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DTSTART;TZID=America/New_York:20241114T190000
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SUMMARY:JP Harris
DESCRIPTION:11/14/24\nReserved floor seating\, reserved rail seating\, G.A Standing. 7:00pm Doors / 7:30pm Show\n21+\, Positive I.D. Required. $28-$23 \nJP Harris was born shortly\, and fortunately\, a few minutes before Valentine’s Day 1983 in Montgomery\, Alabama. Within a handful of years he was wearing a green velour tracksuit and leading a large Doberman around for street credibility\, at the young age of three. He had a charm and strut that would take him far\, so the grown folks said; but roughly a decade later\, on the opposite side of the country\, he would leave his family’s home late one summer night with no designs on fame\, fortune\, or clothing endorsements\, never to return. He had an inkling that the eighth grade was enough education for where he was headed\,and set a course for Anywhere\, USA. Turns out he was right.\nSpending most of his teenage years traveling by freight train\, thumb\, or foot\, he would set down his rucksack for what he thought was the last time in rural northern New England\, shortly after the anticlimactic event known as Y2K came to pass without much to-do. He spent the next decade living in remote cabins lacking the modern appointments of power\, running water\, or winter road access. It was there Harris honed the many trades he’d learned: sheepherder\, logger\, heavy equipment operator\, farm laborer\, restoration carpenter\, and sometimes as contraband handler\, while his musical palette expanded beyond the punk rock of his youth to include the Early American Folk Canon of blues\, old time\, and early country recordings.\nJP had long fashioned himself a carpenter who did halfway-decent campfire renditions of old country tunes\, but turned suddenly to songwriting in his mid twenties after years without the slightest ambition toward “music business” of any sort. He would assemble a band\, trade his work truck for an old Econoline van\, and fifteen years would elapse before he would reluctantly add the term “professional” in front of his title of “musician.” In 2011\, Harris loaded his van and trailer with every tool\, guitar\, and keepsake he could cram and moved to Nashville TN\, shortly before the release of his debut album “I’ll Keep Calling\,” which would win him countless accolades from various outlets and entities unheard of by the general masses. It was enough praise to keep him on the road\, even if his largest reward garnered at the time was a sizable box of Taco Bell gift cards. He would go on to record 2014’s “Home Is Where The Hurt Is\,” 2018’s “Sometimes Dogs Bark At Nothing\,” and 2021’s Appalachian banjo-centric side project album “Don’t You Marry No Railroad Man\,” under the moniker JP Harris’ Dreadful Wind & Rain.\nJP’s historic restoration carpentry has continued to be a baseline for his relationship to music; the yin to his yang\, the Burt to his Ernie\, the Dolly to his Porter. It was through this concurrent line of work that he met another twice-initialed singer with a penchant for old Americana music\, obscure film\, and overly elaborate ethnic meal preparations: one JD McPherson. The two became fast friends and would eventually\, through many twists\, turns\, false starts\, and biblically-proportionate plagues\, enter a modest studio in Nashville to record Harris’ latest album “JP Harris Is A Trash Fire.” Over the course of nine months in 2023\, they recorded a sometimes lush\, sometimes sparse\, and sometimes jarring country album of Harris’ originals\, loudly and violently squelching any attempt to pigeon-hole a song into any subgenre of country music. Only albums by Lee Hazelwood and an obscure folk album Waylon Jennings made when his hair was still short were allowed to be mentioned in reference. Featuring the guest vocals of Erin Rae\, The Watson Twins\, Shovels & Rope\, and producer JD McPherson himself\, the record is equal parts satire\, reflection\, and apology to those that would listen. In a musical landscape of period-correct reproduction\, “outlaw” internet posturing\, and flavor-of-the-month variants on country\, “JP Harris Is A Trash Fire” burns bright as a dumpster ablaze in a Walmart parking lot on a moonless night; some will fear it\, some will gravitate to its acrid warmth\, and most will have no idea what to make of the situation. Harris has been steadily elbowing the definitive boundaries of “country music” wider with every album\, both sonically and lyrically\, and his latest piece of self described “Avant-Country” is no exception. Even within the rapidly growing world of “underground” country music\, Harris still considers himself an outsider\, content to inhabit a gray area where punk rock ethos\, folk art aesthetic\, and the workingman’s ballad mingle.\nWhen he’s not touring\, JP Harris can be found fixing historic houses\, riding old motorcycles\, or picking through scrap piles for useable refuse.
URL:https://northofboston.org/event/jp-harris/
LOCATION:The Cut\, 177 Main Street
\, Gloucester\, MA\, 01930\, United States
CATEGORIES:Dance,Music
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DTSTART;TZID=America/New_York:20241114T200000
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DTSTAMP:20241017T165931Z
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UID:10009749-1731614400-1731614400@northofboston.org
SUMMARY:Peter Yarrow and Noel Paul Stookey of Peter\, Paul and Mary
DESCRIPTION:Peter Yarrow and Noel Paul Stookey carry on the tradition of the renowned folk music group Peter\, Paul and Mary–a union that lasted 50 years. \nPeter\, Paul and Mary arrived on the scene in Greenwich Village in the early 1960’s and at the time\, for the majority of America\, folk was viewed merely as a sidebar to pop music. The nation was still recovering from the McCarthy era and the Cold War was heating up. Peter Yarrow\, Noel (Paul) Stookey and Mary Travers came together to reclaim folk’s potency as a social\, cultural and political force. The Trio lived their songs. They sang at the 1963 March on Washington where Dr. Martin Luther King gave his “I Have a Dream” speech\, they participated in the Selma to Montgomery March\, they sang at countless anti-Vietnam War rallies and they launched decades of musical activism. These individual and collective efforts addressed a wide range of issues from women’s rights\, to farm-worker rights to the environment and education. \nNo American folk group lasted longer or amassed a more loyal following than Peter\, Paul and Mary. During their legendary career\, the trio won five Grammy’s\, produced 13 top 40 hits of which six ascended into the top 10\, and earned eight gold and five platinum albums. \nThe group’s message is that their music belongs to everyone. “People can overcome their differences\, and when united\, move toward a world of greater fairness and justice\,” says Yarrow. \nThe loss of Mary Travers in September of 2009 was a loss to her family\, friends and the nation. Her life and legacy remain a great American treasure. \nPBS recently released a new documentary of their lives titled “50 Years with Peter\, Paul and Mary”. The program features powerful\, moving\, performances by the Trio starting with the era of the group’s emergence in Greenwich Village through the Civil Rights and anti-war eras where their anthems provided America’s soundtrack of social and political change\, and moving into the 21st century where their legacy and music continues to inform\, inspire and enrich successive generations – still providing a moral compass for the way we live our lives. Also r released recently is a stunning book of photographs and reminiscences\, in their own words\, “Peter\, Paul and Mary: Fifty Years in Music and Life”. \nPeter and Noel continue to perform together as well as individually\, and to devote their time and energy to issues they believe in. Peter founded the organization Operation Respect which is a non-profit education and advocacy organization dedicated to transforming schools\, camps and other youth-serving organizations into safer\, more respectful\, bully-free environments for children and youth. and Noel’s organization Music2Life creates music based programs\, events and promotions to move hearts and minds around a particular effort or cause. \nWhen Peter and Noel perform together\, audiences comment that in many ways it feels as if Mary were still on the stage with them. The energy and enthusiasm for the music has not diminished\, in fact it seems ever more impassioned\, and frequently the audience steps in to sing Mary’s part–their voices strong\, their hearts full. It’s community at its best and what folk music is all about–carrying it on.
URL:https://northofboston.org/event/peter-yarrow-and-noel-paul-stookey-of-peter-paul-and-mary/
LOCATION:The Cabot\, 286 Cabot Street\, Beverly\, CA\, 01915\, United States
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ORGANIZER;CN="The Cabot":MAILTO:info@thecabot.org
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