, and much of my exposure to the genre did not come until my late teens when I began to explore music beyond the rock and folk I grew up with.  Around this same time, during my first summer home from being away at college, I heard Marian’s Piano Jazz, and through the show I was educated and introduced to many new artists.  With her comforting British accent, Marian talked to her guests like they were old friends catching up on lost conversation.  And in large part, these were in fact long-time friends of hers.  The guests and her swapped stories about shows played at The Hickory House, where Marian enjoyed a long standing residency from 1952 to 1960, and gave us listeners a taste of what it was like to live and play in an era where thriving jazz clubs scattered the streets of New York City.  This intimacy set Piano Jazz apart from any other show I’d heard before.  It was like listening to my grandmother telling stories from her youth, if my grandmother grew up alongside the likes of Dizzy, Mingus, and Monk, instead of on a Midwest farm.  I fell in love with it all.  “Shall we play that one together?” she would say to her guest.  And so began the music that was beloved by her many listeners and fans for decades on end. 

I saw Marian play at Yoshi’s, a jazz club in Oakland, California, in 2007.  It was shortly after she turned 89, but you would not have a sense of her age by the way she played.  Though she used a walker to help her get around onstage, she led her trio through two solid sets of her own compositions and jazz standards.  She didn’t miss a beat.  I was obviously thrilled to be seeing one of my heroes, and throughout the night, kept thinking to myself, “Damn, if we could all be so lucky—to not only be alive and in good health at 89, but to be leading a band of men half her age with such strength and grace.”  What a gal, that Marian McPartland. 

In recent years (through the help of her grandchildren), Marian maintained an active presence on Facebook.  She posted many pictures and videos of her peers, and fortunate for us, used it as a way to communicate with her fans.  I shared this blog with her, particularly the posts in which she was highlighted in the entries about women and jazz music.  I am happy to say that she read them, and replied to me that she enjoyed them.  I am grateful for her many years as a dedicated host, and for all of the knowledge of jazz she imparted on me and other listeners.  And thankfully, in the digital age we live in, there are hours upon hours of archived shows available for us to listen to.  She may be gone, but her music lives on.

First City Festival coming to Monterey, CA August 24-25

It's summer time, which means it's time to start planning which music festivals to attend in the coming months.   I am excited to check out the inaugural weekend for the First City Festival, taking place at the Monterey County Fair and Event Center on Saturday, August 24th and Sunday, August 25th.  I am particularly looking forward to seeing Neko Case, who will be on tour promoting her highly anticipated new album coming out later in the year.

Other performances will include Modest Mouse, Passion Pit, MGMT, Neko Case, Beach House, the west coast debut of Avey Tare's Slasher Flicks (featuring Dave Portner of Animal Collective), and more.

First City Festival is named after Monterey's claim as the official "first capital" of California. The festival promises a sophisticated musical line-up of 30+ bands in a relaxed and beautiful coastal setting.  The festival grounds will showcase three live music performance stages plus a Vaudeville variety stage. A full carnival with rides and games will be available to guests.

Tickets are on sale via FirstCityFestival.com. Single tickets are now available for $85 per day.  Two Day GA and VIP passes start at $149.50.  All tickets are “all in” with no additional fees, and a “layaway” option is available. The festival is all ages and will run from 1pm until 11pm each day. 

Sing Me the Songs: Celebrating the Works of Kate McGarrigle

This week I have been playing "Sing Me the Songs: Celebrating the Works of Kate McGarrigle" as often as possible. The album, which was recently released on Nonesuch Records, is a collection of recordings from a series of tribute concert led by Kate's children Rufus and Martha Wainwright, and organized by Joe Boyd (who produced the album, as well as many of The McGarrigle's early recordings).

"(Talk to Me of) Mendocino" is easily one of the highlights for me, and truly demonstrates what a brilliant songwriter the late Ms. McGarrigle was. Simple melodies, sparse piano accompaniment, yet has the ability to convey a very specific sense of time, place, and emotion. A task that is not easily accomplished in song, but is a hallmark of much of her work ("Saratoga Summer Song" is another example of this, a song which Teddy Thompson perfectly delivers on the album).





The album is not only a wonderful introduction to Ms. McGarrigle, but also brings light to many artists who you may not of heard before. While the likes of Emmylou Harris and Norah Jones need no introduction, Krystle Warren is an artist I discovered through these concerts. When I attended a screening of Lian Lunson's documentary film "Sing Me the Songs That Say I Love You: A Concert for Kate McGarrigle" at the San Francisco International Film Festival, it was Ms. Warren that left the crowd in complete silence.  Everyone was floored by what she brought to the concert.  Her performance of "I Don't Know" brings a new touch of gospel-influenced soul to a body of work that has foremost been in the hands of folksingers.  Tribute concerts often run the risk of simply mimicking the artists being recognized.  While this demonstrates the influence the honoree has had on other musicians, it does nothing to contribute or add to the greater good of the original song.  This is not the case with Ms. Warren, as she takes complete ownership of "I Don't Know" and makes it her own.


 

Proceeds from the album will be donated to the Kate McGarrigle Foundation, a non-profit organization dedicated to raising money in the fight against sarcoma and also to preserving her legacy through the arts

Playlist: WWOZ DJ Soul Sister

In a city known for its legendary music scene, New Orleans community-based radio station WWOZ serves as an institution in itself. It is highly regarded as one of the best stations in the country, and its disc jockeys continuing play a fresh selection of jazz, R&B, funk, and soul.

 DJ Soul Sister, known worldwide as the “queen of rare groove,” has hosted her "Soul Power" show on WWOZ FM and "right on party situations" for nearly two decades in her native New Orleans. One of the longest-running live DJ artists in New Orleans, the veteran radio programmer and host of the longest-running rare groove radio show in the U.S., vinyl collector, crate digger, party promoter and tastemaker is highly regarded and respected not only in her hometown, but around the globe.

We recently asked DJ Soul Sister to curate a playlist for Girls on Your Turntable and here is her selection.  

 

DJ Soul Sister’s “Bold Soul Sisters” Playlist Part 1

A playlist of rare groove, funk, disco, and other vintage soulful music by fierce women artists that you may or may not have heard of before.

1. "Smoke Signals" - Brides of Funkenstein, 1980
   I’m partial to this song because I’m a huge P-Funk head, and my cousin Dawn Silva happens to be one of the Brides. Even if none of the above were true, this group should always be included in the conversation about Funk music. The women of P-Funk’s most successful spinoff, outside of Bootsy’s Rubber Band and aside from sister group Parlet, provided the background (and foreground) vocal sweetening on Parliament-Funkadelic’s greatest jams. I can’t even imagine songs like “Flash Light” and “(not just) Knee Deep” without their voices.
   
    
   
   
    
2.   “So In Tune With You” – Kellee Patterson, 1979    
   Gary, Indiana-born Kellee Patterson was always winning – whether it was local youth talent competitions alongside fellow music-loving neighbors Michael Jackson and his brothers or winning beauty pageants. She enjoyed a prolific recording career in the mid- to late 1970s, and opened for entertainers like Johnny Carson. Rare groove enthusiasts swear by her 1976 LP Kellee. That one’s amazing but, lately, I can’t get enough of this winning dancefloor cut from her 1979 release, All the Things You Are.
   
   
    
3.  “Sister Funk” – Gloria Williams, 1973  
   I don’t know much about Ms. Williams except that she lays down some serious grit on this 7” hunk of funk. Her vocal delivery is oddly somewhere between the Ohio Players and Playboy Magazine. I can’t get enough.
       
4.  “Love Shock” – Kitty & the Haywoods, 1977 
   Speaking of the Ohio Players, they produced one album by the family group from Chicago consisting of well-seasoned session vocalists who sang with Leroy Hutson and other renowned soul artists. This cut, the title track, is a Funk monster , and the rest of the album focuses on plenty of lovely mellow cuts, which are equally nicety.
   


5. “Number One” – Patrice Rushen, 1982  
   I’ve focused a lot on female vocalists in this list, so now it’s time to spotlight an instrumentalist, considered to be number one amongst her peers. Considered one of the world’s top jazz pianists, she hit the ground running as an in-demand session player on sides by Sonny Rollins and Eddie Henderson, and released her debut album in 1974. She switched to R&B, Funk, and dance music in the late 1970s, keeping her soulful jazz edge and winning over pop fans in the process. This instrumental cut from her top selling album Straight from the Heart (containing the hit “Forget Me Nots”) is a perfect example of how jazz grooves can work on the dance floor. 

 

Check out event promoter, soulful dj artist, and music writer Melissa A. Weber aka DJ Soul Sister on the web at facebook.com/djsoulsister, or listen to her weekly “Soul Power” show, the longest running rare groove radio program in the U.S., every Saturday night from 8-10pm Central Standard Time on WWOZ in New Orleans, streaming live at wwoz.org.

 

New Joni Mitchell interview from CBC

This is the first new interview I have seen with Joni Mitchell in awhile. So excited to watch. Thank you CBC for making it available online!

The Girls in the Band, cont.

Earlier this week, we featured our interview with "The Girls in the Band" director Judy Chaikin.

One of the most recognizable women featured in the film is the legendary Marian McPartland, who is perhaps best known as the long-time host of NPR's Piano Jazz.  For those not familiar with the show, check it out immediately.  The weekly broadcasts provide a wealth of rich interviews and duets with Ms. McPartland and her guests.  She is no longer taping new shows, but NPR still airs the program each week pulling from its deep archive.

When speaking with Ms. Chaikin, we discussed the reoccurring notion that women's jazz groups are often perceived as mere novelty acts, and their members are nottaken seriously as musicians.  "Now's The Time",  recorded in 1977, will rest any lingering doubts that skeptics may be holding on to.

The session, which features the all-women ensemble of Mary Osborne (guitar), Marian McPartland (piano), Vi Redd (saxophone), Lynn Milano (bass), and Dottie Dodgion (drums), is an incredibly hip and swinging collection of jazz standards.  The recordings demonstrate mastery of each instrument, and the improvised solos do not hold anything back.  They are as melodically innovative and forceful as their male counterparts. 

The album was recorded live at the Monticello Room in Rochester, New York on June 30, 1977.  The set begins with "Now's the Time",  a blues standard written by Charlie Parker.  It is a natural choice for the opening tune, as the swinging upbeat tempo calls the audience to attention and lets them know what is in store for the next hour to come.  But I can't help but wonder if this song selection was just a coincidence, or if "Now's the Time!" is a call for listeners to wake up an take note of these women.  By 1977, the women's liberation movement was well underway and feminists around the country were actively demanding equality in the home and workplace.  Why not equality on the center stage of the jazz club as well?  These five women certainly prove there is no reason why this should not be the case. Take a listen and you will surely agree! 

The Girls in the Band: An Interview with director Judy Chaikin

"The Girls in the Band", a documentary film that captures the stories of female jazz musicians from the 1930s to present time, will be playing in Los Angeles this weekend.  Click here for details and ticket information. 

I recently spoke with director Judy Chaikin after the film's New York City debut at the Lincoln Center.  In the interview, Ms. Chaikin discusses her inspiration for the film, and how her own views of women musicianship evolved throughout its making.

Read full interview after the jump.

Kate Wolf

Whenever I drive through California this time of year, I am always reminded of the line from Kate Wolf's song "Here in California":

Here in California fruit hangs heavy on the vines
There's no gold I thought I'd warn you
And the hills turn brown in the summertime

Kate Wolf was a noted Bay Area folk singer in the late '70s and '80s, whose life was tragically cut short from leukemia at the young age of 44.  She is remembered every summer at the Kate Wolf Memorial Music Festival, which will take place June 28-30 in Laytonville, CA. 

For those interested in hearing more of Ms. Wolf's music, I recommend starting with her album, "An Evening in Austin", which captures the essence of her songwriting through the live performance.

Kennedy Center to End Women in Jazz Festival

This weekend is the Mary Lou Williams Women in Jazz Festival at the Kennedy Center in Washington, DC.  The festival, which is the largest of its kind, has always brought attention to and highlighted today's top female jazz musicians.  But this is all to change next year.

It was recently announced that this will be the last year of female-only programming, with the Kennedy Center citing that the emphasis on women was too limiting.

Have we reached a level of equality in jazz that the festival has lost its necessity?  Festival host Dee Dee Bridgewater is not so sure.  She is quoted in the Washington Post, "I don’t understand where that is coming from. I don’t see the need to move away from it, and I know plenty of women who need that space to show their music."

What are your thoughts?  Read the full article in the Washington Post here.

Essential Listening #1: Lucinda Williams "Car Wheels on a Gravel Road"

My first selection for Essential Listening for your Girls Turntable is "Car Wheels on a Gravel Road" by Lucinda Williams.

Much has been written about the album's history, in which Ms. Williams infamously battled in the studio with various producers and label executives for six year to find the right sound and capture her artistic vision for the recordings.  Her persistence paid off, and when the album was eventually released in 1998, it was lauded with critical praise, earning a Grammy for Best Contemporary Folk Album.

But for those who did not know its history, one might assume it was recorded in a single late night session.  A group of musicians jamming together after a long summer day in a crowded room filled with smoke.  Bourbon and cold beer fueling the night.  At least this is the picture that comes to my mind.  Each track comes together in such an effortless fashion, it's hard for me to disassociate the Southern juke joint imagery conveyed throughout the songs with the recording session itself.  On par with the literary work of Flannery O'Connor and other Southern Gothic writers that have influenced her writing, Ms. Williams' album establishes a sense of tone and place that is inescapable after even one listen. 



Individually, "Car Wheels on a Gravel Road" is marked by several songs that stand out as significant contributions to the canon of work we now call Americana.  (A genre arguably created in an attempt to categorize Ms. Williams, who falls on the peripheral far beyond the comfort zone of today's pop-driven country music.)



Listen to the entire album on Spotify.

American Idol Season Finale Recap

Last night, I surprised even myself by how much I enjoyed the American Idol season finale. As an occasional-at-best follower of the show, I have always had reservations about watching, often associating it with my dislike of certain aspects of today's music industry that seems to favor appearance and marketability over actual artistic talent. 

But after watching for the past few weeks, my opinion has changed. The final five contestants, Janelle Arthur, Candice Glover, Kree Harrison, Amber Holcomb, and Angie Miller, were all strong women who demonstrated tremendous talent and poise on stage. And despite being a competition, the five showed a genuine respect for each other's talent, which came across in every duet and group performance.  Any one of the five could have walked away the winner and everyone would have been happy with the results. 

In general, the finale served as a reminder for skeptics like me that it is okay to let our guard down and appreciate Top 40 music. Pop music obviously plays a large role in popular culture, and as such, deserves as much critical attention as any other genre. Music does not always have to possess a strong political or social commentary to be worthy of or justify our listening appreciation. Often we just want a catchy melody that we can sing and dance along to. Pop music, when at the top of its form, has the ability to do both. The audience was witness to this last night, when watching Aretha Franklin sing with the top five ladies. The medley, which included Ms. Franklin's R&B classics such as "Think" and "Respect", got everyone out of their seats dancing, but more importantly the songs served as a reminder for us women to be strong and stand up for what we believe in. Even though the lyrics were written over fifty years ago, they still prove to be important lessons we can all learn and gain inspiration from. 

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Congratulations to the winner Candace Glover, who no doubt will go on to become a star in her own right.

I'm sure that her single, "I Am Beautiful" will inspire young girls of today's generation in the same way Ms. Franklin inspired young women of the 1960s. 

You Don't Play Like a Girl

Just stumbled upon Allison Miller's excellent essay from the Huffington Post on being a female jazz drummer.
"Honestly, it's hard to be a woman in this business. I have to prove myself over and over again. So many people have said to me, "You don't play like a girl!" They think it's a compliment. But actually, I do play like a girl. This is what girls play like." Read the entire article here.
Allison Miller - NPR Tiny Desk Concert

Happy Mothers Day

Here is what we are reading:

18 Musical Moms Talk Motherhood from Paste Magazine

Moms In Opera: Women On The Edge from NPR Music

A Natural Woman: A Memoir by Carole King

Songs From Our Mothers

Some of my earliest music memories involve listening to my mother's record collection when I was a young girl. I would sit for hours on end putting records on the turntable, completely in awe as I heard groups like the Mamas and the Papas for the first time.

When I hear this song even today, it immediately brings me back to this time in my life.

What songs did your mother play for you?

And for those mothers reading, what songs do you hope to pass on to your own children?

Leave your comments below.

New Release: Patty Griffin "American Kid"

American Kid, Patty Griffin’s seventh album, is her first album of mainly new material since Children Running Through in 2007.

Welcome to Girls On Your Turntable

The idea for this blog first grew out of The Kitchen Sisters’ “Hidden World of Girls” series, when they began to ask their listeners “What girl is on your turntable?”  Those of you familiar with their work already know music has always played a large role in their production style.  Like the hidden stories they seek out, a new song or undiscovered artist is likely to provoke an equal sense of excitement.

When I first met Davia and Nikki at the UC Berkeley Graduate School of Journalism, where I was a student, one of our first conversations was about the mix CD I brought them early on in their class -- a compilation of food-themed songs, probably the first and only mix I have made that included Robert Johnson side-by-side with Rufus Wainwright!  It was clear then that we shared a passion for music, and now, nearly ten years later, this is more evident than ever.  So when they began their ‘Girls Turntable’ project, I knew it was something I wanted to be part of.  I enjoyed listening to the premier playlist that Bonnie Raitt curated, and I loved(!) the archival tapes from Patti Smith’s youth.  But I envisioned even greater things for the project and The Kitchen Sisters agreed to let me take it on. 

The topic of women and music can be a delicate one myself.   A musician myself, I often have to balance and maneuver around such stereotypical and patronizing questions as, “What’s it like being a girl guitarist?” to find a deeper and more meaningful way to discuss female artists and their contributions to music history.  Even the iconic Joni Mitchell is often labeled the "female Bob  Dylan”, as if to suggest we need a male reference point to understand her true genius.  And yet, without falling trap to this reductive nature that dominates most conversations, it remains clear there are many things we can learn from female musicians.  Through their songs, they give us an outlet to discuss our politics, our sexuality, our relationships, and the joys and struggles that come from being a woman.  Through different harmonies and rhythms, we are exposed to new ideas and gain perspective about growing up in other cultures.  In short, the music that women create is a reflection of the events and experiences that shape it. Through our act of listening, we are revealed  both a greater truth, and a glimpse into these women’s lives. 

Over the past few months I have been asking myself, "What is the most appropriate way to chronicle these women?"  As this blog unfolds, I will be featuring female musicians from around the world, profiling artists both new and old that may have fallen under your radar, and bringing you the stories behind songs that shape our history.  And throughout this process, I will continue to ask fellow friends, artists, and you, the reader, “What girls are on your turntable?”

I hope you will enjoy reading what I have to write and will learn something from the songs I select.  I hope to create a forum that welcomes your contributions, and I look forward to the conversations that may arise here at “Girls on Your Turntable.”  But most importantly, I hope you will take the time to simply listen and appreciate what this music has to offer.