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NEW ARTIST SPOTLIGHT: Elana James Print E-mail
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Written by Bob Doerschuk   
NEW ARTIST SPOTLIGHT: Elana James
By Bob Doerschuk

© 2007 CMA Close Up News Service / Country Music Association, Inc.

Elana James’ self-titled debut is swinging musical proof that, sometimes, a bump in the road can provide the perfect wakeup call. James spent eight successful and well-traveled years as fiddler/vocalist for acclaimed Austin, Texas-based western swing outfit, Hot Club of Cowtown. Hot Club was touring with Bob Dylan and Willie Nelson when the decision was made to take an extended break. Right at that moment, Dylan called, and James began touring as a member of his band.

Inspired by Dylan’s career longevity and on-the-road fortitude, James resolved to record her own album her own way, enlisting the help of old friends including legendary Texas fiddler Johnny Gimble. The resulting project, released Feb. 27 on James’ own label, Snarf Records, and produced by James with Mark Hallman, is a rare gem of an album that finds James spreading her formidable musical wings.

The album features a 50/50 mix of standards and inspired originals, all delivered with a sly wink and lifted by James’ charming vocals. James moves easily from the fiddle-spiced swing of “Twenty-Four Hours a Day” to the deep-and-dark Appalacian meditation of “All the World and I.” A cover version of Dylan’s Nashville Skyline classic, “One More Night,” completes the picture.

A native of Prairie Village, Kan., James studied classical violin from the age of 5, picking up music from her mom, a concert violinist, and her winning stage persona from her gregarious dad. After high school, she studied at Manhattan School of Music and was soon amazed to be jamming with and learning from some highly regarded players including Cliff Bruner, Gimble, Hoot Hester and Kenny Sears. For James, pouring all of that invaluable experience into her first solo project has been a life-changing experience.

“I’m kind of starting over with new fans,” she said. “It’s kind of a freeing situation — you do what you do because you want to do it.”

IN HER OWN WORDS:

Who are your musical heroes?

“Willie Nelson and Bob Dylan.”

Which song would you secretly like to cover?

“‘Ripple’ by the Grateful Dead. Ah, now it’s not so secret. I love that song.”

What CD is on your stereo?

“Woody Guthrie, The Asch Recordings Vol. 1: This Land is Your Land.”

What book is on your nightstand?

“The Dead and the Living, poems by Sharon Olds.”

What song do you wish you had written?

“‘Stardust.’”

What moment in your life would you relive if you could?

“It hasn't happened yet.”

On the Web: www.elanajames.com
 
NEW ARTIST SPOTLIGHT: Jason Meadows Print E-mail
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Written by Bob Doerschuk   
NEW ARTIST SPOTLIGHT: Jason Meadows
By Bob Doerschuk

© 2007 CMA Close Up News Service / Country Music Association, Inc.

America got to know Jason Meadows as the young man with the chiseled good looks, self-deprecating charm and rugged but tuneful voice who made it all the way to second place in the third season of “Nashville Star.” But though he looked and sounded right at home on a sleek stage set, bathed in a high-tech halo of spotlights, part of his charm was that sense that there was someplace else closer to his heart.

That place is Oklahoma, where living close to the land nurtured his twin interests in music and rodeos from the moment he was old enough to sing and ride. Meadows developed quickly in both areas, sharpening his skills as a calf roper with the Oklahoma Youth Rodeo Association while soaking up every note his cousin and grandfather would play on guitar, fiddle and harmonica.

By age 16, Meadows had developed his own vocal sound, based on Hank Williams Sr. and Jr., Merle Haggard, Buck Owens, Conway Twitty and other influences but shaped through his own emerging gifts as a songwriter. His reputation grew to the point that Reba McEntire, on the basis of recommendations from trusted friends, brought him to Nashville, where he scuffled on construction jobs to pay for the time it took before Nick Pellegrino agreed to produce his demos.

Those recordings won Meadows his shot on USA Network’s “Nashville Star,” which in turn opened the door to his album debut, 100% Cowboy, on Baccerstick Records. If that title doesn’t say all you need to know, then the title track will, from the opening guitar, slithering like a rattler in the dust, to the pride behind the lyrics he wrote: “I’m not one of them posing pretty boys.” And you’d better believe it.

IN HIS OWN WORDS:

Who is your musical hero?

“Chris LeDoux is someone who shines in my eyes as a musical hero. He stayed true to who he was. No one ever influenced him to the point of compromising the fiber of the  man that he was. He was high energy and he put on one heck of a show. He played his own music with a fury and a fervor that you can’t teach someone. It’s either in your determination and grit or it isn’t. That’s exactly what I like to do. I just want to do a great  show and have a great time right along with everyone in the crowd. Even Garth Brooks learned from Chris LeDoux.”

Which song would you like to cover?

“We’ve been doing a song in my live show and we changed the words a little and turned it into ‘Play That Country Music Cowboy,’ a Country Music version of the funk song ‘Play That Funky Music.’  People just absolutely eat it up. I don’t know whether it will ever appear on one of my albums or not, but it’s a fun thing in a live performance setting and the audience goes nuts.”

What CD is on your stereo?

“I don’t really have a lot of CDs, but there’s one in my truck by a guy named Randy Archer. Boy, do I love it. It is so Country. It has that old Country feel to it like the old Conway [Twitty] stuff … the Buck Owens-type REAL Country Music.”

What book is on your nightstand?

“I have two. I have the Holy Bible and a book by Joel Olstien titled Life’s Changes. It’s a series of totally positive, motivational stories that basically coach you in positive thinking. If you think positive thoughts and believe, then positive things will happen. Negative thoughts can have the opposite result.”

What do you sing in the shower?

“If I sing in the shower, it’s probably whatever was the last song I heard on the radio before stepping into the shower. Songs have a way of sticking in my head like that.”

What is your pet peeve?

“Someone telling me one thing and then going and doing another. That just aggravates the tar out of me. I try to stay true to being a man of my word and I hold everyone around me to that same standard. If I tell you I’m going to do something, then that’s what I’m gonna do.”

What actor would portray you in a biopic about your life?

 

“Whoooo, that’s a tough one. I’d have to select Kevin Costner, not only as an actor, but as a person. He knows and understands the ‘cowboy way.’ He appreciates cowboy tradition, he truly loves music and he incorporates both into his everyday life. Someday I would love for him to direct one of my videos.”

What moment in your life would you relive if you could?

“The night that I met the love of my life is a moment in my life I would relive if I could. That was such an interesting night because we had never seen each other before in our lives. We met in a honky tonk and we both instantly felt the same way about each other. I pulled out all of my best lines … something like ‘I think your daddy was a thief ’cause somebody stole the stars and put them in your eyes.’ She fell right for it, man. I think of that night often.”

What song do you wish you had written?

 

“Wow. The first song that comes to my mind is probably ‘The Dance.’ Lyrically, it’s one of the strongest songs I’ve heard and it has made an impact on so many people. That was really a once-in-a-lifetime chance to write a song like that and impact as many lives as that one has. It stands alone and speaks for itself. I hope my music affects people’s lives one day in that same sort of positive way.”

What word or phrase do you find yourself saying over and over again?

 

“Well, there are several that rank about equal to each other: ‘You know?’ and ‘Yeah Boy’ and ‘Ahhh-ight Then.’ I really have to watch myself. We just grow up saying things and they’re effective at the moment and we use them whether they’re grammatically correct or not. Sometimes they’re just fun, and they work at the time.”

Do you have a lucky charm?

“I used to. It was my Skoal can. I used to carry it in my right rear pocket of my Wranglers. If I wanted something to happen in a lucky way, I would put it up in my front left shirt pocket. That’s where I’d carry it during roping competitions, for example.”

Who is your dream duet partner?

 

“Dolly Parton is definitely my dream duet partner. I’ve always been a huge fan of her singing and I’ve always wanted a chance to sing a song with her. She just has the sweetest voice. I’ve actually held back a song for her to sing with me. I have it tucked away and I’m saving it for Dolly and me.”

If you wrote an autobiography, what would the title be?

 

“My Life: Country as a Dirt Clod.”

When they look back on your life in 50 years, what do you hope people say about you?

“I hope people say that I’ve had a good career with my music and that I’ve changed people’s lives and inspired people to do good things. I want to be that George Strait 50 years from now. Now that’s a career! We all long for the day we have 51 hits under our belt, but those are some mighty big boots to fill. I’d be grateful if I accomplish half of that … of course, I wouldn’t turn down the other half.”



On the Web: www.jasonmeadows.com
 
T. J. Martell Foundation: Music Leads the March Against Deadly Diseases Print E-mail
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By Bob Doerschuk

© 2007 CMA Close Up News Service / Country Music Association, Inc.

You might think that the T. J. Martell Foundation’s greatest contribution to combating leukemia, cancer and AIDS is financial.

You would, however, be wrong, according to Tony Martell, the record industry veteran who launched this organization more than 30 years ago and is the Foundation’s Chairman of the Board.

“I was visiting Mount Sinai [Hospital, in New York],” he recalled, “and this patient grabbed my hand and said, ‘I know about your Foundation. You give us something that you probably don’t even know.’ I thought for a minute and said, ‘What is that?’ “And he said, ‘You give us hope.’”

It is impossible to calculate how many people have benefited from this gift. More material results are easier to trace, which include paying for advances in combating lung cancer and adult leukemia as well as raising the survival rate for children with cancer of the eyes — neuroblastoma — from 18 to more than 90 percent.

Working on several fronts, from fundraising to connecting researchers working on similar projects, the Foundation draws much of its energy from the musical community, which Martell has served through a career that includes service as head of Associated Labels at Epic Records and Senior VP and GM of Epic/Associated Labels at Sony Music.

Its motivation, though, comes from closer to home. Shortly before his son T. J., 21, succumbed to myeloblastic leukemia in 1975, Martell promised that he would raise $1 million toward seeking its cure. Since then, the Foundation has earned and invested nearly $240 million, making strides in particular toward eliminating the threat of the disease that took T. J.’s life.

The first step down this path was a big one: an all-star jazz jam session at the home of drumming legend Buddy Rich, with Count Basie, Ella Fitzgerald, Benny Goodman, Woody Herman and other swing-era giants. The audience ponied up $50,000 for the privilege of witnessing their 90-minute summit.

Since then artists of all styles have contributed their time and talent to this cause. For many, the motivation came from close to home. When Mötley Crüe vocalist Vince Neil lost his 4-year-old daughter Skylar Lynnae to Wilms’ tumor, he began an ongoing effort to cure this rare form of kidney cancer, through his own organizations as well as the Foundation. In November, Neil will host his third annual poker tournament in Las Vegas followed by his Rock ‘n’ Roll Cruise in January, with both events benefiting the Foundation. For all artists who have supported the Foundation, though, Martell sensed a common denominator.

“They’re musicians,” he said. “They have feelings. When I think of artists who’ve performed for us, from Neil Diamond to Barbra Streisand and Bruce Springsteen, they all have such open hearts. I’ve been in the music business for 42 years. I thought I knew musicians until the Foundation came along, and then I saw how generous and caring they are. They really want to do something good.”

Yet even within these circles, the commitments made by Country artists have been outstanding. “You talk about heart?” Martell asked. “Country folk have the biggest hearts going. Words can’t describe how generous these people can be.” Their involvement owes much to the efforts the Foundation’s Nashville Board members, including BMI President Emeritus Frances Preston, who lives in New York and serves as the Foundation’s Board President, and Tony Conway, President of Buddy Lee Attractions in Nashville, who also serves as Executive Producer of CMA Music Festival.

“There were several reasons why I joined the Board,” Conway said, “but I did watch my former associate Buddy Lee suffer through cancer until he died. I just wanted to give something back to the community.”

As Conway remembered, “Tony’s instructions were to do events to raise money where people have fun.” This inspired Preston to come up with Country in the Rockies, an annual retreat during which donors enjoy a week of skiing, snowboarding and dining at Steamboat Springs, Colo., with entertainment provided by an assembly of Country artists. Another idea took shape five years later: the Best Cellars wine dinner, whose attendees savor a five-course gourmet meal, with a well-known Country performer and a wine steward at each table. At the eighth annual dinner in April, at Nashville’s Loews Vanderbilt Hotel, food was prepared by John Fleer, formerly chef at Blackberry Farm in Walden, Tenn., with Blue County, Brooks & Dunn, Terri Clark, Martina McBride, Montgomery Gentry and LeAnn Rimes among the celebrity guests, all at a cost of $800 per participant.

In the two years since Conway began his tenure as President of the Foundation’s

Nashville Division Board of Directors, two new events have helped channel more money into their budget. The Celebrity Tablescapes exhibit unveils table settings, from the elegant to the whimsical, conceived by Country artists. Each table will feature a special theme and will include unique auction items for patrons to purchase at a VIP reception for $100 on Monday, Sept. 24 and a luncheon the next day, for $75, at the Hilton Nashville Downtown.

And this year’s Celebrity Cake Decorating Competition, held in July at

Nashville’s Gaylord Opryland Resort and Convention Center, showed off the pastry prestidigitations of Country notables whose designs reflected a theme from one of their songs.

“Eddie Montgomery and his wife Tracy did ‘Lucky Man,’” reported T. J. Martell

Foundation Executive Director Laura Heatherly. “Troy Gentry and his wife Angie

featured ‘Something to Be Proud Of.’ Aaron Tippin and his wife Thea did ‘Ain’t Nothin’ Wrong with the Radio.’ Dean Sams and Michael Britt of Lonestar chose ‘Mountains.’ And Julie Roberts and her mom Sandra — this was a hoot — their theme was ‘Men and Mascara.’”

The Foundation’s activities led them as well to CMA Music Festival, with its second annual Ride for a Cure featuring Little Big Town and 250 motorcyclists rolling from the Harley-Davidson store in Cool Springs, Tenn., and up Interstate 65 to the Country Music Hall of Fame Park for a barbecue and auction timed to coincide with the end of the Festival’s Kick-Off Parade on June 6.

To honor his contributions through these and other activities, music industry leaders in Nashville hosted a reception at BMI and a lunch for Martell at The Palm restaurant in May. Attendees at the luncheon included Conway, Preston, and artists Blue County, Carolyn Dawn Johnson, Jamie Johnson of The Grascals, Gary Morris, Megan Mullins and Charlie Daniels, a longtime friend of Martell’s and a prostate cancer survivor himself.

“I’ve got four cancer survivors in my outfit,” Daniels explained. “And I’ll never forget when I got called and told that my biopsy had come back positive. Every time you turn around, somebody else has got it. I don’t know what causes it. But I do know we’re making headway against it. And of course you have a special feeling for people who do that after you’ve been through the experience. Certainly, Tony is a special guy.”

That has come to ring true for Martell in recent years too, but the effect has only been to steel his determination to help target and tame these diseases.

“I have bladder cancer,” he said. “I was in a very precarious way for a while. But I had it beat from the beginning. I always say: Weeds don’t die.

On the Web: www.tjmartellfoundation.org
 
CMA Songwriters Series Success Continues Print E-mail
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Written by Bob Doerschuk   

By Bob Doerschuk

© 2007 CMA Close Up News Service / Country Music Association, Inc.

Few albums expressed less enthusiasm for the Big Apple than a 1971 release from Buck Owens: I Wouldn’t Live in New York City (If They Gave Me the Whole Dang Town). If Owens were here to perform at a CMA Songwriters Series show at Joe’s Pub, perhaps he’d change his mind.

Situated in Manhattan’s East Village, Joe’s Pub is one part of a complex of venues known as the Public Theater. The interior marries sleek modern design, comfort and intimate access to the entertainment with gourmet Italian food.

Given that this venue has hosted performances by Elvis Costello, U2 and The Who’s Pete Townshend, the consistently sold-out CMA Songwriters Series shows say a lot about the increasing presence of Country Music across the demographic board.

“The CMA Songwriters Series events are always packed because our audiences know how good they are,” attested Kevin Abbott, GM, Joe’s Pub. “We’ve already sold more than 50 seats to the Nov. 29 show — and the artists haven’t even been announced.”

Lines snaked out the door onto Lafayette Street on May 31, a steamy evening that marked another summit of Country songwriting giants for the CMA Songwriters Series. On the bill were Tony Arata (“The Dance,” Garth Brooks; “Here I Am,” Patty Loveless); Fred Knobloch (“If My Heart Had Wings,” Faith Hill; “Meanwhile,” George Strait); and Thom Schuyler (“16th Avenue,” Lacey J. Dalton; “Love Will Turn You Around,” Kenny Rogers), with instrumental sweetening added by Nashville harmonica virtuoso Jelly Roll Johnson.

“CMA is thrilled with the success that the ‘Songwriters Series’ has had in New York City throughout the past two years and it only continues to get better with each show,” said CMA COO Tammy Genovese. “Country Music has a huge fan base in New York and we want to continue to offer those fans unique opportunities to see truly talented singer/songwriters in these shows.”

CMA Songwriters Series at Joe’s Pub was started as part of the Country Takes NYC events surrounding the 2005 CMA Awards in New York. Most of the shows this year follow a theme; this one, for example, marked the 25th anniversary of Nashville’s Bluebird Café.

The March 29 gathering was dedicated to “The Men of Country Music,” with Keith Anderson (“Pickin’ Wildflowers,” Anderson; “Beer Run [B Double E Double Are You In?]’” Garth Brooks and George Jones); Bob DiPiero (“Blue Clear Sky,” George Strait; “You Can’t Take the Honky Tonk Out of the Girl,” Brooks & Dunn); Tony Mullins (“Me and My Gang,” Rascal Flatts; “How Forever Feels,” Kenny Chesney); Jeffrey Steele (“What Hurts the Most,” Rascal Flatts; “My Town,” Montgomery Gentry); and Craig Wiseman (“Believe,” Brooks & Dunn; “The Good Stuff,” Kenny Chesney).

Though there was no theme for the July 18 show that took place during CMA Board meetings, it did share one important trait with every CMA event at Joe’s Pub; It was all about great songs, created by some of the best writers in the business. Participants included Kix Brooks of Brooks & Dunn (“Red Dirt Road,” and “Only in America” recorded by Brooks & Dunn); DiPiero (“Take Me As I Am,” Faith Hill; “Cowboys Like Us,” George Strait); Brett James (“Blessed,” Martina McBride; “Jesus, Take the Wheel,” Carrie Underwood); Tim Nichols (“Girls Lie Too,” Terri Clark; “Live Like You Were Dying,” Tim McGraw); and Victoria Shaw (“The River,” Garth Brooks; “I Love the Way You Love Me,” John Michael Montgomery).

The cream of Nashville’s creative community has found a solid foothold at Joe’s Pub. But its horizons have expanded with two milestone events, one recently completed and the other just around the corner. On Sept. 20, the CMA Songwriters Series moved uptown and outdoors to the Delacorte Theater, longtime home base for “Shakespeare in the Park” productions. The lineup included Bob DiPiero (“Blue Clear Sky,” George Strait; “You Can’t Take the Honky Tonk Out of the Girl,” Brooks & Dunn), Gretchen Peters (“You Don’t Even Know Who I Am,” Patty Loveless; “Let That Pony Run,” Pam Tillis), Rivers Rutherford (“Ain’t Nothin’ Bout You” Brooks & Dunn; “Real Good Man,” Tim McGraw), and Victoria Shaw (“The River,” Garth Brooks; “I Love The Way You Love Me,” John Michael Montgomery).

And on Oct. 4, at 6:30 and 9:30 PM/ET, a special “Women of Country Music” theme heralds the return of the CMA Songwriters Series to Joe’s Pub. Participants will include Matraca Berg (“Strawberry Wine,” Deana Carter; “Everybody Knows,” Trisha Yearwood), Sarah Buxton (“Stupid Boy,” Keith Urban; “That Kind of Day,” Buxton), Carolyn Dawn Johnson (“Single White Female,” Chely Wright; “Complicated,” Johnson) and Gretchen Peters (“Independence Day,” Martina McBride; “The Secret of Life,” Faith Hill).

Anticipation seems to run even higher than usual for this particular gig. Feelings range from pride (“I’m proud of the legacy of women in Country Music, and it’s great to be able to celebrate that” – Peters) to playful (“I’m sure the stage patter will be slightly different from your usual writers circle” – Berg) to maybe a little amused, as Johnson attested: “When I got into the music business, I was at some conference where somebody said, ‘Just remember, girls, 90 percent of this industry is male. And I remember thinking, ‘Well, I’m going to be part of that 10 percent!’”

Looking further ahead, Nov. 29 will be dedicated to “The Groups and Duos of Country Music.”

“I think these shows work well with people who haven’t really heard Country Music,” said Nichols, who has appeared at three CMA Songwriters Series events at Joe’s Pub. “When it’s just a voice and a guitar, they don’t hear it as Country or pop or rock; it’s just a song — a lyric and a melody. And that resonates with people, to the point that they come up after we’ve finished and say, ‘That was fantastic.’”

Even Buck Owens couldn’t have said it better.

On the Web: CMAsongwritersseries.com, joespub.com

Two shows take place each night. Purchase tickets at Joe’s Pub (212) 967-7555 or joespub.com.  Official sponsors for CMA Songwriters Series include American Airlines, ASCAP, BMI and Country Weekly magazine. American Airlines is the official airline of the CMA Songwriters Series.
 
NEW ARTIST SPOTLIGHT: Kendel Carson Print E-mail
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Written by Bob Doerschuk   

By Bob Doerschuk

© 2007 CMA Close Up News Service / Country Music Association, Inc.

Kendel Carson, 22, began taking classical violin lessons at 3, started playing fiddle music at 9 and divided her childhood between those two worlds. Though she rose to perform as a soloist with the Victoria Symphony and had a steady gig with the National Youth Orchestra of Canada, she felt drawn toward Celtic, folk and Country fiddle, blended in combinations unique to the traditions of her British Columbia home.

While still in her teens, Carson plunged into a life of touring, on her own, with her brother Tyler in a band called Kid Carson and as a member of The Paperboys and Outlaw Social. During a show in 2004, at the Canmore Folk Music Festival in Alberta, she caught Chip Taylor’s ear. The veteran songwriter and producer acted quickly, rushed her into his New York studio with a team of session veterans and emerged with Rearview Mirror Tears.

Issued on Taylor’s new Train Wreck imprint, this exceptional debut pulls from the varied streams of influence that feed Carson’s sound, from accordionist Seth Farber’s seafaring flavors on “Ribbons & Bows” and “Gold in the Hills (of Saltery Bay)” to the raucous sing-along energy and irresistible hook of the single, “I Like Trucks.” But the focus stays on Carson: Her singing is understated, with a sly humor that finds the irony woven into the lyric of “Especially for a Girl.” Her playing is similarly mature, dedicated more to enhancing the tune or caressing a simple melody, as on “Ain’t That a Sun,” than dazzling fans with her virtuosity.

The images reflected in Rearview Mirror Tears are larger than one would expect from an artist so young. Pull over and let her pass: Kendel Carson is headed for the fast lane.

IN HER OWN WORDS:

What CD is on your stereo?

“I’ll give you a couple from my current iPod playlist: Paulo Nutini’s These Streets; The Bird and the Bee; Lucinda Williams’ Live @ the Fillmore; Gotan Project; Dustin Bentall’s Streets with No Lights.”

What books are on your nightstand?

“Harry Potter and the Half-Blood Prince and Teach Yourself to Speak Danish.”

Do you have a lucky charm?

“I always wear a bone necklace from New Zealand when I’m traveling, especially over water. It’s shaped like a surfboard, but it’s cooler than whatever you’re picturing in your head, I swear.”

What song do you wish you had written?

“‘Fisherman’s Blues’ by The Waterboys.”

Who is your dream duet partner?

“Today it’d be Ben Gibbard.”

What moment in your life would you relive if you could?

“A sunny day I spent in Fredericia, Denmark while on tour in June 2005.  It was just one of those magical perfect moments – lying by the ocean, listening to music, talking to my best friend and having no desire to be anywhere else but there.  Totally calming.”

Which mode of transportation do you prefer — planes, trains or automobiles?

“I like trucks (just check out track 2 on my album!) … honestly though, it doesn’t matter too much to me, but I mostly prefer to drive.  I might change my mind if I flew first class, though.”

When they look back on your life in 50 years, what do you hope people say about you?

“Damn that kid could play the fiddle!”

On the Web: www.myspace.com/kendelcarson
 
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