Jennifer Turner

Just so you don’t think I’ve dropped off the face of the earth, I thought I’d better give you an update.

I’ve been trying to trace the timeline of Jennifer Turner. She did some impressive guitar work on Natalie Merchant’s Tigerlily album back 1995. As you can see, I’m picking up traces of the women I found intriguing back in the time of the original incarnation of femme musique. Jennifer hasn’t gotten the exposure I think she warranted. Either that, or she hasn’t promoted or been promoted as well as I think she should have been.

She’s now with a group called “here we go magic,” which is touring from their base in Brooklyn, New York.

I’m working on it! Any help would be greatly appreciated.

Issa

Back in 1993, I read a music review in People magazine. Canadian singer/songwriter Jane Siberry had released an album called When I was a Boy. The reviewer labeled her “quirky,” which always seems to interest me, and claimed this was a CD for intellectual lovers. Whoa. I was hooked.

The next time I went to Record Exchange (sadly, they’ve since gone out of business), I found a used Siberry CD, Bound by the Beauty, which includes “Everything Reminds Me of my Dog,” the song I referenced in the first blog, the hook, the catchy beat. Most of the album is love, love of people, love of nature. Optimism at it’s finest. In trying to decide which cut was my favorite, I couldn’t. So, I’ll give you a taste of the lyrics of “The Valley.”

i live in the hills
you live in the valley
and all that you know are these blackbirds
you rise every morning
wondering what in the world will the world bring today
will it bring you joy or will it take it away
and every step you take is guided by
the love of the light on the land and the blackbird’s cry
you will walk in good company

I love her lyrics, articulate and unexpected. The music is the same. A friend of mine, a musician in her own right, admitted that Siberry didn’t do anything for her. My response was that I instinctively know what the next note will be in most songs but not in Jane Siberry’s. She makes me work, and I like that. So, I had to buy When I Was a Boy.

I have a favorite, “The Gospel According to Darkness.” Here’s the chorus:

I see you lookin’ around at the people on the street
Well, things aren’t what they seem
If you push them hard enough
You’ll find that most of them do not feel worthy of love
Now how did this come to be?

How, indeed? But I have to move on here. Jane Siberry hasn't been exactly inert since the mid-Ninties.

After releasing Maria in 1995, Siberry founded her own independent label, Sheeba Records. I went online in 1998 and found her there, at Sheeba. The website was pretty sophisticated for that time, complete with a store and her musings. Most of her recordings on Sheeba have been theme-oriented; I have Hush, lullabys Siberry style and Lips, recorded live at the Bottom Line Club in NYC. Although her public profile was smaller, those of us who knew her, kept track of her. Periodically, I'd visit Sheeba and read her thoughts, check her touring schedule. I learned about the quirks involved with selling her music online and how she overcame the problems.

Around 2005, something changed. Thoughtful, optimistic Jane seems to have had an epiphany. In early 2006, she closed the Sheeba office in Toronto and sold or gave away most of her possessions, including her house and musical instruments. All that was left, which includes her Miles Davis recordings, was put in storage. On June 3rd of that year, she changed her name to Issa. A month later,during a lecture at the University of British Columbia, she talked about her adventure in down-sizing her life, changing her name, and the evolution of her conception of herself as an artist.

At this same time, she developed her "self-determined" pricing policy at Sheeba, in which you can pay a standard price, a self determined price (payable now or later), or a "gift from Jane" freebie. In order to reduce plastic and paper, shipping and handling, all of the music (including Issa, Jane Siberry, Adrienne Pierce, Gyan, Tim Ray, and Leslie Alexander) at Sheeba is available only as MP3 downloads. There is, however a link to CD Baby on the Siberry and Issa pages, if you just have to have the CD. I don't know about you, but I love liner notes!



This is Issa's latest museletter:

things i have enjoyed lately

watching a goose fly up towards a flock.
i was wrong, eventually they flew in different directions
specks by then

taking tickets at the local fair.

watching the horse pulling. (2 horse teams)

riding my bike fast down the dirt road.

flickering sun through leaves.

after heavy winds, a day of complete silence except for crickets.

tiny bird songs, like pin pricks.

stars scraping my heart as i lie on the rocks

sadness and joy mingling

So, Issa is homeless, but not friendless, by any stretch of the imagination. She's travelling, singing, talking, creating, and loving. She'll come to your town, if you'd like to host a salon. What a wonder that would be.

www.issalight.com
www.sheeba.ca

Carolyn Currie

In May 1996, Carolyn Currie’s CD, “No Heroes” was reviewed by Jessie Shires in the last issue of femme musique. This is part of that review.

“This album is perfect Sunday afternoon or late, late night music. It deserves more attention than most – this is not background music. I suggest clearing your schedule and devoting yourself to listening. Be prepared to experience insight, reflection, humor, and beauty. Currie’s distinctive voice weaves through your thoughts, binding itself permanently to the fabric of your brain. Her music has a cool, layered sound and is utterly spell-binding. Just try to concentrate on something else, I dare you. It’s quite impossible to not give your full attention to Currie; her enchanting voice, music, and exceptional lyrics simply will not allow it.”

I contacted Carolyn through her website and asked if she could send me her latest album, thinking I would try to figure out how her music has progressed. Bless her heart, if she didn’t send me copies of all four of her CDs!

It’s taken awhile for me to go through all of them. I knew I enjoyed “No Heroes,” but it’s familiar to me. You know what I mean, you are in a particular mood and put the CD in, knowing the songs will complement or affirm what you’re feeling. I went through “Standing Stones,” which has a decided Celtic influence, then on to “Kiss of Ghosts.” Currie’s writing has retained its intelligent, insightful tone. Her child-like, sweet voice has matured and gained confidence, while continuing to evoke a certain wistful longing for understanding.

Then I came to “Waves of Silence,” her latest venture. In her introduction to the album, she writes, “When I left the Northwest five years ago, I think somewhere in the back of my mind was the fear that my muse would cross her arms over her chest and say, “No way, I’m not going back to New England – you’re on your own.”” Maybe it’s just that I am an East Coast kind of person, but I think this album is Currie’s best.

From the topical “Rain,” a mother’s lament for her children’s mental safety in response to news from Iraq, to the timeless plea of a woman waiting for the safe return of her sea-faring mate in “Ahab’s Wife,” Currie doesn’t disappoint. “Kaleidoscope” reminds me of one of my dear friends, who can’t seem to stay in one place; “Rolling Thunder” describes a friend’s brother, a veteran battling the effects, mental and physical of having served in Viet Nam. There are Currie’s versions of love songs, which seem to include a bit of disillusionment, and, one of my favorites, “Don’t Run with Scissors,” an affirmation of talent and courage.

“I say, “I’m scared of falling”
You say, “But you can fly.”

All told, “Waves of Silence” is a joy. Currie knows how to wring the truth from some of life’s small moments, as well as shine a light on hidden fears. The production is simple, doesn’t distract from her clear, tremulous voice. She and her co-producer, David Lange have worked together on all of her albums, and their mutual trust is evident. If you enjoy intelligent ballads, you’ll love Carolyn Currie.


Discography:

“No Heroes” 1994 Alta Vista Records
“Standing Stones” 1998 Whistling Pig Records
“Kiss of Ghosts” 2004 North C Records
“Waves of Silence” 2009 High Horse Records

http://carolyncurrie.com/

www.myspace.com/carolyncurrie

http://www.highhorserecords.com/

reconnect

Reading through the print issues of femme musique, I have found a number of women I want to re-contact about their music. It will be a pleasure, finding out what they’ve been doing for the past fifteen years. Given the improvements in internet technology, I’ve found most of them have websites. The way this will work, I’ll write a review, using what I know from past experience and the information I find online. These will be subjective reviews, because I’m not a musical technician; all I can tell you is how the music makes me feel. I’ll be generally talking about women you’ve not heard of before. The local and regional female musicians interest me. They’re doing what they love.

Hopefully, along the way, musicians will contact me. What a lovely idea!

Back in 1994, I published five issues of a small magazine, called femme musique. This was part of the editorial for the first issue.

“A friend and I were riding in my car, a Jane Siberry cassette in the tape deck. A song I’m particularly fond of came on, and I enthusiastically turned up the volume, wanting to share the tune. The song has a hook; it’s “catchy.” It is silly and light; it makes me feel good, particularly when I need an attitude adjustment. It has “no redeeming social value,” just funny, descriptive images and a bouncy beat. This seemed to prompt my friend to comment about the lack of innovation in, what he called, “today’s music.” I can’t remember who he said was responsible for the last “breakthrough,” but it was a male group, at least twenty years ago.”

I think the women in music are terrific. I’d like to explore their music here.