Indy Acoustic Cafe Series brought longtime folk singer-songwriter Tom Rush to Indianapolis, performing at Redeemer Presbyterian Church, 1505 N. Delaware St., a venue different from the series' usual Fountain Square home of the past few years.
Rush's repertoire dates to the 1960s, and he has performed at many high-profile folk festivals through the years -- alongside James Taylor, Jackson Browne and Joni Mitchell, to name just a few -- yet amazingly, his 2009 CD "What I Know" was his first studio recording since 1974.
Rush's selection of songs Saturday proved wildly entertaining. Among them were "The Remember Song," "The Fish Story Song," "Ladies Love Outlaws" and "Let's Talk Dirty in Hawaiian." And as entertaining as the music was, Rush's yarns, which he spun freely to the delight of a healthy-sized crowd, were equally wonderful.
My "acquaintance" with Rush's work goes back to the summer between my junior and senior years in college in Wisconsin. I was still kind of reeling from a breakup with a gal for whom I had fallen hard my first year in the school. Hadn't done much dating since then, in fact. Album-oriented rock stations were just becoming trendy then, and I latched onto a new one in Milwaukee, WQFM, which would hold a formidable position in Milwaukee radio for 20-some years before suffering the fate of many other such stations nationwide -- a change in ownership, format and call letters.
Late at night, when everyone else in the house had retired for the day upstairs, I'd lie in bed in the basement listening to new music being introduced on WQFM. It's where I first heard extensive, non-single music by such bands as Traffic, Blind Faith, the Allman Brothers, Rush, Rod Stewart and Faces and the first time I'd ever heard of solo performers Mississippi John Hurt, Jerry Jeff Walker, Lightnin' Hopkins, John Denver and John Prine. One night, the station played a melancholy ballad about a guy lamenting the uncertainty of life ahead of him without the woman who had not only just left him but punctuated the split by departing on an airplane flight right before his very eyes -- "Goodbye, dry eyes, I watched her plane ... fade off west of the moon," as the lyric goes.
Then after the 3-and-a-half-minute tune appeared to fade, there appeared these compelling, solo acoustic guitar arpeggios, transitioning into a 4-minutes-plus instrumental ballad. The powerful storyline simpatico I had experienced moments earlier subsided as I sat up, in awe of this guitar romp, eager to find out who was responsible for it. The performer of both was Tom Rush, and the songs were "No Regrets" and "Rockport Sunday." Until Saturday, I'd gone some 40 years knowing nothing about the background of those compositions.
Like I do for all the Indy Acoustic Cafe shows that I photograph, I contacted Rush a few weeks ago in advance of his show to make sure he had no objection to me photographing his performance. The groupie in me came out in my inquiry email, and I divulged to Rush the effect his "No Regrets / Rockport Sunday" had on me in my college days. He acknowledged my email and told me photography would not be a problem at the show. He complimented the photos he had seen in my gallery of the Acoustic Cafe Series. He did not say anything about what I had told him about "No Regrets / Rockport Sunday." I couldn't help but wonder if that meant he'd played them so often that he'd grown tired of them and wouldn't play them in Indy.
At Saturday's show, after a thoroughly enjoyable set and a half of songs and anecdotes, Rush jokingly mentioned that he now was going to play "a medley of my hit." I felt a rush (no pun intended) of excitement, because I was familiar enough with his discography to know that, unlike contemporaries Taylor, Browne and Mitchell, Rush had no Billboard single hits. But I did know that "No Regrets" was one of his best-known and most-covered tunes.
Rush then told the audience a story that confirmed my suspicion. He said he had written the song to impress a new love interest in the 1960s. (One might question the logic of how a song about a breakup would impress a new love interest, but when I was that young, my mind unfortunately often worked in similar, reverse-psychology fashion, so I had no trouble relating).
He also told how at an East Coast festival where he performed the song many years ago, a woman stood near the stage signing the lyrics for the hearing impaired in the audience. He stopped in mid-performance -- and couldn't continue, he said -- when he noticed, out of the corner of his eye, the woman using a horns-on-head gesture at the point where the lyrics were "strange faces in your place can't keep the ghosts away." The woman apparently had misheard the word "goats" for "ghosts."
Incredibly, years later in Wyoming, before taking the stage at another outdoor live performance, Rush said, he noticed the same woman off to the side, signing lyrics for the audience. When he came to "No Regrets" during his show, he told the audience the story about the "ghosts" and "goats" snafu ... and got his revenge. He did not say whether the female signer took it in good stride or otherwise, unfortunately.
Inspiration for the acoustic-guitar instrumental "Rockport Sunday," Rush said, came simply as he sat one Sunday along the Massachusetts coastline, watching the ocean's waves lap against the rocks, and he composed the tune to try to convey what that moment sounded like.
Interestingly, the two songs' sequence on Rush's late-1960s album "The Circle Game" is the opposite of how I first heard them on WQFM. The vinyl and CD have "No Regrets" following the instrumental. I'll always know it the other way around, and to this day I am impressed how WQFM managed to pull that switch, a more logical order in my mind, for my inaugural exposure.
Rush's performance of the songs Saturday was as close to how I knew them best -- no altered or unusual arrangements or syncopation, which I've heard/seen on YouTube videos. There's a part of me that wants to think Tom might have done that for my sake, his way of acknowledging then what he did not acknowledge in the email response in the advance of the show. Tom Rush CDs were available for purchase after the show, and even though he made himself accessible to the audience to sign the CDs, and I might have gotten him to verify my suspicion, I decided not to pursue it. I want to cling to that little selfish hope.
A full gallery of photos from the performance can be found at my site at SmugMug.
Wednesday, May 1, 2013
So, I'm once again in the position of playing catch up, and I begin today with something in my recent shoots that I really enjoyed, a recent leisure shoot of the spring flora and foliage in my gardens at home. These images were taken in two outings -- the initial, longer shoot using a Sigma 105mm f/2.8 macro lens on a Canon 7D, the other no more than 10 minutes or so using my iPhone.
What you'll see here are tulips in my backyard circular and rear fence-line gardens, tulips, daffodils and frog figurines from my front yard garden; foliage from the perennials coming to life again; and even a closeup of a pair of dandelions.
Leading off the post is one of the iPhone pictures, a back-light composition taken just yesterday on a day when sunshine prevailed most of the day. Also an iPhone picture is the full circular garden and red bud tree perspective photo at the bottom of the post. The rest were taken with the 7D and macro lens two days earlier on a day when heavy clouds and splashes of rain were the day's weather in Central Indiana.
The first frog figurine you see below is from the front garden. This critter has lost a lot of its solid green color over the years, but the increasingly visible rust color seems to help it blend better with the crushed leaves and cedar-chip mulch. It reappears in a picture several frames below there, a perspective shot with the front garden tulips as a backdrop ... and juxtaposed as if the frog were guarding the bed. I did not pose the frogs for the shots; this was the position they were in when I started shooting.
The other frog figurine looks as if it is one with the daffodils, which date back to my first plantings in that garden, in 2004, the year I removed four monstrous yew bushes that concealed most of the porch from street view. The frogs joined the plantings a year or so later. There was a third frog, but it mysteriously vanished two years ago.
The orange tulips serve as the main attraction of my spring gardens in this, their fourth year, and now that the nearby red bud is flowering, the circular garden will be the focus for as long as the tulip petals last. Two purple tulip plants, new this year, were added as accents to each of the circular and front gardens.
Thursday, March 28, 2013
The 2012-13 winter season officially ended March 20, but everybody in Indiana who's been on this planet for any length of time should be very familiar with how seasons blend together quite easily ... and often. And so it did the night of March 24-25.
I've photographed in Garfield Park, within walking distance of home, scores of times, and almost always find -- or try -- at least one thing new with each trip. So I thought about what I could do differently when the so-called "snowmageddon" hit Central Indiana that night. The idea came pretty quick -- shoot exclusively using my iPhone. And so, I did. My venture started just after midnight on March 25.
A minute into my trip -- and the snowfall was coming down pretty steady, driven by a strong gust -- I found myself pleased with the idea and situation. For one, I was traveling light (always a plus). For another, I could quickly and easily protect the device by dropping it into a coat pocket when I wasn't using it. And best of all, it was getting me some pretty decent pictures.
I had no control of the settings, other than to use or not use flash. I used flash for only a half-dozen shots; those shots were giving me very interesting laser-looking streaks that I'm sure were the result of light refracting off the streaming flakes. The default settings were roughly in the area of f/2.4, 1/15 and ISO 800. With a larger, heavier DSLR, I would be very concerned taking pictures without a tripod while dragging the shutter that slow. But I was able to hand-hold the much lighter smartphone at 1/15 with great success in sharpness; I rarely needed to trash a picture because of camera shake.
The pictures in today's post are from that shoot, the first comprehensive shoot I've ever done using a mobile phone camera exclusively. The shoot lasted about an hour; I was back in the house around 1:10 a.m. As an FYI, when the snowstorm finally let up the next afternoon, I think they said we'd gotten more than 7 inches in Indianapolis, and up to a foot in southwestern Indiana (largest-ever accumulation that late into spring here). Even more remarkable ... was that a slight warm-up late Monday and all day Tuesday melted away much of the accumulation. But Tuesday evening, you could see grass again in many places.
I lead off with one of my favorites in the batch, a shot of the backside of the Garfield Park Arts Center "peeking" out from under the stately trees silhouetted in the foreground. Actually, I took several from around this vantage point, and I liked them all. I also make monochrome conversions of all the pictures, as I've been in a black-and-white mood lately. The color version of this is just fine; but I like the mood conveyed by the b/w conversion.
Above and below: In honor of March Madness ... horizontal and vertical orientations of a familiar Hoosier vista. This is from the snow-covered asphalt court alongside the Burrello Family Center.
Above, the Burrello Family Center; below, the stump that once held the statue of the park's namesake, President James Garfield. For more background on that (the story goes back to 2008), click on the link in this sentence.
Above and below: Snow-laden branches on bushes lining the perimeter of the parking lot outside the Burrello Family Center.
Above: Bean Creek, as it passes east of the Garfield Park Arts Center under the Conservatory Drive bridge.
Above and below: The MacAllister Center for the Performing Arts amphitheater ... and the snow-covered landscaping in front of it.
Above: Stairs leading from Conservatory Drive to the elevated rim flanking Garfield Drive and the adjacent neighborhood.
Above: Had to include this remarkable ghost-like light flare, which almost looks like a massive umbrella around the street light. This was taken with available light (no flash).
Above and next three below: Variations of the shot leading off the post, featuring the back (Pagoda Drive) side of the Garfield Park Arts Center.
Above: One of my favorite trees in the park, the one I call "tree hugger." The unusual bark formation on the right side, when covered with snow as shown above, looks like a creature hugging the tree. This is one shot in which I used flash, and those laser-like lines are driving snowflakes refracting the light.
Above: A shot in the neighborhood. I didn't like the color and slight chromatic aberration in the upper right corner, so I decided to use the monochrome conversion.
Above and below: Southern Avenue, near Allen Avenue, looking east (above) and west (below).