Moody Blue Grass: Rockin’ the Ryman in Nashville, Tennessee Sunday, October 23, 2005 We made our way through the cold and misty night and walked up the steps. As I saw the Ryman Auditorium for the first time, I shivered and pulled my jacket closer around me, but it wasn’t from the cold. I swear I heard a few tinkling notes from a banjo, as if they were carried on the wind. THE VENUE The historic Ryman Auditorium began its life as a gospel church, moving from the worship of God through song to well...the worship of God through song. Though the Grand Ole Opry has found another place to play, it returns home regularly to revisit its gospel roots. The Ryman sees a number of other musicians these days, recently holding Neil Young’s comeback performance, and rocking to Nashville’s Followill boys (my new favorite group) as the hot Kings of Leon ripped up the stage.  Tours are available and Ticketmaster even offers the
chance to record there for anyone fancying himself a musician with untapped
potential. It’s a warm and inviting place to enjoy a concert, and
though recently refurbished, it has retained a homey, welcoming quality.
The most distinctive aspect of the auditorium has been wisely untouched:
gently curved pews beautifully stretch across the floor, imbuing a sense
of holiness and reverence throughout the large room, reminding the concertgoer
of the presence of God in his most kindly and adoring incarnation.
As the evening went on I felt His presence more and more, and I’m absolutely
sure He was sitting in a corner of the balcony. Or was that Graeme
Edge?
The only drawback I could see to the Ryman Auditorium was, in fact, the balcony. It overhangs a significant part of the floor and affects the view from the floor seats beneath. One could probably enjoy a sermon from a preacher standing at midstage, leaning over the edge with his message of sin and redemption, but seeing performers farther back would be nigh near impossible. I would have hated missing out on the cute dobro player! I suspect that for full view, the front row of the balcony would be the place to be. The sound the Ryman provides can’t be faulted. It was outstanding, sweet and clear, with each mandolin and guitar note distinct and full from the front of the auditorium. My bet is that it was every bit as good from the back. For all the wood and the absence of any obvious sound-enhancing structures (common in symphony halls) it was a surprisingly warm sound. Someone knew what they were doing when they built the Ryman. THE CONCERT The most eagerly anticipated concert event of the year began promptly at 7:30pm, catching a few jaded fans accustomed to The Moodies usual 15 minute grace period out of their seats and in the beer line. The Claire Lynch Band walked out precisely at the appointed half-hour and after a quick introduction by David Harvey launched into the first song of their seven song set: Lovelight I'm Goin' Up Tater Patch (mando instrumental) Thibidoux Children of Abraham Freight Train Boogie encore: Pee Wee and Fern (A Harley Allen song)  Claire Lynch on rhythm guitar
is backed by David Harvey, backing vocals and mandolin, Missy Raines, bass
viol (or standing bass as the locals call it), and Jim Hurst on guitar.
It was my first introduction to blue grass music live, and it couldn't
have been done better than by the Claire Lynch Band, a lean, tight group
of gifted professionals. While the group went by Lynch’s name alone,
it was clearly a group with each part equally represented, making a glorious
whole. Lynch’s lead vocals had a slight and completely appropriate
twang, a strong vocal that struck me as honest. I can not think of
anyone I’ve ever heard to compare Claire Lynch to! Her performance
was down to earth and unaffected. She has a way of drawing you in
to a song.
It was my first look at David Harvey onstage with his mandolin and provided a sweet taste of what was yet to come from him over the course of the evening. Jim Hurst may be one of the most surprising-looking people to ever walk out on a stage, despite his sports jacket, giving the appearance of having just climbed down from a tractor, brushed the hay out of his hair, then picked up his guitar case and driven over dirt roads in his 1956 Ford pickup to the Ryman. My God, could that man play the guitar! My mouth fell open as I watched him effortlessly peel off a run that had his fingers shooting flames, and I got my first jolt: that talent and virtuosity mean everything here; unlike in my pop experience, appearance means nothing in the bluegrass world. Missy Raines was my favorite of the group, a lovely woman with a cherubic face and the sweetest shy smile in Nashville who lit into her bass with abandon and clear relish. I don’t think you could get a better beginning in blue grass than the Claire Lynch Band and I hope Casey Jones brings that train to my neck of the woods. I’d see them again in a New York minute. My favorite was Thibidoux, next the sweet and sad Allen song, Peewee and Fern. After they were done, they left. There aren’t protracted bows in blue grass! Some of the vast array of equipment on the large Ryman stage was moved around – mics and music stands were everywhere. After a brief pause, a man who looked remarkably like the dad from The Brady Bunch came out to his mic set far stage right. Dan Keen, courtesy of A.S.C.A.P. was the MC for the evening and gave the audience the delightful news: Moody Blue Grass was to be performed in its entirety and in CD order.  My group of avid MBG fans rolled back into
their seats with barely contained howls of glee. Without further
ado, the first of fourteen varied ensembles walked out onto the stage and
Tim May launched the performance with the first guitar notes of Lovely
To See You, followed closely by Stuart Duncan on fiddle. Harley Allen’s
down home twang set the tone for the evening and the Moodies current lead
off gently welcomed the crowd, rock giving way to rolling in the blue grass.
Moody Blue Grass live was faithful to the fine cd, an almost note for note reproduction. How was it different? What made it special? The experience live was so multi-faceted. One could feel everything: the excitement and slight nervousness of the performers as they walked out onstage, the shared pleasure of the winsome vocals and the incredible, virtuoso performances heard and SEEN on every instrument. I felt awe and wonder at the sight of a stage so heavily laden with talent that it was a miracle it didn’t sink into the ground; instead it steadily rose into the sky. The instrumental artists were without exception top of the line, each performer a worthy and riveting soloist. My head swiveled back and forth across the stage, a few notes of dobro or guitar, mandolin, fiddle or banjo impelling me to seek out the spot where that heart lay on the stage, the live experience so far surpassing the recorded one that the two can hardly bear comparison. 
Tim May’s guitar work made me gasp, and I literally held my breath, unable to breathe,
during his highlights. I was particularly taken with the fiddlers
and their surprisingly lush sound and elegant phrasing. Every time
I looked to my left, I saw a different fiddler, a series of incredible
artists effortlessly plying their trade. Without a doubt, the single
instrumentalist that stole the show and brought me to my knees was the
producer of Moody Blue Grass, David Harvey. A warm and gentle man
whose large hands trilled the mandolin held so closely against his chest
that it seemed a part of him. The mandolin, the inspiration for Randey
Faulkner’s vision, is what made the evening special for me and was the
center of the Ryman stage. To have the chance to watch David Harvey
play was the gift of a lifetime. His clear notes were the gossamer
thread that shimmered through the evening.
The vocalists of Moody Blue Grass held their own against this vast array of instrumental talent, musical giants in their own right. Harvey Allen continued the magic from Saturday night’s Storytellers showcase at The Bluebird Cafe singing lead vocals on Lovely to See You, Ride My See-saw, and Your Wildest Dreams. Tim O’Brien’s covers  of Land of Make Believe and Legend of a Mind were
extremely well done and much more effective (and affecting) live, his voice
coming across much richer than on the recording. I spent most of
the evening puzzled over the instrument O’Brien played at the Ryman; I
had never seen anything like it. There was a small turtle on it!
Liner notes for the cd suggest to me that it may have been an octave mandolin.
O’Brien made a special and touching tribute to his wife of a heck of a
lot of years before his performance, thanking her for her faithful support.
Take out the garbage and put a clean liner in the can and it will really
mean something, It was very nicely done. Legend is a song no
longer performed in concert by The Moody Blues, retired and greatly
missed composer and lead singer Ray Thomas no longer fishes for fame, preferring
to cajole the carp these days. It was a thrill to hear it onstage
again accompanied by a mean banjo expertly played by a young mother, Alison
Brown. Brown’s performance was outstanding and the crucial element
of the blue grass version. I deeply regretted that my seat wasn’t
closer to her place on the stage and felt frustrated that her music stand
hid her from view. I wanted so much to watch her play! Brown
said to me later that hearing her was a good place to start.
John Cowan sang lead on The Voice, I’m Just a Singer in a Rock ‘n Roll Band, Never Comes the Day and on Justin Hayward’s masterpiece Nights in White Satin.  Of the four songs, The
Voice is my favorite on the cd and was a thrill to hear live. Patty
Mitchell and Jan Harvey’s harmony turns the cover into a new creation,
and makes this version the one that sings in my soul, making it difficult
to hear it performed by The Moody Blues in concert. I keep looking
around for the banjo! Alison Brown must take a special bow for her
banjo work on The Voice; it is simply spectacular. Nights in White
Satin was nice, particularly Andrew Hall’s plaintive dobro and David Harvey’s
lovely mandolin version of Ray Thomas’ signature flute solo.
The lovely vocal harmony (Alison Kraus was not present) lended a special
touch to the piece. The blue grass cover of Nights was certainly
a required tribute, but it can only be characterized as “nice”, a faded
daisy laid at the feet of the master who sings it with a power and majesty
that is, time after time, magnificent and heart-breaking. Justin
Hayward’s version is simply beyond compare. If nothing else, I would
have to give John Cowan points for having the guts to get up onstage and
try it.
Interestingly enough, The Other Side of Life, sung by Larry Cordle, parallels The Moodies version: both are much more effective live than recorded. While it was my least favorite cut (next to Nights) on the cd, I enjoyed it live, and I feel the same way about TOSOL (as fans fondly refer to it) by The Moodies. Perhaps it’s just a song that comes alive on stage. Cordle also recited Late Lament, Days of Future Passed’s written piece contributed by poet and drummer Graeme Edge. The harp guitar, played by Tom Shinness was used on Late Lament and a very strange looking instrument it is. There may be nothing so odd and unsettling as hearing that famous piece spoken with Cordle’s particular accent, and I shifted uneasily in my chair, simply unable to accept it and hoping that it would soon be over. The highlight of the evening for me was the chance to hear my favorite cut on Moody Blue Grass, one I’ve played over and over:  Jan Harvey’s solitary but knock-out contribution to
the cd, It’s Up to You. In an evening of shivers down the spine,
this was the highlight. What a voice and what a perfect, simply PERFECT
rendition of that song. When Harvey finished, I only wanted to hear
it again! I was stunned by the harmony between Jan and her sister,
Jill Snider, voices so perfectly matched that I thought surely Harvey had
overdubbed the part on the cd. It was an absolute thrill to hear
it live, a stunner. The song was breathtaking, a sweet sound complimented
by Jan’s lovely smile. This is one cover that not only comes up to
the original but surpasses it and is not a slave to any musical genre.
Last but not least, though definitely the tiniest *vocal* performer was 5 year old Emma Harvey.  Though
clutching her skirt in stage fright, she told her joke better than many
an adult professional and got out her requisite giggle on cue. Way
to go Emma! You did your parents proud, and were a fine addition
to the evening, giving the lead into Harley Allen’s wild version of Ride
My See-Saw. Barry Crabtree did the banjo honors, moving that song
along at the speed of his flickering fingers. Darn nice mandolin
work on See-Saw, compliments of yet again, David Harvey. Great version,
wonderful live – trippin’!
I’d like to make special mention of the crucial, yet unsung instrumentalists: bass fiddle, Andy Todd and percussion, Bob Mummert. A gospel quartet, Odessa Settles, Wayne Settles, Calvin Settles and Todd Suttle made a pleasant though minor contribution to the evening.  It was a bit out of place. A singer who deserves
special thanks for the evening is Jon Randall, tenor vocal. I saw
Jon up at the mike more often than not during the performance, and got
a darn good idea of the big contribution he made on the various songs.
One of my seatmates *nudged* me during the evening, indicated Jon and
whispered “Don’t you think he’s cute?” Yes, I do!
Moody Blue Grass was done, successfully and with heart, but the evening wasn’t finished. Randey Faulkner, the executive producer announced that a taste of Moody Blue Grass II was in store! John Lodge of The Moody Blues strode out and tore up the stage with a KILLER version of Send Me No Wine, the clear winner of the entire evening. While I love The Present’s It’s Cold Outside of Your Heart, I wasn’t impressed. Maybe if I heard JAN HARVEY sing it! LOL The blue grass alternative of Graeme Edge’s Higher and Higher seemed to have no point and was not nearly as effective as The Moodies current stage version, however, I think The Moodies need to bring the Buck dancers on their next tour. They were fantastic! Never Comes the Day was beautifully done by Justin Hayward and John Cowan and was followed by a version by the same two of Tuesday Afternoon. The evening’s finale brought every last performer onstage to share the moment. Little Maggie was the choice and Harley Allen held the first note so long that *I* was gasping for breath at the end of it. ,  I didn’t know the song from Adam, apparently
Tim O’Brien didn’t know it either, for Harley Allen had to cutely coach
him from behind. It was nice to see the blue grass singers get the
glory, with The Moodies taking their places as backup musicians alongside
the other instrumentalists. John Lodge was playing but taking admiring
peeks at Tim May’s fancy guitar work, while Graeme Edge kept busy teaching
Odessa some dance steps. It was a fine ending to a GLORIOUS evening
at the Ryman Auditorium.
I think my friend from Scotland spoke
for us all when he said:
“Maggie, it was the BEST musical evening of my LIFE!” 
MaggieMay If they knew, We have got nothing to lose No reason to hide from what’s true... |
