Author: Michael Witthaus

Nashua Center for the Arts welcomes Suzanne Vega

On her 2020 live album, An Evening of New York Songs and Stories, Suzanne Vega covers Lou Reed’s “Walk on the Wild Side” and talks about how seeing him perform while she was in college changed her view of rock music. Vega was then a folkie, deep into Bob Dylan and Leonard Cohen. “To me, rock ’n’ roll was that thing that other people do,” she said in a recent phone interview.

Reed’s “blunt, graphic depictions” of New York life grabbed her. “I thought, wow, you can write about these things. When I first saw it, I found it repulsive; then I became fascinated. … I wanted to take it in so I could do it myself.”

On songs like “Tom’s Diner,” “Frank and Eva,” “New York is a Woman” and the poignant “Anniversary,” an ode to 9/11, Vega is a vital chronicler and erudite ambassador of her home city. On April 15 she’ll take the stage at the just-opened Nashua Center for the Arts, the second nationally touring act to play there. It’s also one of her first New Hampshire shows in a while.

The evening will also feature selections from Lover, Beloved, the film version of which premiered last year at South by Southwest. Written by Vega, the one-woman show began in 2011 as Carson McCullers Talks About Love. It’s a work in progress, she said. “In time, I’d love to see a transgender actor play her, especially in Act 1.”

Vega discovered the author of The Heart is a Lonely Hunter and The Ballad of the Sad Café when a musical theater teacher assigned the task of dressing up and taking questions as someone in the arts who was no longer alive.

“I’d seen a photograph of Carson McCullers, and I thought to myself … I could probably play that woman, whoever she is,” she recalled. Then she read the Southern Gothic writer’s biography. “I loved her character, I loved the fact that she was this young woman in the 1940s with super-liberal politics and a precocious, freakish talent for writing. She was so fearless in her imagination; and I also loved that she drank and smoked like Hemingway.”

McCullers was also hopelessly drawn to the Big Apple, a topic Vega covers on “New York is My Destination” from Lover, Beloved. “New York is where I will be from,” she sings implacably. “New York is made for grander things / Just. Like. Me.”

Vega’s highest-charting hit is “Luka,” the second single from her 1987 album Solitude Standing. For years, she told anyone who asked that the story of an abused child came from her imagination, but 2021, Jay Lustig, a writer who was working on a series for The Museum of New York, approached her for an interview. Their initial conversation would lead to Vega declaring for the first time, “There was abuse in my family; I am actually Luka.”

She said Lustig approached his task as a historian, not a journalist. “He said, ‘I know your secret, and I know this because I watched the videos of your stepfather’s memorial, and I saw your sister’s speech. So I know that you’re an abused child.’ He just put it to me bluntly that way.”

Lustig offered her the choice of talking for publication with her abuse as the premise or walking away.

“I thought, OK, finally, I have someone who’s gonna force my hand,” she recalled. “There’s no point in saying my usual thing which is — I don’t lie, I say, ‘Yes, there was a boy, his name was Luka, he lived upstairs from me, he was not abused, but I’ve known children who were abused over the years.’ Since he’d presented it very thoughtfully and sensitively, I thought to myself, I don’t think I’ll ever get another chance like this to actually delve into it, and so that interview remains a very special moment in time.”

Surprisingly, response to her revelation was muted.

“I thought that this was a story that would go viral, everybody would be asking questions and carrying on. Almost nobody talks about it, it’s kind of stunning,” she said. “I did get letters from people who were abused as children, saying, ‘We already knew’” — though at most three people over the years had ever intimated they suspected.

“People close to me said, are you going to make a formal announcement? I thought, there’s no reason,” she continued. “I mean, that is the formal announcement. It’s not up to me to push it along, it’s there. If people want to talk about it, I’m into it. If they want to talk about other things, that’s fine too.”

Suzanne Vega – An Intimate Evening of Songs and Stories
When: Saturday, April 15, 8 p.m.
Where: Nashua Center for the Arts, 201 Main St., Nashua
Tickets: $49 and up at etix.com

Featured photo: Suzanne Vega. Courtesy photo.

Snarky Puppy arrives at Capitol Center

Jazz fusion collective Snarky Puppy is hot on the heels of winning its fifth Grammy, for the double album Empire Central. Bass player and primary composer Michael League spoke with the Hippo by phone from Minnesota, as a tour that stops in Concord on April 12 kicked off. League discussed moving to Catalonia, Spain, in 2020, the nature of his ever-changing band and its influences, and what all that Grammy love really means.

What led the decision to relocate to Spain?

I was looking to focus more on production rather than playing live, and I had gone through a lot of drama with recording studios in New York; there was always an issue in the spaces I was in… I was just like, I want to have my own studio in my own house, where I can bring artists to me, a place that I enjoy living that’s calm and tranquil … half of my family is Greek, so I always felt really at home in the Mediterranean … it’s one of the best decisions I ever made in my life.

Has the evolution of technology helped your creative process?

Everyone’s using technology, my bass plugs into an amp, that’s technology, but I wouldn’t say that we focus on being revolutionary or cutting edge with it. At the risk of sounding like an old kerfuffle, I think that we’re very analog. We’re very about getting in the room together and playing, and seeing what happens from the beginning … playing live is the essence of Snarky Puppy. Our thing is not making slick videos; we play music together, we’re like a family, and the chemistry between the members is what makes the music so special, I think.

What are your influences?

Oh my god, I listen to a lot of music, like everybody in the band does. I mean, I listen to a lot of music from different parts of the world, but I mean Snarky Puppy above all has been greatly influenced by Herbie Hancock’s Headhunters, Steely Dan, yeah sure, Tower of Power, you know and Parliament; Jaco Pastorius. I feel like a lot of the groups that sit in the cracks of genres, they are our biggest influences.

How does Grammy validation matter to you?

What the awards have done is vastly improve our quality of life on the road. We get paid better, treated better, and there’s more respect, which means our touring life is more sustainable. It used to be really rough, very intense and very hard on our bodies and bank accounts… people may not say [it] because we’ve been nominated five times and we’ve won five times, but the nature of Snarky Puppy is being underdogs. We started when we were too jazz for rock and too rock for jazz, and no one would book us. Festivals hated us because we were too electric, and rock clubs didn’t like us because we weren’t rock enough, and we somehow figured out a way to make it work.

What are your thoughts on working with David Crosby, on his passing, and his legacy?

He was one of my closest friends … he was like family. He changed so much about how I think about music, and I’m very grateful to have been able to spend time with him in the last part of his life. He had a reputation for being a difficult person, and I wouldn’t say that’s untrue, but … I will say that I experienced that very little in the years that I knew him. He was nothing but beautiful to me and all of my friends and everyone in my community. Just one the most generous people with his time and his resources…. When people talk about him, they talk about relationships that were destroyed [and] the more outlandish stuff that happened in his life, but if you’re going to talk about that, you have to talk about how he was so full of joy and generosity, and above all, so full of wonder about music. He was like a little kid with music, he always used to say it was the most fun you could have with your clothes on. It was just beautiful. The main thing that I learned from him is that it doesn’t matter how old you are, or famous or rich, just music brings joy. You get rid of all the superficial stuff, and you can reduce it down as much as you like and the core of it is just joy, and he had that at 81 years old. He was still so juiced and excited about playing, recording and creating.

You have many side projects — when you go on stage for this show, are you basically sticking to Snarky Puppy?

What I love about having so many projects is when you enter into one of them, you’re going into an entire world of music, with its own rules and natural laws and all this kind of stuff. It’s beautiful, because it exposes all kinds of parts of your personality. Actually, I don’t even like the thought of playing one of the songs from one band with another band, it doesn’t inspire me at all. I love going out with Snarky Puppy and just being in Snarky Puppy land, and then going out with Bokanté and being in that world. It’s fun, it’s like putting on a new pair of pants.

Snarky Puppy
When: Wednesday, April 12, 7:30 p.m.
Where: Capitol Center for the Arts, 44 S. Main St., Concord
Tickets: $35.25 and up at ccanh.com

Featured photo: Snarky Puppy. Michael League is in the foreground, left. Courtesy photo.

Music and food benefit Ukraine

A charity focused on humanitarian aid for a war-besieged country is the beneficiary at an event that includes traditional food and a variety of music. Voices United For Ukraine began as a way for local musician Val Blachly to do something, even from a distance, to help.

“I thought a musical event would be a really nice way of going about raising money, so that’s how I got involved,” she said. “The country’s in need with what’s been going on and we really wanted to give back, and give to the people there.”

Hot Skillet Club will headline the show. They’re a newly formed trio that includes Blachly on upright bass and a pair of musicians she’s played with in other groups: guitarist Liza Constable, part of retro-swing group Swing A Cat, and Ellen Carlson, a fiddler she began working with in Sweet, Hot & Sassy, which had a 12-year run starting in the early 1990s.

A pair of Ukrainian accordion players will serenade during dinner, followed by Northern Lights, a vocal group organized by Concord musician Peggo Hodes. Acoustic quintet Wholly Rollers follows with old-time bluegrass and gospel, and what their website dubs “sea shanties and land shanties.” Folk singer Andriy Zharkov, another native of Ukraine, will perform between sets and speak about his journey of how he came to the United States.

After looking at some venues that didn’t fit the benefit’s modest budget, Blachly approached Concord’s Unitarian Church and found a perfect match. After a sit-down meeting, “I said, ‘this is my vision, I’d love to do something for the Ukraine, incorporate music and some people from there,’” she recalled. “They both looked at each other and said, ‘Oh, my God, this is exactly what we want to do … we’ve been talking about doing something like this.’”

Ukrainian native and activist Natalia Karaulova connected Blachly to Sunflower Network, an organization that directs donations to where they’ll do the most good. Karaulova found out about them while visiting Ukraine a few months ago, after a chance meeting with an old high school friend who was working with them to bring aid to the ravaged country.

“Everybody’s trying to help each other, to help displaced people and the army, because they are fighting the fight and making sure that the rest of the country is safe,” Karaulova said from her home in Warner. “That’s how I learned about Sunflower Network, just having that personal connection.”

Asked about the dinner preceding the concert, she said, “If somebody asked me to describe Ukrainian cuisine, I’d say it’s very earthy. People still grow most of their food…. It’s very hearty.” The evening menu will include staples like borscht and cabbage wraps, along with dumplings and a special dessert.

For their set, Northern Lights will perform “Will The Circle Be Unbroken,” and a Ukrainian folk song picked by Hodes with help from Karaulova. “She had Natalia assist her and the women in the group with pronouncing the lyrics,” Blachly explained. “This particular song was written by a Russian, so the pronunciation was a little different. Peggo called her in and said she really wanted to do it with a Ukrainian accent.”

Closing the show, Hot Skillet Club will draw from an array of selections. Their set will have throwbacks from the Boswell Sisters, a proto-swing vocal group at the center of Blachly and Constable’s band Honest Millie, along with Bob Wills and Asleep at the Wheel-flavored material delivered with a feminine touch.

“We’ve been listening to Swing Sisters and women that came into Western swing, the music that they came out singing, and picking up ideas,” Blachly said. “Ellen has that down on the violin, so it’s kind of a combination of the two.” They’ve also worked up a great version of Merle Haggard’s “Tonight The Bottle Let Me Down,” now up on Blachly’s Facebook page.

More recently, the trio started rehearsing gypsy jazz pioneer Django Reinhart’s song “Limehouse Blues.” The best part is the honey-sweet three-part harmonies that come easy for the old friends. “We’re all stepping up to the plate,” Blachly said.

Beyond the benefit show, there’s more on the way from Hot Skillet Club.

“It’s amazing that in the little time we’ve had together we have a fair amount of tunes,” Blachly said. “We’re so new we don’t even have our website up yet. And we already have 10 gigs.”

Voices United For Ukraine
When: Saturday, April 1, dinner at 5:30 p.m., concert 7:15 p.m.
Where: UU Church, 274 Pleasant St., Concord
Tickets: dinner $15, concert $20 per person (under 5 free)

Featured photo: Hot Skillet Club. Courtesy photo.