Big Ears Festival
March 22-25, 2018
Knoxville's Big Ears Festival has traditionally kicked things off with a big piece by a high-visibility headliner. This year was to have featured a live performance of guitarist Nels Cline
project, an ambitious re-imagination of romantic "mood music" which was to be performed with the Knoxville Jazz Orchestra and guest soloists. But the Spring snowstorms across the Northeast had other ideas, making travel too difficult to allow for adequate rehearsal. So adjustments were made to Thursday night's opening schedule.
March 22, 2018 Meshell Ndegeocello/David Hidalgo & Marc Ribot/Jaga Jazzist
Bassist/singer/songwriter MeShell NdegeOcello
opened the concert in the large Tennessee Theatre with an intimate show that had originally been scheduled in the smaller Bijou Theatre. Accompanied by guitarist Chris Bruce (who played acoustic guitar most of the time), her set consisted mainly of covers, many of them from her recently released album Ventriloquism
. She seemed bemused to be playing the larger venue. After saying "Hello Knoxville. I'm just going to play some songs. Thanks for coming," she launched into "Grace," from Bitter
(Maverick, 1999)the only one of her songs in the set. Nick Drake's "Pink Moon" was next, followed by Leonard Cohen's "Suzanne:" she started it with just guitar, finally adding her bass, including her first solo of the night. Like all of these covers, the arrangements were stark and emotional. Ndegeocello gets to the heart of the song without histrionics. The Cohen cover appeared on Pour une me Souveraine: A Dedication to Nina Simone
(Naïve, 2012), and two Nina Simone
songs came next: "Be My Husband" and "Real Real." Back to more recent sources for "Nite and Day" (Al B. Sure!'s 1988 single), and a lovely treatment of "Waterfalls" (TLC, 1995). A comparatively low-key festival opening, but effective nonetheless.
Fumbling with his guitar connection after coming onstage, Marc Ribot
joked that he and David Hidalgo (of Los Lobos
) "have a slick Las Vegas show prepared." Maybe not slick, but the pair have been touring (Hidalgo later mentioned that they had performed in Nashville the previous night), and they were clearly well attuned to each other. The cowboy folk ballad "Bury Me Not on the Lone Prairie" featured Ribot's vocals, and an elaborate introduction for both acoustic guitars. Hidalgo took the vocal spot on what sounded like a Spanish song (including impressive flamenco-style lead playing from Ribot). The pop song "It's Just a Matter of Time" got a second life as a country song, which is how the duo played it (Ribot switched to electric guitar for it). Ribot picked up a Mexican vihuela for "Dos Traficanos," a song about two pot smugglers. Ribot and Hidalgo played an acoustic guitar duet, then were about to do a Lefty Frizzell song as I had to head out for the next show. Ribot is an unusually eclectic player. Probably best known as a free jazz player and a left of center session player (e.g. with Tom Waits), he has also played classical music and Cuban music. I have never detected a trace of irony in anything he does. He seems to genuinely love many kinds of music, and always completely commits to whatever he is playing at the time. And of course this repertoire is right down David Hidalgo's alley.